CONSUMABLES P35 6 Image DIGEST REPORTS

YOU ASKED FOR :MORE BUSINESS �� MORE TECHNOLOGY � MORE ENVIRONMENT � AND THIS IS JUST THE BEGINNING…

www.imagereportsmag.co.uk

Essential information fortoday’s wide-format

digital printer

� � �

DIGEST� Survey predicts

growth� Latest installs� Wide-format

showcasePAGES 6 – 15

BUSINESS� Making tax less taxing� Partnership in practice� Evolution at workPAGES 26 – 34

MARKETS � Speciality productsPAGE 47

ENVIRONMENT � What cost green

consumables?PAGE 42

TECHNOLOGY� Colour management� Roland VersaUV LEC-

540 on testPAGES 59 – 65

ZEITGEIST � Used, not abusedPAGE 78

Issue 2 • Volume 18 March 2011 • £2.20

ImageREPORTS

The future’s brightVisit Sign and Digital UK to seewhere wide-format can take you

SPECIAL REPORT:CONSUMABLES P35 – 46

Cover.qxp:Layout 1 16/2/11 14:14

Project3:Layout 1 23/2/11 18:04

Project3:Layout 1 23/2/11 18:06

Edit

or’

sp

ag

e

04

LOG ON AND DIVE INThis month I’m asking for five minutes of your time, well OK, maybe 15.But it’s for a cause close to your mind if not your heart – the search forthe truth about the UK and Ireland’s large-format print community. Yes,we’ve started the annual Widthwise survey, which allows us to take thetemperature of the UK wide-format print sector and subsequentlyprescribe good business practices for getting better. Analysis of thedata and information gleaned from the poll are core to the WidthwiseReport published each summer and available to Image Reports readersfree of charge.

We listened to what you had to say via the 2010 poll and what cameacross loud and clear was that, in 2011, you want us to look at the marketfrom various perspectives. Given that the challenges and strategies of acompany turning over £3m can be very different to those with a turnoverof £250,000, the 2011 report will provide the usual broad overview of themarket but it will also analyse the statistical information in three turnoverbands - up to £500,000, £500,000-£2m, and £2m+.

Those of you who filled out the survey last year will have already beenasked to do so again. If you have not already been personally asked totake part go to www.surveymonkey.com/s/widthwise2011 where you willfind the online questionnaire. Your input will be greatly valued as themore companies that take part the truer a market reflection we canprovide. Those taking part also get the report before anyone else - andentered into a prize draw.

With diversification a key trend, as thrown up by the last two WidthwiseReports, ever greater focus is now placed on substrates and inksdevelopments that extend applications possibilities. Which is why, in thisissue, we have included a Consumables Special that flags up some ofthe more controversial topics of debate – let me know your ownthoughts on these.

As wide-format expands its remit, its attraction to would-be players isbecoming more obvious, and with so many niche products and sectorsthat should not so much create a problem for those already involved inthe market as serve to help educate a wider audience about thepotential. To this end, Image Reports is working with Northprint to deliver aWide-Format Applications Showcase this May (see news) . If you haveany thoughts on how we can, as an industry sector, pull-together toensure the future competitiveness and growth of wide-format pleaseget in touch.

EDITORLESLEY SIMPSONLESLEY.SIMPSON@

IMAGEREPORTSMAG.CO.UK

TEL: 01932 707173

Editor: LESLEY [email protected] Consultant:SOPHIE MATTHEWS–PAUL,[email protected] Correspondent:MARTIN O’DRISCOLL,[email protected] Manager:TANIA KINGDesign:ALEX GOLDWATERPublishing Director:CHRIS [email protected] Executive:CARL [email protected]: 020 7933 8976Fax: 020 7933 8998E-mail: [email protected]

St. John Patrick Publishers Ltd,

6 Laurence Pountney Hill

London, EC4Y OBL

For circulation enquiries contact:

Saint John Patrick Publishers

PO Box 6009

Thatcham, Berkshire

RG19 4TT

Tel: 01635 879361

Fax: 01635 868594

Email: [email protected]

Printed in Great Britain.

No part of this publication may be reproduced,

stored in a retrieval system

or transmitted by any means without

the Publisher’s permission. The editorial content

does not necessarily reflect the views of the

Publisher. The Publisher accepts no responsibility

for any errors contained within the publication.

Average netcirculation 8,684,Jan-Dec 2009;source ABC website

Essential Information for today’s wide-format digital printer


contentsSL1.qxp:Layout 1 25/2/11 17:42 Page 2

REGULARSFEATURES

COVER STORY ADVERTORIAL �� 20What you can expect from Sign and Digital UK 2011.

BUSINESS

TOP TIPS � 26Tax doesn’t have to be taxing, but invariably it is.

Here’s how to lighten the load.

EVOLUTION AT WORK � 31How an Océ Arizona 550GT is helping Contact

Photographic Services find new markets.

PARTNERSHIP IN PRACTICE � 33A year in and partnering is paying off for Borney UK

and Your Sign.

ENVIRONMENT

TOTALLING THE COST OF GREEN CONSUMABLES � 42Is substrates pricing the only issue preventing the mass

take-up of more environmentally friendly print?

MARKETS

SPECIALITY PRODUCTS � 47A look at some of the more unusual applications now

open to wide-format print.

TECHNICAL

MACHINE MATTERS � 59Sophie Matthews-Paul gets to grips with the Roland

VersaUV LEC-540.

COLOUR MANAGEMENT � 61We delve into the need for an inkjet standard.

SPECIAL REPORT

CONSUMABLES � 35Printers and suppliers spark debate on the major issues

currently impacting upon the sector.

06 – 13 � DIGESTBringing you up to speed with the latest news.

15 � IRELAND Martin O’Driscoll tells you what’s happening on the

Irish wide-format scene.

18 � IN-SITU IR’s gallery of recent wide-format print jobs.

66 � FORUMVital stats to help you run your business; Q+A - your

technical questions answered; Out and About -

events diary; Over to You with Richard Hunter, sales

director, Harrison Signs.

78 � ZEITGEISTIf you only want to pay half price for a superwide

printer, look to the secondhand market.

Con

ten

ts

05

contentsSL1.qxp:Layout 1 25/2/11 17:42 Page 3

06

Dig

est

march.2011

Bec

ome

aco

lour

man

agem

entg

uru Image Reports has partnered with Northprint 2011

to deliver a dedicated Wide-Format ApplicationsShowcase. Developed to highlight the myriad anddiverse opportunities now presented by wide-format inkjet print technology, visitors to the showin May will be able to see a breadth of applications.

Trevor Crawford, director of the IIR Print Group,said: “The current climate is providing a massiveopportunity for printers to explore new businessideas with a world of options awaiting them in thewide-format sector. Exhibitors in this area willconcentrate on presenting recently finishedproduct examples and providing visitors withcreative suggestions on how to maximise theinvestment in this technology.

“With its outstanding knowledge andunderstanding of this market, Image Reports is theideal partner to promote the area. We’re confidentthat the Wide-Format Applications Showcase willadd to the diversity of Northprint 2011 and attract arange of wide-format and commercial printers.”

Wide-format digital print equipment supplierRoland DG has already confirmed its presence atNorthprint and will also exhibit in the Wide-FormatApplications Showcase area. Brett Newman,technical director at Roland DG UK, said:“Commercial printers are increasingly investing inwide-format technology so the event will provide anexcellent stage to explain our offerings to them.This is the first time we’ll be exhibiting at Northprintso we’re delighted that there will be a dedicatedwide-format area as it recognises the buoyantnature of the sector and highlights its growingimportance.”

Chris Cooke, Publisher of Image Reports, added:“Image Reports is committed to educating itsreaders and the wider print community of thebusiness opportunities that niche and mainstreamwide-format applications can offer print serviceproviders. We are very happy to be working with IIRand the wide-format exhibitors at Northprint tohelp create a showcase of the best inapplications from the sector.“www.northprintexpo.com

Image Reports partnerswith Northprint 2011

� Large-format demand has promptedLutterworth-based SRD Print to buy an AgfaAnapurna Mw.

� Trade printer Wirralco has added an EpsonStylus Pro 9900 to its raft of equipment.

� Launched last summer, the Roland VersaArtRS-640S is now available in the UK.

� EFI has brought out the Fiery XF 4.5, a Rip forinkjet production printing, as well as EFIColorproof XF 4.5 for proofing.

� Wide-format rip developer Caldera Graphicshas been certified as a Color-Logic partner.

� Brian Forsdike will retire as president ofScreen Europe and chairman of DainipponScreen UK on 31 March after a 31-yearassociation with the company. His successor isKees Mulder.

� CWE Solutions has been appointed a UKreseller for the EskoArtWork Kongsberg XYflatbed cutters and associated workflowsoftware.

� EskoArtwork and VTales Graphics haveproduced Store Visualizer, a software applicationthat allows brand owners and retailers to see theimpact of their packaging and displays.

� The Associates in Print and Paper Technology(APPT) is calling for applicants for a new annualbursary.

� Epson’s fine art papers, previously available incut sheet sizes, are now also available in roll formand compatible with the 24in Epson Stylus Pro7890 and 44in Epson Stylus Pro 9890 printers.

Go to www.imagereportsmag.co.uk for the full story…

The Colour Collective is offering a one day, try beforeyou buy, colour management course which will includetuition on X-Rite’s new i1 Profiler software. Aimed atwide-format printers, designers, pre-pressprofessionals and photographers, ‘Colour Guru in OneDay’ is delivered by colour management expert andauthor, Rob Griffith.

Colour Guru in One Day will be held at X-Rite’s UKHQ near Manchester in its fully equipped trainingcentre. Available dates are: 30 March, 11 May and 22June. Each course is limited to eight attendees soeveryone will get one-to-one attention and have thetime to use and understand the equipment.

Course modules include:� Colour theory � How colour management works � Calibrating and profiling monitors� Using applications to colour manage your images� Colour managing digital photography� Profiling RGB printers� Profiling CMYK printers� Proofing and press standards� Evaluating colour and fine tuning results� Colour managed workflows

‘Colour Guru in One Day’ will cost £150 per attendeewith group discounts available. All attendees willreceive a free copy of Practical Colour Management,course notes, email and telephone support after thecourse and exclusive discounts on products. Lunchand refreshments will be provided.www.colourcollective.co.uk

Reprographic Technology International (RTI), a supplier of OEM and OEM-

compatible spares and consumables, has entered the display graphics arena.

Gloucestershire-based RTI will stock the ColorMatched brand of inks and

media for aqueous, solvent and UV-curable digital printers.

Erik Norman, VP of sales and marketing, said: “We have observed the trend

for our conventional reprographic customers to move into display graphics.

Combining our current business in the digital production and wide-format

sectors with our entry into the supply of consumables and media for display

graphics enables us to provide a one-stop shop in all three sectors.

www.reprographic-intl.com

NEW SUPPLIERENTERS THE FRAY

NewsLS1.qxp:Layout 1 25/2/11 18:37

07

FOR THE LATEST NEWS VISIT WWW.IMAGEREPORTSMAG.CO.UK

86% of respondents to Fespa's latest Economy

Survey expect their businesses to grow in 2011, with

more than half of those surveyed forecasting

growth to exceed 10%. More than 17% anticipate

growth above 25%. Half of all respondents believe

the wide-format market has recovered from the

economic downturn. Reflecting on sales in the

fourth quarter of 2010, 25% reported them better

than 2009, 19% said they were better than expected,

and 39% thought they were as expected.

The Economy Survey, conducted on behalf of

Fespa by its research partner InfoTrends, is the

fourth of its kind to be undertaken. 432

respondents worldwide completed the electronic

survey at the end of 2010, almost half representing

the service provider community, with the

remainder comprising manufacturers (22%), and

resellers (18%). Three-quarters of respondents

were evenly split between North America and

Europe, with the remainder coming from the

developing Asian, Middle Eastern, African and

South American markets.

According to the survey, growth in demand

among clients for environmentally sustainable

print services is increasing as economic concerns

abate, with 45% reporting a spike in interest for

'green' printing. Nearly half of printers responding

to the Economy Survey have already re-

engineered their wide-format production practices

to become more environmentally friendly. For

many this has been through attention to more

eco-friendly media selection (71%), improved

waste management (59%) and recycling (47%).

59% have also addressed environmental

performance with investments in lowering solvent

use through UV, latex or aqueous production.

Similar numbers plan to address these issues in

the future. Only 12% of respondents have

adopted alternative energy sources, though a

further 13.5% expect to do so going forward. The

vendor community has responded accordingly,

with 72% of manufacturers claiming to have

developed or introduced products that support

more environmentally responsible printing

The survey offers evidence that printers are

preparing their businesses for demand from clients

for closer integration of print with digital marketing

media. 40% report seeing an increase in requests for

QR code and other variable data printing services,

and 52% are equipped to meet this demand,

though the remainder has no such capability.

76% of respondents see - or expect to see -

digital signage impacting wide-format digital

graphics. Unsurprisingly, the applications deemed

most affected by digital signage are backlit (24%),

billboards (18%) and POP graphics (13%).

The addition of an Inca Onset S20digital inkjet printer has opened up newmarkets for Euro PLV, a full-service POSdesign and production specialist withsales outlets all over France. CEOChristian Dijoux said the new machine(sourced through Fujifilm France butwith on-site training from the UK’s IncaDigital team) arrived a few months agoand is allowing the company to handlethe cost-effective short-run productionof a multitude of POS displays.

"I've been monitoring digitaldevelopments for some time. Somehigh-speed printers have appeared onthe market and I felt that it was time toinvest," added Dijoux.

"This is an interesting departure forthe company, enabling us to producenew products and handle a widervariety of POS orders," said Dijoux."Our screen presses don't perform wellon short/medium runs and previouslywe were forced to decline such jobs."

PRINTERS GEARING UP FORYEAR OF GROWTH

Dig

est


PO

S ta

rget

ed

The first Roland DG VersaUV LEC-540 UV-curable

printer to be sold in Europe has been installed at Kent-

based packaging specialist Beams International. This

print-and-cut system, which has a 1.37m width plus

white ink and clear varnish, was chosen for its

versatility, low cost and accuracy on all materials.

Beams International specialises in the design and

manufacture of gift packs, and packaging of goods for

promotions in the food and drinks’ industry. The

company creates and produces branded and bespoke

items for the retail market in the UK and overseas,

designed to build awareness for consumers through

innovative and unusual packaging solutions.

Realising that its existing wide-format proofing

system was limited because its aqueous-based inks

were not able to output to the actual materials used

in a final production run, Beams wanted a solution

which would provide a true simulation of its

packaging creations. Working with UK specialist

Roland DG’s partner, Revolution, the company opted

for the VersaUV LEC-540.

“From the moment that we ordered the new

printer we had a demand for its unique capabilities

and since its installation and commissioning we have

been able to produce prototype packaging that is as

good as the real thing,” said Matthew Russell,

commercial director at Beams. “Our customers have

been able to understand in an instant what our

proposition is and what the finished packaging will

eventually look like.”

Is a merger an option

for me? I started in this

business as an

‘entrepreneur’ and,

after 15 years in it, I

think it’s fair to say I’m defiantly a ‘printer’

now. But, from time to time I think about my

exit strategy - do I still want to be doing this in

another 15 years? Or do I sell the company to

another person or company to retire or try

something else?

And there I see a problem; if I sell the

company, its assets have value but the

goodwill in the business is firmly with me. As

a small businessman (and it’s the same in

most similar situations as far as I can see), I am

the business. My company is small enough

that customers buy into me and the people

that work with me, not a faceless corporation

or ‘brand’. I look around and I see other

printing companies with the founder still at

the helm, in total control and quite often

generating the bulk of sales, so what value

does the business have without him?

Such a situation might make it difficult to

sell the business for its true value, so, why not

merge with another company of a similar size

and value - combine forces so to speak? Less

administration would be needed making both

companies instantly more profitable and a

share holding in a larger firm might be

preferable to a sale as you could get continued

return on investment. Sounds like a dream

solution but finding like minded people to

perform such a merger may be tricky - be it a

growth or exit strategy, it would have to be

mutually beneficial.

Owning a business is a very personal thing;

you create it, nurture it and get many sleepless

nights in return, but when its going well, when

you have landed that new account or received

that first purchase order, there isn’t another

feeling like it in the world, and that’s going to

be hard to put a value on.

Comments please to

[email protected]

GIN

G B

ELO

W T

HE S

URFA

CE

WIT

H ‘INDUSTRY M

OLE

’

VERSAUV LEC-540 BOUGHT FOR PROTOTYPING


Project2:Layout 1 17/1/11 11:30 Page 2

09


Working in conjunction with Roland DG (UK), Sabur

Ink Systems has introduced what it believes to be

the world’s first fluorescent wide-format inkjet

printer which incorporates dye sublimation inks.

Designated the Roland 4+2 Flo, the solution is

based on the technology of the established 1.37m

SolJet Pro III XC-540MT printer’s dual pump and

recirculation system and incorporates Manoukian’s

standard CMYK ink range plus a fluorescent yellow

and red.

The introduction of this fluorescent ink range

enables two additional, and unusual, colour options

to be available in a single printer, with the selection

of palettes made easily with the click of a mouse.

The resulting colours are vibrant and output opens

new doors to print companies

wanting to move into the sector for

digital textiles, particularly within the

sports and fashion industries.

Dean Sanger, managing director of

Sabur Ink Systems, said: “We are

expecting a high level of interest in

this state-of-the-art printer, with

particular demand coming from the

fashion industry sector. The Roland

4+2 Flo wide-format system is easy to

use and, as such, is certain to appeal

to all users who want to broaden their

inkjet production into new areas.”

www.sublimationinks.com

The BPIF is to stage a one-day finance and investment conference,entitled ‘The Challenge of Transformational Change’ on 22 Marchat the Ricoh Arena in Coventry. The event will focus on howchange is affecting the print industry and what challenges andopportunities this could bring for companies and businesses inthe sector.

The keynote speaker for the event will be futurologist andauthor, Dr James Bellini. He will focus on ‘Tomorrow’s company –the challenge for managers’, where he will discuss what the futureholds for UK companies; how long-term predictions are made andwhether they can be trusted. He said: “The coming decade willsee the biggest shift in global economic realities since theIndustrial Revolution and the rules of business are changingfundamentally. Managers need to ask themselves: “Have weembraced these new realities; is our company 'futureproof'?”

The results of a new BPIF survey on capital investment for 2011will also be presented at the event by Andrew Brown, BPIF’sdirector of corporate affairs. The survey will cover capitalinvestment plans and priorities; nature of investment proposed;investment processes adapted; key strength of successfulcompanies going forward and sources of funding.

The conference is open to BPIF members at a cost of £150 forthe first delegate and £75 for additional delegates. Non-memberswill be charged £220 and £110 for additional delegates.

For bookings and more information contact Lori Laius.Email: [email protected]

The Roland 4+2 Flo

ROLAND AND SABUR TECHNOLOGIESCOMBINED IN FLUORESCENT DYE SYSTEM

Chromagene of Leeds has merged with Screenprint

Productions based in Brighouse, Yorkshire. Chromagene

has sold its site and moved its print equipment and

existing staff to Screenprint which will now act as the

production arm for both operations.

“We are keeping the Chromagene name going

alongside the Screenprint Productions name but the

latter will be handling all print production,” said

Screenprint director Martyn Hicks. This way we think will

operate a much more efficient business while retaining

the biggest customer base.

“The perception was that Screenprint was a screen-

printing business with a small digital department

while Chromagene was a big digital operation.

Screenprint actually already had a big digital

department but with the Chromagene kit that has

been expanded. The merger means we also benefit

from Chromagene’s fulfillment knowledge, such as

digital print installation etc.”

Screenprint owns a second site that had been up for

sale and is now retaining that space following the merger.

CHROMAGENEMERGES WITHSCREENPRINT

Dig

est


BP

IF a

nnou

nces

fina

nce

and

inve

stm

ent c

onfe

renc

e

NewsLS1.qxp:Layout 1 25/2/11 18:38 Page 8

10

Dig

est

march.2011

Field trials of the Agfa Anapurna M2050 UV-curable printerhave gone so well at Barnstaple-based The Sign Shop thatmanaging director Bruce Isaac has said there is no wayhe’s letting the machine go at the imminent end of the betatest period. The 2.05m wide flatbed and roll-fed printer, thefirst of its type to be installed in Europe, has been runningat The Sign Shop since October during which time it hasallowed the company to expand into new applications areasand attract a number of major new customers.

“We’ve had issues as you always do with a test machinebut Agfa has responded really well and we’ve found amachine that is likely to make a huge impact on ourbusiness,” said Isaac. “We did a mail shot to a number ofagencies and creatives explaining what we can now do interms of applications and we’ve had an enormous responseand won clients that we couldn’t have reached otherwise.”

Isaac said The Sign Shop, established over 18 years ago,had been interested in buying a UV-curable printer foraround two years but, at the intended investment level, wasunconvinced about both speed and output quality. Havingvisited Agfa’s headquarters in Mortsel, Belgium andlearning about the Anapurna M2050, Isaac agreed to trialthe new engine.

The Sign Shop has since been outputting a variety ofapplications direct to rigid and flexible materials, all ofwhich Isaac said have produced excellent results in a rangeof thicknesses. Changeover from flatbed to roll-feed modeis quick and easy and overall production rates haveincreased significantly as a result.

The Anapurna M2050 is the latest addition to Agfa’s UV-curable hybrid printers, all of which use the company’s M-series G2 inks for greater flexibility and improved adhesionon both rigid and flexible materials. A six-colour machine,the 2.05m bed width is complemented by a white inkcapability and zoned vacuum table. It has eight printheadsand can print in both uni- and bi-directional modes. It is ableto output onto rigid materials up to 2 x 4m.

The Sign Shop to keep betaAgfa Anapurna M2050

Imagefactory has bought an HP FB7500 printer. TimBoore, head of digital technologies, said: “The moveallows us to be more competitive on price, increaseour capacity and improve response times givenaverage run lengths have reduced significantly.”

Boore added: “The cost savings associated withdigital production over screen it is very evident. And,while our existing digital equipment is very good, itcan struggle on long runs due to print speeds. Thenew printer increases our existing digital speed bymore than four times. Also, the ink seems to performwell on all substrates with very good ink adhesion, forinstance, to PCV.”Im

agef

acto

ryta

kes

FB

7500

Many business people believe

networking is a more cost-effective

method of generating new business

than some other marketing methods.

This is because business networking is

a relatively low-cost activity that

involves more personal commitment

than company money.

Throughout the year, you may attend business networking events

in the hope of meeting new people, gaining some advice and

hopefully drumming up some business – but how often do really

relevant networking opportunities come along? We don’t think very

often and so that’s why we are launching the Sign and Digital UK

Awards and Networking event this year.

The event is to be held on the evening of the middle day of the

show, 13 April, at the National Motorcycle Museum. It is open to

anyone in the signmaking and digital printing industry and will

award the top signmakers and graphic display professionals for their

creativity and innovation. This is a real opportunity to grow your

network of contacts, meet old friends and new and entertain

customers.

Individual or full table tickets are on sale on the Sign and Digital

UK website and include a pre-dinner drinks reception, three course

dinner and the chance to network amongst your peers. But hurry –

places are limited and tickets are selling fast.

Go to www.signanddigitaluk.com or call Susan Buckley on 0208

651 7135 to book your tickets.

BY ALAN CADDICK, MARKETING MANAGER,SIGN AND DIGITAL UK 2011

NETWORKING IS THE NAMEOF THE GAME AT THE SIGNAND DIGITAL UK AWARDSAND NETWORKING EVENT


11


Patent-pending Avery MPI 6121 Street Graphics Film

brings graphics applied to roads, pavements, and

other rough surfaces in exposed outdoor

environments to a higher level. With a paint-like

finish for graphics printed with digital UV inks, Avery

MPI 6121 can withstand the constant pressure of

vehicle traffic for up to three months and will last up

to six months exposed to pedestrian traffic only.

At 40 micron thick, the new film virtually

eliminates the likelihood of edge lift. It features the

ability to ‘micro-fracture’ in order to conform

effectively to very rough surfaces and permits

moisture to be channelled through the substrate,

minimising slip hazards. The film requires no

overlamination and, at the end of its working life, it

can be removed with a standard high-pressure

washer.

www.europe.averygraphics.com

AVERY DENNISON BRINGS A NEWDIMENSION TO ROAD GRAPHICS

Dig

est


When Danny and Richard Frayne ofExeter-based QuickPrint SWaccepted an invitation from AvonGraphic Technologies to an open dayat Roland DG’s new Creative Centrein Clevedon, they were so impressedwith what they saw that they placedan on-the-spot order for aVersaCamm VS-640 print-and-cutsolution with metallic and white inks.

QuickPrint SW, formed in 1961 andoriginally concentrating on offsetlitho production, has since movedinto small- and wide-format digitalservices such as sublimation printingfor promotional and garmentproduction, plus displays, canvasesand CAD/GIS applications. It was in

recognition of the value-addedpotential afforded by the VersaCammVS-640’s metallic and whiteelements, plus its 1.62m width, use ofEco-Sol Max inks and compactfootprint, that led to the instantinvestment in the machine.

“The moment we saw the RolandVersaCamm VS-640 putthrough its paces, we knewthis was the machine weneeded to move QuickPrintSW forward in themarketplace,” said DannyFrayne. “The VS-640 hasopened brand new avenuesfor us, and currently we’reusing it to print banners,

industrial and commercial labels andother applications, such as windowgraphics,” confirmed Danny Frayne.“It’s allowed a large number of jobsto be brought in-house which,formerly, we had to outsource.”www.quickprint.co.uk

Blueprint Nottingham has bought theUK's first Seiko I InfotechColorPainter H-104S, as well as aColorPainter H-74S and a SummaS160-T cutting plotter. All threemachines, supplied and installed byDigital Print Innovations (DPI) andsupported by master distributorColourgen, dramatically increasedproduction speed and capacity for thedisplay producer within a week ofinstallation.

Blueprint Nottingham fulfils anumber of hefty display contracts forconstruction and other large volumeindustries, as well as vehicle wraps

and banners. "We've increasedsteadily but rapidly over the past twoyears, and in 2010 reached turnoverof £1m," said director Richard Monk."We've invested in the SeikoColorPainter H-104S and H-74Sbecause excellent uptime and thereliable production of large volumesare paramount to allow us to fulfil ourorders."

The 104in (2.6m) ColorPainter H-104S and the 74in (1.9m) ColorPainterH-74S are the latest generation ofmild-solvent printers from Seiko andfeature Multi-Drop Technology, whichvaries the ink droplet size to ensure

optimum media coverage. Bothmachines were supplied to Blueprintin eight-colour configuration (CMYK,Lc, Lm, grey and light grey).

"We've been faithful to the SeikoColorPainter b]rand for the last fiveyears due to the printers' consistentlyhigh quality at excellent productionspeeds. We had to support ourexponential sales growth by investingin the next generation of machines,increasing our production capacitywith even better speed andturnaround," Monk continued. "Two 6x 0.5m banners now take us only 34minutes to print."

Blueprint buys UK’s first Seiko I Infotech ColorPainter H-104S

Vers

aCam

m V

S-64

0go

es to

Qui

ckP

rint

SW


13


Service Graphics (the large-format division of St Ives)

has created a biodegradable graphic display for EDF

Energy’s customer contact centre. The company was

chosen to produce and install a permanent

interactive sustainability room at EDF Energy’s

Doxford Park site. The room is designed to generate

awareness and debate on sustainability and carbon

reduction amongst employees and visitors.

The room display was constructed using

environmentally friendly materials sourced by Service

Graphics, including biodegradable BioMedia and

Biolam film laminates to create biodegradable

wallpaper graphics, FSC certified MDF for the

panelling and shelving, and BioRigid material for the

biodegradable detailing. Service

Graphics used eco-label Nordic Swan

accredited UV-curable inks in its Durst

Rho 500 flatbed printer for print

production.

The sustainability room features two

walls on which people can write their

comments and thoughts on

sustainable issues and one wall with a

magnetic section displaying giant

thought-provoking ‘post-it’ notes

highlighting the targets that form part

of EDF Energy’s Sustainability

Commitments.

SERVICE GRAPHICS PRODUCESBIODEGRADABLE GRAPHICS FOR EDF

Dig

est


Hei

delb

erg

in V

utek

dea

l

With the Sign and Digital show openingits doors on 12 April, exhibitors havestarted confirming what they will taketo the event. Hybrid, Océ, Josero andScreenPro are some of the first to nailtheir colours to the mast.

The Mimaki JFX-1615plus will beunveiled by exclusive UK and Irelanddistributer Hybrid Services. Themachine shares the same LED UV-curable ink technology as its bigbrother, the JFX-1631plus and featuresa post-curing unit as standard thatenables printing of up to 23.6m2/h - atop speed that is nearly twice as fast asits predecessor. Additionally, a roll unithas been developed to boost efficiencyand productivity when printing onflexible substrates, and printing

capacity is maximised through the UVLED system requiring no warm up time.

Océ will be demonstrating a diverserange of applications on its flatbedprinting systems. The Arizona 550XTand 350 GT will be the stars of thestand and both will powered by OnyxWorkflow Software X10 OcéEdition Rip software. Alsoon show will be the OcéColorWave 600 posterprinter that uses Océ’stoner pearl-basedCrystalPoint technology.Océ will be partneringZünd Plotting Systems(UK) to display the G3L2500 digital cuttingsystem.

Triangle ink products and spare parts(such as printheads, dampers andwiper blades) for both wide- andsuperwide-format printers will beshown by Josero. ScreenPro, now adealer for Triangle inks for centralEngland, will also its products.

Sign and Digital UK exhibitors confirm showings

Offset press manufacturer Heidelbergis getting back into digital with a deal todistribute EFI’s Vutek GS series ofsuperwide-format digital printers to thecommercial print market across theUS. Chris Matthews, who recentlyreturned to Heidelberg UK as digitalequipment business manager, said:“There are no plans at present for asimilar agreement in the UK”.

Heidelberg USA will distribute theVutek GS2000, GS3200, and GS5000r

as well as the inks, parts andconsumables. Heidelberg will alsoprovide customer and technicalsupport, including installation.

Matthews said: “Heidelberg hasbeen talking with EFI for a long timebecause in the US the synergy fits theneeds of some of the customer baseover there. It’s not something we’veconsidered for the UK but that’s notsaying yes or no longer term.”

Heidelberg USA will have a GS3200

in its North American Print andPackaging Technology Center fordemonstrations.

“Wide- and superwide-formatprinting are high-growth opportunitiesand Heidelberg has the right workflow,colour management, service andconsumables expertise to integrate thetechnologies into a print productionenvironment,” said James Martin,senior vice president, marketing,Heidelberg USA.

NewsLS1.qxp:Layout 1 25/2/11 18:38 Page 12

See us at stand F50

Sign & Digital 2011

ad:Layout 1 25/2/11 17:47 Page 1

15

Spec

trum

Sign

sillu

min

ates

new

lase

rclin

icin

Cork

Spectrum Signs, Westmeath, has completed a high profile outdoor signagejob on behalf of All Shopfitting Solutions for Optilase and Therapies laserclinic’s new three storey flagship store in Cork. Production director PaulKing (who runs the company with his wife Rosie Greene), said: “The jobentailed covering a significant amount of the outside glass frontage in fullcolour vinyl graphics. These were printed on Metamark MD5 highperformance grade polymeric calendared self-adhesive vinyl and everyprint was fully laminated with the images backlit using a special LEDsystem. An interesting challenge on this project was that everything had tobe applied from the outside due to limited access from inside the building.”

Spectrum Signs also produced all the internal signage work whichincluded display cases and raised letters.www.spectrumsigns.ie

Irela

nd

Hello there


FOR IRISH NEWS VISIT WWW.IMAGEREPORTSMAG.CO.UK

As usual you can

contact me on

00353 (0) 18215189

or thepaperdepot@

eircom.net

So March 2011 will herald in a

new government for Ireland and

it certainly looks like the result

will be “out with the old and in

with the new!” As for the

fortunes of the sign and display

market most commentators

agree that the prognosis for the

coming year is so tied to the

economy that “batten down the

hatches” is probably all that can

be said at this stage.

� The return of Tara Wilson-Black to thehelm of Select Digital Print Group afternearly a year’s maternity leave has fasttracked her decision to bring the company“back to basics”.

� Xtreme Signs has bought a Grapo MantaKM8/720 UV flatbed printer from newlyappointed Grapo reseller, Geometrics.

� Trimwel has added 3M Scotchcal Clear

View Graphic Film 8150 to its stable ofsign vinyl products

� Complete Digital has taken delivery of aMimaki CJV30 at its showroom .

Go to www.imagereportsmag.co.uk for the full story…

When archaeologist Howard Carter first entered the burial

chambers of Egypt’s most famous Pharaoh, Tutankhamun, a

legend was born. In February an exhibition entitled

‘Tutankhamun – His Tomb and His Treasures’ opened at the

RDS in Dublin with the help of Dublin sign company

Screenlink Printers on behalf of MCD Promotions.

The exhibition contains three burial chambers and an

extensive collection of the most important treasures of

Tutankhamun painstakingly reproduced to scale by expert

Egyptian craftsmen. Screenlink Printers, a supplier of digital,

screen and litho outdoor posters was contracted to produce

the main promotional signage advertising the event.

Manager Fergus O’Donoghue explained: “There were three

main signs involved, a 16ft x 8ft and two 8ft x 8ft. Each was

printed on a Roland Soljet Pro 111 XJ-640 because the

exhibition is so high profile the graphics had to be of the

highest quality. The image is of the boy king Tutankhamun

with other details included such as the exhibition dates.

Both the two smaller signs were mounted onto 6mm

Corriboard while the larger piece went on to

Dibond, all of which were then laminated.”

www.screenlinkprinters.com

SSCCRREEEENNLLIINNKK PPRRIINNTTEERRSS HHEELLPPSSBBRRIINNGG TTUUTTAANNKKHHAAMMUUNN TTOO DDUUBBLLIINN

Tucked around a corner off Camden Street in Dublin8 sits GP Digital, a small-and large-format printerwhich has installed a HP Designjet Z6200 photoprinter (from Diatec) to offer an enhancedproduction quality, improve turnaround speeds anddevelop new business solutions.

In existence since 2004, the company hasconsistently built up a reputation for high qualitylarge-format indoor and outdoor display graphics asNyssan Deeb co-founder of the company explained:“GP Digital invested in the new printer because mostof the company’s indoor work is high qualityphotographic posters,” she said. “Designers make upa major part of the companies client base and theywere looking for higher resolution prints andadditional applications which was one of the reasonsfor making this investment. It allows GP Digital totake on very demanding photo printing jobs with thecolour gamut enabled by chromatic red ink anduniform gloss.”

Deeb added: “I know customers will be blownaway with the new graphics which GP Digital canproduce now and I hope ad. agencies will also seethe benefits of what this printer can offer them byusing new technology to create stunning printsolutions.” www.gpdigital.ie

GP Digital installs HPDesignjet Z6200

IrelandLS1.qxp:Layout 1 16/2/11 14:42 Page 13

BUILDING UPON 29 years’ experience of designingand developing Management Information Systems, Optimusdash incorporates the fundamental principles of an MIS whilstmeeting the demands of a changing Industry. Printers’Customers are demanding products that are produced in afaster time frame, in shorter quantities, with personalisedcontent and at a lower cost.

Optimus, with its renowned Lean Manufacturing emphasis

has ensured that at the heart of Optimus dash the focus

remains on eliminating waste, whether as a key stroke or an

unnecessary processes which print buyers will not pay for.

Optimus dash maximises the profitability in each transaction

by taking out unnecessary steps.

Optimus dash incorporates the unique ‘Optimus Calc’

which drives the Optimus Sales Enquiry & Quotation Manager.

This ensures that dash can produce fast, accurate, consistent

quotations and manage the job through the complete

process regardless of the product size, making it THE MIS for:

Digital Wide Format, Flatbed, Sheetfed, Web, Screen and

traditional Litho, plus Non print processes and more...

Any Substrate, Any Process and Any Material – if you can

produce it, Optimus dash can manage it!

In addition, the innovative Outwork Manager within

Optimus dash enables fast and easy communication with

outwork suppliers and full tracking of responses within the

dash system.

Since its launch last year Optimus is already seeing many

customers reaping the benefits of using Optimus dash! This

includes imageData Group who have embraced Optimus

dash throughout their Group.

One of the most important reasons for imageData group

selecting Optimus as its new MIS partner is its consultative

business approach.

David Danforth, CEO of Image Data Group, explains:“We are a full service provider but many MIS companies

concentrate on traditional litho processes. We do print litho

but we also have large and small format digital, screen-print,

variable data solutions, online ordering, design services and

outsourcing of non-printed items. We need a robust system

that copes with all that we are today and all that we want to

be in the future. Optimus simply understood our objectives!”

David Danforth has been amazed by the software’s

capability: “It offers pretty much all the basic reporting and

functionality you would expect from a good MIS but we really

love the fact that it fully integrates with our existing online

ordering systems through its E-Commerce module. It also

gives the Group high levels of automation in managing the

print management process with outsourced suppliers through

its Outwork Manager function. Reporting will be much easier

too with extensive use of Excel as a data driver as well as the

software’s very graphical displays of Key Performance

Indicators. In particular the Optimus Calc engine seems to

be so flexible it will be able to cater for processes which we

had previously been unable to automate”.

OPTIMUS ATSIGN & DIGITAL

12-14 APRIL 2011 AT NEC, BIRMINGHAM

OPTIMUS IS LOOKING FORWARD TO ITS FIRST TIME AS AN EXHIBITOR AT SIGNAND DIGITAL THIS YEAR AND WILL BE SHOWING OPTIMUS DASH, THE NEWMANAGEMENT INFORMATION SYSTEM DESIGNED SPECIFICALLY TO CATERFOR ALL METHODS OF DIGITAL OR SCREEN PRINT PRODUCTION, WHATEVERTHE SUBSTRATE!

16

Ad

vert

ori

al

march.2011

advertorial.qxp:Layout 1 25/2/11 18:26 Page 18

18 march.2011

In-s

itu

Banner welcomesHMS Ark Royal home

As HMS Ark Royal sailed into Portsmouth harbour for the

last time, her crew was greeted by a huge banner hung

on the sea walls welcoming them home. Hampshire Flag

Company produced the 22m x 1m banner, in partnership

with The Portsmouth News. The PVC banner, which was

produced on a Dupont Cromaprint printer, was turned

around in just three days.

Graphic Alliancedelivers inspirationalgraphics to Q3AcademyGraphic Alliance delivered a series of very large and challenging

graphics for the new Q3 Academy in Great Barr, Birmingham. The job

included an 8m x 2.8m print overlooking a large dining area while the

conference room required a stretched synthetic canvas print for the

wall. But the real challenge was the graphic for the students’ reflection

room - a circular space that required an image to be stretched around

two-thirds of the wall and cover from the ceiling down to a fixed

bench seat. Graphic Alliance chose to supply the graphic as a one-piece

polycanvas with an anti-graffiti lacquer. This 11.5 x 2m panel was fixed

using a special adhesive onto a pre-primed wall. Other graphics

covered the areas around the restaurant, meetings rooms and

walkways, culminating in an impressive 5m x 5m montage of all

students printed onto PVC along with a printed Dibond board bearing

the Q3 Academy Mission Statement positioned below it. The final series

of three hanging graphics covered an atrium area, spanning roof to

ground level visible from all three floors comprised portrait images

each measuring 7m x 3m.

In_situLS1.qxp:Layout 1 16/2/11 14:35 Page 2

19

In-situ


French large-format print specialist Light Air recently undertook a massive print

job for mountain-sports equipment manufacturer Rossignol. The Lyon-based

company produced wide-format graphics for the high-focus Rossignol Demo

Tour, a multi-country roadshow to allow skiers/snowboarders to test equipment.

The focal point was a purpose-built ‘demo village’ comprising a series of

inflatables, including two 36m2 and 20m2 tents, 3m-high totems and several

huge arches marking the foot of ski runs - all adorned with event logos

featuring in-built durability to withstand the outdoor weather conditions

demanded of the six-month ski season. Additional promotional branding

included a series of 6m-tall vertical flags and more than 30 support vehicles

covered with self-adhesive vinyl graphics. A trio of HP large-format printers,

including a HP Scitex LX600 running latex inks, was used to fulfill the order.

Icon makes a splash in DubaiIcon’s joint venture operation in the UAE,

Icon-Prolab, has won accolades from

swimming organisation Fina, for its

outstanding branding, signage and way-

finding at the recent tenth Fina World

Swimming Championship in Dubai. With

very limited time available to complete the

project, the Icon-Prolab team worked closely

with the local organising committee to

fast-track the process and meet the

tight deadlines.

Rocking withReggie

Designer Shell Thomas is using

Dufaylite Ultra Board for a new toy –

Reggie the Eco Rocker, a modern

and sustainable alternative to

traditional rocking horse which is

already proving a hit. Reggie arrives

flat-packed, blank and ready to be

brought to life at home using pencils,

crayons, glitter, glue and a little

imagination for budding young

designers.

A breath of freshair from Light Air

In_situLS1.qxp:Layout 1 16/2/11 14:35 Page 3

march.2011

WELL folks, it’s that time again when we start to

wonder what’s going to happen this year to change my

business? Will it be a new innovation or product, a change of

service company or perhaps gain a new and prestigious

client. It can all happen – with a bit of luck! But the one thing

you shouldn’t leave to chance this year is booking your trip

to Sign and Digital UK. This year’s show is set to be bigger

and better than ever before – and here are some of the

reasons why.

“Sign and Digital UK is the only place in the UK in 2011 where

you will see a broad range of wide-format printers, applications

and solutions. As well as many launch products at the show

there will be more demos and opportunities for advice than

ever before, to help you keep your business ahead. It really is a

must attend event for all those in wide-format and those that

are looking to enter this all important growth market,‘’

comments Rudi Blackett, the show’s event director.

Derek Joys, display graphics systems programme manager at

Océ UK, says: “Once again our stand will be a must-see part of

the show experience for all our customers and prospects, as

well as other visitors. Sign and Digital UK is an important platform

for us to demonstrate with world-leading technologies our

commitment to this all-important market sector.”

BOOKED EXHIBITORSBooked exhibitors include an impressive list of names from the

industry: Agfa Graphics, Hewlett-Packard, Roland DG, Hybrid

Services/Mimaki, Screen UK, EFI, Mutoh, Spandex, Durst, Oce,

Fujifilm, Hexis, Grafityp, William Smith, Signwaves, Ultima Displays,

Xpres, Graphic Printing Technologies, Antalis McNaughton,

Elements Print Science, Tekcel, Applelec Sign Components,

Atech, Granthams, Multipanel UK, Keencut and many, many

more – in fact this year the show is set to have over 170

exhibitors on opening day! With exhibitors like these, there’s no

wonder that the likes of Boots, Adidas Group, IKEA, Jaguar, JC

Decaux, Signs Express, St Ives and Bezier and thousands of

others return to the show year after year.

PRODUCT LAUNCHES AND DEMOSAs they are the mainstay of the show, hands on demonstrations

will be available on most stands. Here are just a few of the many

product launches and demos confirmed so far.

Hybrid Services will be showing a broad range of Mimaki

products on the stand including the brand new Mimaki JFX-

1615plus flatbed solution for companies that need the

functionality of a flatbed UV curable machine but with a small

footprint.

Océ will give the Arizona 550XT and Océ 350 GT flatbed

machines centre stage when it showcases its suite of digital

printers at Sign and Digital UK and will also partner with Zünd to

exhibit the company’s range of G3 L2500 digital cutting systems.

Atech will host a ‘Signmakers Corner’ which will have a variety

of new finishing tools to help you bring this feature in-house,

including banner welders, sewing machines and a

comprehensive range of eyelet machines. It will also have a

digital textiles workflow demonstration every hour.

Hewlett-Packard will have a line up of innovative products on

display that will include its latex printing technologies,

spearheaded by the proven and successful HP Designjet L25500

and HP Scitex LX800 printers. Both run water-based HP latex inks,

whose ability to produce prints for indoor applications where

odour is a concern, continues to attract environmentally-

conscious customers. In addition there will be the robust UV

flatbed, HP Scitex FB500 printer and the HP Designjet Z6200

photo printer.

Multipanel UK manufactures and supplies a large range of

aluminium composite panels and will be launching three new

products at the show this year - Aluflute, Aluwall and Aluply.

These will be joining the company’s regular and most popular

brands including Alupanel, Alupanel Lite, Eco Panel, Alupanel

Digital, Alupanel XT, Hoolow Core, Honeycomb, Foam PVC,

MDF/plywood Core, Aluminium Coil and Sheet, Aluply Hoarding,

Whitewall, Cladding Profiles.

Visitors to the Roland stand will see the award-winning line up

of the industry’s favourites including the entire family of

SIGN ANDDIGITAL UK2011: WHERETHE UK WIDE-FORMAT INDUSTRYDOES BUSINESS.TAKES PLACE 12-14APRIL IN HALLS 17AND 18 AT THE NEC.

Cove

rSt

ory

Ad

vert

ori

al

Show

Vehicle wrapping demos always draw a crowd

20

what a

cover story_March11LS2.qxp:Layout 1 16/2/11 14:15 Page 14

VersaCamm VS print-and-cut solutions, demonstrating metallic

and white inks, plus its highly productive dual CMYK option.

Ink manufacturer InkTec will officially launch its state-of-the-art

range of Jetrix UV curable flatbed printers in the UK at Sign and

Digital 2011..

FREE WORKSHOPS AND SEMINARSHewlett-Packard will be running an informative and educational

on-stand seminar programme during the show. This will include a

Vespa-wrapping workshop from vinyl-wrapping expert, James

Deacon, demonstrating the high-impact and creative results

achievable from this low-cost-per-impression marketing tool.

Adobe is returning for a ninth successive year. Always popular

with digital printers and signmakers, at this year’s Adobe

workshops Terry Steeley will showcase the latest Adobe Creative

Suite CS5 software through his ‘Creative Suite Essentials’ seminar.

Designed to simplify tired workflows, help you deliver high-end

results and save money, this interactive event is essential for

designers and production professionals who want to understand

the benefits of the most significant features of CS5, including

many that remain undocumented.

“Whether you’re a beginner or a seasoned professional, CS5

offers tools and functionality that will transform your world. I look

forward to helping you get to grips with what could become a

key element of your work,” comments Terry.

The Signmakers Workshop is also back. Held for the first time in

2010, the Signmakers Workshop was packed out and so it simply

had to be kept in the formula for 2011. Paul Hughes of Western

Signs and Printing and the popular ‘Price It Guide’, returns as

host to give some of his experience and advice that he has

gained from running a successful sign making business for 13

years. There will be demos throughout the three days on the

basics of sign making. Hughes says: “Last year was the first

showing of this feature at Sign and Digital UK . This year it is set to

be bigger and better. Lots of people last year wanted tips and

advice on fitting vinyl to glass, so I will be doing a demo on how

to do that. In addition, last year’s favourites will return including

more tips and tricks to help your business grow.”

COMPETITIONSThis year, we’ve had insider information that a few of the big

names in the industry will be running some exciting competitions

from their stands. Due to the success of its competition last year,

Hybrid Services will be announcing details of its competition this

year, which will include a VIP trip to Old Trafford.

Brett Newman of Roland DG says: “Sign and Digital UK is

always a special event for Roland and the company never fails

to attract the crowds to its stand each year. 2011 will be no

exception, and since Roland is celebrating its 30th Anniversary it

will certainly be an experience not to be missed.” To celebrate,

Roland is running a competition for a chance to win a trip to

Japan to attend the anniversary celebrations. Plus, a grand

prize of a new Roland machine is also up for grabs for the overall

worldwide winner, chosen from all Roland regional winners

worldwide. And if you’re a Roland customer, visit the stand and

ask about the ‘Roland Creative Awards’.

In addition there are special show offers and discounts

guaranteed from the majority of exhibitors, so don’t miss this

opportunity to save some money on your next purchase.

NEW TO THE SHOWAs well as the familiar faces with new products to show, this year

we’ve attracted a large number of new exhibitors that are

offering a host of products and services that may help you

extend your own business offerings. Here are just a few.

Canvas and Stretcher Bars (Stand F54) will be demonstrating

how to use its Gallery Stretcher Bars with digitally printed inkjet

canvas to create beautiful canvases for resale. System-Standex

(Stand B40) will be launching a new range of tensioned frames

for fabric graphics and an extended range of folding counters.

PackPro Displays (Stand C56) is also new to the show and will

be displaying a whole range of poster holders, freestanding,

tabletop and wall mounted which are aimed at schools,

hospitals and retail outlets. AVP will be showcasing its range of

Sinclair hot wedge welders, for the finishing of banners. This is the

first time it will be exhibiting its products at Sign and Digital UK

and as a show special will be offering an additional 12 month

return-to-base manufacturers warranty on all welders ordered at

the show.

Entry to Sign and Digital UK is free through pre-registration so

don’t leave it to the last minute - register now at

www.signanddigitaluk.com. By pre-registering, we can tell you

more about who to visit, competitions, workshop and seminar

times and much more nearer the showtime. Interested in

exhibiting? Stands are almost sold out so if you are interested in

taking space at the show, call the team now on 0208 651 7100.

For more information visit www.signanddigitaluk.com or follow uson twitter @signanddigital

21www.imagereportsmag.co.uk

Make the most of networking opportunities at this year’s event

Cove

rSto

ryA

dve

rtoria

l

cover story_March11LS2.qxp:Layout 1 16/2/11 14:15 Page 15

26

Top

Tip

s

BEING BROUGHT TO ACCOUNTThe VAT change means that one fifth of turnover is potentially now at risk if VAT accounting is not correct. You will have tobe aware of the VAT accounting rules in light of this increased risk. VAT registered businesses must pay attention to basicVAT planning in order to stay VAT neutral e.g. by issuing invoices on the first day of the VAT quarter rather than the last andclaiming VAT back on business purchases at the earliest opportunity.

You should also maintain your focus on the accuracy of your VAT returns since, as it currently stands, HMRC doesn’t takeinto account any innocent mistakes made when it determines whether a penalty is to be applied to an error on a VAT return.The higher rate of VAT could consequently mean higher penalties so you will need to ensure your VAT returns are spot onfirst time around to avoid being fined.

Those of you with a business approaching the VAT registration threshold (currently £70,000) should consider applying forregistration at the earliest possible opportunity since there is a current delay in processing these applications.

The higher VAT rate gives a further incentive to take advantage of various HMRC schemes that simplify VAT accountingand help improve cashflow, such as the Flat Rate Scheme and Cash Accounting.

1

2

Tax and

Would you pay more for a simpler tax system? According to a recent poll of smallbusinesses, over half would. But, given that’s not going to happen anytime soon, RayAbercromby, partner at BTG Tax, helps cut through some of the red tape.

DON’T BE NAMED AND SHAMEDIf you are a business owner or director you will benefit from considering your own personal accounts and tax efficiencydrives as well as that of your businesses; if these measures are found to constitute tax avoidance by HMRC then it couldaffect the business itself.

HMRC has been cracking down on individuals who keep offshore bank accounts for tax purposes and the increase in thenumber of criminal tax investigations being opened means those with offshore bank accounts that generate income whichhas not been declared for tax purposes are at risk. The implications of a prosecution include HMRC securing its share ofyour offshore funds and a potential prison sentence of 18 months to two years. A prosecution could likewise lead to youbeing publicly named and shamed on the HMRC website for a year – with details of your tax failings made accessible toall of your personal and business contacts.

However, the Liechtenstein Disclosure Facility (LDF) offers a reprieve for directors or business owners who have offshorefunds. It is open to all with an offshore asset (i.e. not opened through a UK branch or agency), as long as a Liechtensteinasset is acquired immediately and LDF registration follows suit. That asset can either be a bank account or a basicfoundation with a minimum £10,000-20,000 investment. All undeclared tax issues overseas and onshore can be swept upin the facility, penalties are restricted to 10% of the tax and both prosecution and naming and shaming can be avoided solong as a full disclosure is made.

THE ‘BUSINESS FIRST, TAX SAVING SECOND’

APPROACH IS PROVING THE CLEVER WAY TO GO

ABOUT TAX PLANNING IN TODAY’S CLIMATE“ ”

all vat

THE CHEERFUL reassurance that ‘tax doesn’t have to

be taxing’ couldn’t be further from the truth for some business

owners. With the VAT change to 20% putting one fifth of turnover at

risk if VAT accounting is not correct, business owners in the printing

sector face significant losses if they fail to get their heads around tax

regulation.

A recent survey conducted by the Forum of Private Businesses

suggested that some small business owners are so frustrated with the

complexity of the UK tax system that they would rather pay more

just to see it simplified. Of the business owners surveyed, 57% said

they would be willing to pay more tax in exchange for a simplified

system – providing that it led to greater rewards. Meanwhile, 45% of

business owners on the Forum’s Tax and Budget member panel said

they would tolerate a higher tax bill under a simplified system if it

were accompanied by a general reduction in legislative red tape.

This may be more than a simple pipe dream if we believe the

Government’s rhetoric about streamlining administration and red

tape for small businesses but in the absence of specific proposals to

change the system, you can follow the steps below to guide you

through the tax maze.

march.2011

TopTipsLS1.qxp:Layout 1 24/2/11 16:00 Page 38

27

Bu

sine

ss


TAX SHELTERING?Whilst at one time, companies and individuals alike dedicated energy to tax saving measures, the Disclosure of AntiAvoidance Regulations means that HMRC could be cracking down on those sheltering their businesses from paying tax ina legitimate manner. HMRC is moving towards a purposive approach to tax avoidance; if the sole or main benefit of astrategy is to avoid or substantially reduce the amount of tax due then HMRC may ignore the statutory outcome and denyany tax saving that may be generated.

You need to be wary of this attitude and ensure that your own strategies – or those of your tax planners – will have acommercial purpose and that any tax saving can only be viewed as an incidental to the main aim that should be to make aprofit. This ‘business first, tax saving second’ approach is proving the clever way to go about tax planning in today’s climate.

CORPORATION TAXWhen you are running a business and juggling various elements such as employees, expenses and equipment, HMRC willbe looking to secure its share of the spoils every month and quarter in the form of VAT, PAYE and NIC. At the end of eachyear, payment of Corporation or Income Tax will also be required. This can put a burden on cashflow and if the businessgets it wrong then it could face getting dragged into a vicious spiral that leads towards insolvency.

In order to get it right, you need to review and manage your tax payments regularly to ensure the business is being runin its most tax effective form. Both personal and business tax positions should be reviewed on an annual basis – andimportantly, provisions should be made off the back of these reviews to stand the business in good stead for the yearahead. Turning a blind eye to the taxman could lead to unwanted attention from HMRC, which may take both time andmoney to remedy. These are resources you want to plough into the business itself so swift action is likely to serve youbetter in the long run.

3

4

5INCOME TAXIf you have a sole trade or unincorporated partnership, you could be facing a 50% income tax charge on your profits. Thiscan be galling, especially if an element of these profits are reinvested or are not required to meet the costs of living. Formany printing businesses, it is possible to incorporate the sole trade or partnership in a manner which can result in beingable to pay the lower capital gains tax (CGT) rates on the disposal value of the business, then having the company pay forthe trade over a number of years - in effect, replicating the income that would otherwise be required.

In this manner, the advance payment of CGT on the business transfer allows the owner to receive cash by way of loanrepayment from the company instead of taking a dividend. The tax rate is reduced significantly as a result, and ongoingretained profits are taxed at 28% (reducing to 24%) at most - a healthy improvement on the 50% tax rate.

THE LIECHTENSTEIN DISCLOSURE FACILITY (LDF)

OFFERS A REPRIEVE FOR DIRECTORS OR BUSINESS

OWNERS WHO HAVE OFFSHORE FUNDS“ ”

TopTipsLS1.qxp:Layout 1 24/2/11 16:00 Page 39

IF YOU WERE managing to maintain margins of15%+ on your mainstream print would you set resource asideto investigate new markets that may, initially at least, be avery small proportion of your turnover? That’s exactly whatManchester-based Contact Photographic Services (CPS) isdoing as it continues its evolution from photo lab to highlyspecialised large-format print provider. A clever mix of kitand strategic planning means “business has been steadilyincreasing and things are looking extremely positive for2011,” according to switched-on founder and managingdirector Stephen Phythian.

Having been involved in large-format print since itsinception in 1985 when CPS had just four staff servicing theexhibition and television graphics market using traditionalphoto processing methods, the company ‘s first foray intoinkjet printing came in the late 1990’s with HP printers. Sincethen continual investment has gone into ensuring CPS is atthe forefront of graphic production for the exhibitionindustry, with over £1.3m spent in the last ten years, asignificant proportion going on developing its flatbedcapability which kicked-off with a Zund machine.Subsequent purchases have included a 3m-wide Vutekprinter (bought two years ago) and a sequence of threeOcé machines: an Arizona 250 GT in 2007, an Arizona 350GT two years later and, in November 2010, the super-fastOcé Arizona 550GT.

It is by utilising the capability of its three current flatbedmachines, and in particular the new Océ Arizona 550GT,that CPS is diversifying into more niche markets as well asexpanding its offering to the existing client base. “Theflatbeds are allowing us to expand our business into areaswhere we can get a much higher rate of return,” saysPhythian. “Producing big display panels is still our bread andbutter work and without it we wouldn’t survive, but morespecialist work, while still a small percentage of our turnover,is bringing higher margin so we are seeking out that type ofnew business.

“White ink has brought with it a new set of possibilities forinstance, and we actively market that. It was not availableon the first Océ Arizona machine we bought and when webought the second we made the mistake of not opting for

it. We’ve rectified that with our new Arizona 550GT. We’refinding it can print white ink onto film very well so there’s agreat deal of interest from the POS market. And we canprint white onto coloured foamex, so it’s been a boonthere too.

“What you have to remember is that white ink is a lotmore expensive than normal inks, so it’s imperative that youcharge the client for it, but when they see the result that isnot a problem.”

Phythian goes on: “The flatbeds are no doubt expandingour business by allowing us to go into different markets -printing diagrams and logo’s onto carpets for example,printing floor graphics onto tiles. And the Océ Arizona 550GTis brilliant at printing onto glass and acrylics, providing abeautiful quality that really gets people’s attention. Andthat’s what you need. It’s got a lot tougher to open doors innew markets – you have to have something new.”

But just having something new isn’t in itself enough. “I’vealways prided myself on client liaison – we’re not cheap atCPS and service has always been key. But it’s becomingmore difficult to educate people about what you can dobecause increasingly clients just want an email, not a face-to-face meeting, so getting across your message can bequite difficult.

“We now have superb examples of unusual printapplications and we make sure we put resource aside tolook for clients that we think might want to see what we candeliver – for instance we’re actively targeting architects withthe acrylics for interiors. It’s a combination of burrowingaround and using specialist information to dig out thecompanies you think you need to get to and then we putout specialist emails and follow that through. We’re findingthat is a good route to new business.”


Bu

sine

ss

ONE TIME PHOTO LAB TURNED LARGE-FORMAT PRINT PRINTER,CONTACT PHOTOGRAPHIC SERVICES CONTINUES TO PUSH THEENVELOPE AS THE 2000TH COMPANY TO BUY INTO OCÉ’S ARIZONAPRINT TECHNOLOGY USES IT TO FIND NEW MARKETS.

An

taleevolutionary

CPS MD Stephen Phythian: pushing business forward

business cpsLS1.qxp:Layout 1 16/2/11 14:05 Page 1

YOU DON’T have to be friends to be businesspartners but it helps. Indeed, the year-old partnershipbetween well-established Borney UK and new start-upYour Sign only came into being because the directorsknew each other well and realised that they couldform a symbiotic relationship – a move that bothparties now view as key to accelerated growth at atime when just standing still can be viewed as anachievement.

“Borney has always been a textile-based printcompany but was looking to diversify and expandhaving bought a Gerber Solara flatbed printer androuter in the spring of 2009. I had worked at Borney asan account manager back in 2006/7 before setting upmy own company, Your Sign, early in 2010,” says NickDowell. “Knowing that I was working in signage, anarea Borney wanted to get more involved in, itsdirectors Richard Beary and Andre Severs rang me todiscuss what we could do to benefit each other’sbusiness. The result was the formation of a partnership thatsaw Your Sign move into the same premises as Borney ayear ago. Though we operate as two separate businesses -each with our own staff, accounts, websites etc.- we workvery closely together to offer services that neither of uscould have delivered before.”

For Dowell, who was running Your Sign from his home inCambridgeshire with just one plotter and outsourcing themajority of production to various local printers whilelooking for a unit into which to expand, the benefits ofpartnership became apparent immediately. For a start,the move into Borney’s Huntingdon site meant Your Signhad proper business premises, which Dowell says “had amassive impact on customers’ perception of thecompany”. What’s more, as directors of a £1.2m turnovercompany, Beary and Severs (who also became co-director of You Sign alongside Dowell) could provide theworking capital for the newcomer to form its own newwebsite – something that Dowell admits he could not havedone on his own in the same sort of timeframe. In its firstyear of business Your Signs turned over around £130,000,which in Dowell’s eyes is largely down to the partnershipwith Borney.

“We’ve tried to keep things as simple as possible,” hestresses. “Borney has the kit and I have the expertise and

we leverage that. As a predominantly textile-printcompany Borney wanted someone to help them fill thecapacity of their new flatbed by expanding the range ofsignage services they could offer, particularly in theautomotive trade where they are very strong and well-known. They could see that there were flatbed productsthat they could be selling at a higher margin than the theirmainstream work, flags, where the print had becomecommoditised. They had the kit but not the know-how onhow to go about delivering those extra signage productsbut they knew I did.


Bu

sine

ssDriving forward

THE RELATIONSHIP

IS TRANSPARENT TO

CUSTOMERS AND THEY

DON’T SEEM TO HAVE A

PROBLEM WITH WHO

DELIVERS WHAT PART

OF A JOB

“”

Partners (l-r) Richard Beary,Andre Severs and Nick Dowell.

AFTER A YEAR IN PARTNERSHIP, BORNEY UK AND YOUR SIGN ARE SEEING THESTRATEGY PAY OFF. COULD A SIMILAR MOVE BE YOUR BEST ROUTE TO GROWTH?

together

Business your signsLS1.qxp:Layout 1 16/2/11 14:08 Page 1

“I had worked at Signs Express and at one time hadthought about taking on a franchise there, but haddecided to build my own business instead. When Beary toldme Borney wanted to get into internal and externalgraphics for car showrooms etc. and asked if I would like topartner with them on providing the know-how on generalsignage and vehicle graphics it seemed an obvious routeto growth and that has proved to be the case.”

Both parties cross-sell each other’s services wherepossible, which Dowell acknowledges has been a majorplus-point in the growth of Your Sign. “Borney accountmanagers may recommend to a client that Your Sign coulddo a job and vice-versa,” says Dowell. “The relationshipbetween the two companies is transparent to customersand they don’t seem to have a problem with who deliverswhat part of a job. We’re proud of what we do and thebacking of Borney has certainly given Your Sign gravitas.”

Apart from the small amount of work handled by YourSign’s plotter, the majority of print taken on by thecompany is produced on Borney’s kit – though the time iscoming when Dowell believes he will need to startinvesting in print technology too. “Currently, around 80% ofour work at Your Sign (largely vehicle signage) is actuallygoing through Borney’s Roland Versacamm now andwe’re finding we’re needing more capacity on that frontso in the next six months we expect to have bought asimilar machine,” says Dowell.

So, why not stick with the current type of set-up and letBorney have all the hassle of kit investment? Dowell laughsat this, admitting that the time has perhaps come when

Borney’s directors expect Your Sign to share some of thatcapital outlay and risk. “I also want to start productionmyself,” he adds. “We currently have just one productionperson (who handles the plotter work and applies vehiclewraps etc.) but we’re looking for another. Having the rightpeople trained to the right level is part of what we bring tothe partnership party.”

For Borney, its not just on the skills-set that Your Signdelivers, but on price. “We’ll do a job for Borney at a flatbread and butter cost so that they can add margin,” saysDowell, who points out that by the end of 2010 around aquarter of Your Sign turnover was coming via this route.“That means they can make money while it helps us coverwages etc. in a period that might have been flat.”

So once Borney has learned Your Sign’s know how won’tit just start cutting out the latter and handle all the workdirect? “They might,” admits Dowell, “but that’s OK. Overtime they will learn the complexities of what is still a fairlynew print sector for them and start do it themselves andthen we’ll review the partnership – maybe two or threeyears down the line – by which time we’ll both have grown.At the moment we have a two-year partnership plan andin that time both Your Signs and Borney expects to havegrown turnover, customer base, profile etc.

“The thing to remember is that partnership can benefitboth parties, but maybe only for a certain time. Then itmight be time to dissolve it and take another look at whereyou are and what you want. It doesn’t have to be acommitment forever, but for a period that suits both party’sneeds. In difficult times it’s really helped Your Signs establishitself and Borney to diversify. It has definitely acceleratedour growth paths, definitely!”.

Bu

sin

ess

34 march.2011

PARTNERSHIP DOESN’T HAVE TO BE A

COMMITMENT FOR EVER, BUT FOR A PERIOD

THAT SUITS BOTH PARTY’S NEEDS“ ”A year after partnering with Borney UK, Your Sign founderNick Dowell gives his take on the do’s and don’ts offollowing a similar strategy:

� Look close to home, by which I mean people you knowand trust as much as geographical location. Trust isparamount to success.

� If you are a smaller company looking to partner with alarger one, the opportunities can appear very enticing,but it can end up by being more of a takeover thanpartnership if you’re not careful.

� Despite how friendly you are with the directors of the otherbusiness, make sure you include a get-out clause in thelegal paperwork.

� Partnership might only be right for a certain amount oftime. Go into it with an exit strategy in mind.

DOWELL’S DO’S AND DON’TS

Partnership advocate Nick Dowell,founder of Your Sign

Business your signsLS1.qxp:Layout 1 16/2/11 14:08 Page 2

Essential information fortoday’s wide-format

digital printer

ImageREPORTS

HOW INKTEC PROVIDEMORE SOLUTIONS WITHTHEIR INK TECHNOLOGY

WIDENINGTHESPECTRUMPAGE 38-39

WHAT’SBOTHERING YOU?Printers voice theirconcerns over ink andmedia issues.

INK: ARE YOUGETTING WHATYOU PAY FOR?Looking at the essentialvalue of today’sformulations

THE TOTAL COSTOF GREENIs substrates pricing theonly issue preventing themass take-up of moreenvironmentally friendlylarge-format print?

ONE-WAYGRAPHICSHow substratedevelopments shouldget you to revisitsee-through graphics

P36-3

7P

40

-41

P4

2-4

3P

44

-45

spec cover.qxp:Layout 1 25/2/11 18:40 Page 1

36 march.2011

CONSUMABLES CONCERNS

In relation to wide-formatinkjet substrates/inks, what

do you see as the majorissues affecting your own

business and the sectorin general?

Price is incredibly important as we areincreasingly finding our print prices being drivendown by loss leader pricing strategies and printmanagement companies ensuring they canshow their clients savings whilst making goodmargin themselves

I find the analogy with home desktop printersuseful. More often than not you will buy a cheapprinter only to find that the inks are incrediblyexpensive. A balance between kit investmentand ink per litre price is very important,especially in comparison to litho and screen inks.We have seen a reduction in digital ink pricesover the last two years as end users and volumesales increase. We hope this continues.

On occasion we have clients who wish toexplore recyclables and water-based inks. FSCaccreditation is becoming increasingly importantbut, though clients prefer greener materials, theyrarely want to pay the associated increased costs.

I also find that as manufacturers introducegreener print solutions, the green argument ismoved over to areas like power consumption.

We are always discussing and checking out newmaterial opportunities either via our presentsuppliers or new suppliers that bring innovativenew brands for us to try. We always set asidetime at trade shows to explore the materialsofferings on display there.

Consolidation of consumables suppliers willhinder us as in all business models - lesscompetition produces higher prices and cansometimes result in a monopoly on somespecialist products allowing the supplier toalmost charge what they want.

Tim BooreHead of digital technologies,Imagefactory

The most topical issue influencing thelarge-format digital print industry in the lastfew years is the requirement for eco-friendly applications. Blue chip companies,which we mainly work with, areincreasingly asking for graphic solutionsthat are compliant with strict environmentalpolicies. In addition, eco-awareness isgradually spreading through companies ofdifferent sizes operating in a wide range ofsegments.

Having an eco-friendly attitude is a moralresponsibility that can turn into a marketingopportunity. We have been pursuing anenvironmental approach for a few yearsbut it can be difficult to find satisfactorygreen alternatives. It would be great ifmanufacturers/suppliers could work moreactively with printers to develop ‘green’products and ensure competitive prices.

We deal with blue chip companies/brandowners committed to green as part of theircorporate vision and cost might be less ofan issue. But, there are many companiesthat feel they should be ‘greener’ but wanteco-friendly products at the same price asconventional ones. In this case its difficultto maintain profitability.

It a priorities and we would appreciate astronger relationship between supplier,manufacturers and printers. Printcompanies should be seen as a valuableavenue to assessing new products. We aresolution oriented and we like trying newsubstrates with the view to ultimately beingable to offer them on a daily basis.

Consolidation is a benefit, provided that itdoesn’t become a market monopoly basedon few manufacturers featuring a restrictedoffering. We would clearly be unwilling toexperience a reduction in the variety ofmedia available on the market.

Antony BaglioniBusiness development manager,BAF Graphics

How do you think thisneeds to be addressed?

Do you have customersdemanding ‘green’ substrates

and/or inks and, are they willingto pay the often premium

price for it ?

How important to your business isit that you investigate

new/alternative consumables andsuppliers, and how do you viewthe suppliers’ efforts in helping

you maximise opportunities?

In your view, is consolidation ofconsumables suppliers

benefiting or hindering thedigital wide-format sector?

PRICE, PRODUCT CONSISTENCY, STOCKING LEVELS, DELIVERY TIMES; THESE ARE JUSTSOME OF THE ISSUES THAT NEED REVIEWING AND IMPROVING WHEN IT COMES TO INKAND MEDIA ACCORDING TO PRINT PROVIDERS.

spec q&aLS1.qxp:Layout 1 16/2/11 14:57 Page 2


Digital needs to become more mainstream,therefore the requirement is to increasegenerally the market we operate in and tothis end we need standard materials thatcompare directly with those used in screenand offset processes.

We need to drive integrators and mills to offervaried and lower cost materials, rather thanbelieving a digital material means it is alwaysgoing to be more expensive. The expectationis the greater the volume of product beingsold then the lower the cost of manufacture.The digital market is still microscopiccompared to analogue, however, digitaluptake will continue to increase significantly.

We’ve never had a customer willing to spendmore to have a green solution. We try tomove away from PVC's and wet strengthpapers and have found alternatives that havegreen credentials and are recyclable. If we areasked to supply an expensive green material,we offer our best price on that particularmaterial.

One of the key elements of the large-formatdigital process is that it allows for an almostunlimited development of new materials andprocesses. Assuming there is a market forsuch materials then this will help develop theindustry further. Suppliers try very hard tobring materials to market but the best placedto influence development is the printer.

Latest developments regarding consolidationmost certainly haven't had a positive effect onthe supply of materials or expertise into ourindustry. Key suppliers and personnel aredisappearing fast and they will not be easilyreplaced.

Richard GardnerChairman and MD,Gardners

The main issue we have been having is withsuppliers running out of materials and ink!They don’t carry a great deal of stock,probably because in these difficult times thisis just money tied up. On a recent a long runjob using media made abroad, we foundthere just was not enough in the UK.Another problem we encounter is mediaconsistency. With some roll media like PVC, itkeeps getting changed so one roll can printtotally different from another.

Via better product consistency and suppliersholding larger stocks.

We have limited enquires for a totally greenproduct, however, when Pyramid Visuals hasbeen tasked with providing an‘environmental product’ getting the greenmedia has been an issue and taken a fewdays.

It is vital, as sourcing different types ofmaterials gives us new opportunities topresent to clients. Finding cheaper supplierswill naturally give us better margins. I don’tthink suppliers often push their new materialnearly enough.

It is hindering the sector as it gives theprinter less choice and the suppler the abilityto keep pushing price up. They will do lessresearch and development on materials ifthey don’t need to stay ahead of thecompetition.

Justin MurrayDirector,Pyramid Visuals

Frequent price increases across materials are aplague to use all. The ability to pass the costsalong remains difficult. Our current set-uprevolves around an ethical purchasing policywhich restricts access to the lower end of thesubstrate market. Experience has also shownthat the cheaper materials often do not workwell with the high-end printing machinesOctink run.

On the materials front we are ultimately in thehands of global commodity prices so there isnot much to be done other that havingcontracted periods of set pricing.

The sustainability angle is increasingly strongerbut at this point in time it still only serves asadded-value for the customer. The costimplication in the current climate is stronglyresisted by all bar the most ethically mindedcompanies.

This is absolutely critical at Octink. We areconstantly on the look out for new andinnovative products that can further ourcustomer offering and the supplier relationshipwe maintain are crucial to achieving this.

Any move towards a monopoly adverselyaffects the market - ours is no exception.

Will TylerCEO,Octink

INNOVATIVE DEVELOPMENTS in print consumables are helping large-format print businesses forge new paths, open new revenue streamsand build profits. Ink and substrates, having always been core to print production, are increasingly becoming the key to gaining a competitive edge andthus an ever more important focus. But, as these consumables become more vital to a diversified print offering, related issues take on more significance.We asked five print companies for their thoughts.

spec q&aLS1.qxp:Layout 1 16/2/11 14:58 Page 3

38 march.2011

WIDE FORMAT INKS….Today the core business remains with the manufacture and

supply of water-based inks for Desktop and Large Format

Printers. Through the past sale of these items InkTec have

seen their annual turnover increase to over 50m USD and

their workforce has grown to 240 staff in South Korea alone.

They are supplying their products to 120 different Countries

worldwide through their distribution network. Here in the UK

the products are distributed by InkTec Europe and their team

of resellers, to print companies the length and breadth of the

British Isles.

One of the first UK users of InkTec ink in the large format

sector was MG Graphics, who is a sign-maker based in

Oxfordshire. Owner, Martin Goodyear said: ‘I have been

using InkTec solvent inks on my Mimaki JV3 printer for over 4

years now and am very happy with the results. However, I

must admit to being a little sceptical at first when changing

over from the OEM inks but once I’d made the change and

printed my first job, my mind was at ease. The colours are

vibrant and the durability is excellent. The savings I have

made over the years must run into several thousand pounds.’

The market trend in the UK is now shifting and more and

more end-users are exploring the options of alternative inks

for their large format printers. Incidentally, you may be

interested to know that in South Korea there is virtually no

market for OEM inks, or in other words, the wide-format

market is driven by alternative inks. For example; if a printing

company was approached to buy a printer that was ‘locked

in’ to one type of ink, either through a chipped cartridge or

through the risk of invalidating the printer warranty (a dubious

practice in itself), then it’s extremely likely they would choose

another piece of equipment. For this reason, most of the

printers that are sold in South Korea don’t have chipped

systems like we have here in the UK and most of Europe.

That’s why it’s so important for any company offering or using

alternative inks to ensure they have a suitable product and a

knowledgeable and supportive supplier. Of course, there are

not-so-good alternative inks as well as good ones and to a

certain degree you do get what you pay for. The cheapest is

not always the best option as with many other everyday

items. InkTec are under no illusions that the UK market is a

tough nut to crack but with the benefit of good products,

combined with technical know-how and strong customer

service, they will give themselves every chance.

INKTEC CO. IS BASED IN SOUTH KOREA AND HAS BEEN MANUFACTURING INKJET INKS SINCE1992. PRINTING TECHNOLOGY HAS COME A LONG, LONG WAY SINCE THEN AND AS WELL ASMAKING TRADITIONAL DIGITAL INKS, INKTEC ARE NOW ALSO PRODUCING HIGH-TECH NANO-SILVER AND ELECTRONIC INKS IN THEIR PURPOSE BUILT 2ND FACTORY. BOTH INK TYPES AREUSED IN PRODUCTS SUCH AS SMART PHONES AND LCD TELEVISIONS. THESE EMERGINGAPPLICATIONS AND NEW MARKETS ARE AN AREA OF RAPID GROWTH FOR INKTEC AND ARE IN-LINE WITH THE COMPANY MOTTO, ‘TODAY’S TECHNOLOGY IS NEVER GOOD ENOUGH FOR US’.

InkTecProfile

2nd coverstory.qxp:Layout 1 25/2/11 18:31 Page 14


2011 see’s the introduction of InkTec’s own range of UV

Flatbed Printers called the Jetrix. This printer comes with

the motto, ‘Simple & Perfect’ and that is just what Jetrix is

designed to be. Around 5 years ago some boffins at InkTec

saw a gap in the market for a new UV Flatbed Printer, so

rather than go down the common route of sourcing and

re-branding an existing model of printer, they decided to

design and build their own machine, to their exact

specification, using a team of specialist designers and

engineers. Three years later the Jetrix was born and 2011

sees the UK debut at Sign and Digital expo in April. On

show will be the Jetrix model 2513FRQ which features a

robust flatbed, perfect roll to roll system, strong vacuum

with high quality and variable droplet technology.

Senecio Digital, a fine art printing and publishing

company, has recently taken delivery of their Jetrix printer

after seeing the machine in Germany earlier this year.

Managing Director, Adrian Lack says: ‘The Jetrix is so

versatile with the various options available, like the white

ink, primer and varnish as well as the roll-to-roll option, that

it was really a simple choice once we’d seen the quality of

the print. It now gives us the flexibility to do so much more

than we have previously have been able to on our

conventional digital printers. We also feel comfortable

knowing that the machine manufacturer is also the ink

maker and therefore has complete control over the

quality and the price of the ink’. InkTec see the UV Flat-

bed market as a rapid growth area over the next few

years and aim for the Jetrix to be the number one printer

in its class.

For further information please visit www.inktec.comor www.jetrix.co.kror give InkTec Europe a call on 01993 862 770.

2nd coverstory.qxp:Layout 1 25/2/11 18:31 Page 15

40 march.2011

WHEN we remind ourselves about the early days of wide-

format digital technology one thing we’ll all acknowledge is that

we were pretty limited by the inks and materials available, and

how well the machines of the day could handle them. If the results

came out well on our chosen substrate, then we were pretty

satisfied; if the end product wasn’t fit for purpose, then the ink

tended to get blamed.

Wide-format digital print is all about ink and its inherent

behaviour during the processes we expect it to endure. For

machine manufacturers, it’s the element in their equipment that

actually proves the unit is as good as it claims to be. Ink also

represents the part of the printing process which tends to play a

major role in carrying the responsibility for quality even though it is

dependent on machinery and technology for being transferred

from cartridge or bottle through to the printhead nozzles and jetted

onto the material beneath.

Not surprisingly, ink tends to be the component that is subjected

to the greatest criticism by print service providers and display

producers in most parts of the world. We are all colour critical but

we are also governed by other factors, such as price, performance

and adhesion. We expect our formulations to do their jobs

flawlessly, with maximum coverage and minimum overall deposit.

And we curse it when it smells, blocks our printheads and leaks from

its container or cartridge.

Today’s choices in ink formulations have move rapidly onwards

from earlier aqueous formulations, through solvent-based

chemistries to UV-curable products. These are complemented by

specialist options such as those needed for textiles and glass. We

acknowledge that it is key to our standards of production output

and, hence, we demand unforgiving and versatile performance

when combined with new and existing end materials so that

display producers can evolve into new markets and applications

as well as continuing down their tried and trusted routes.

The reputation of ink lies heavy on its manufacturer’s shoulders. In

the early days, most printer developers readily admitted they didn’t

make their own ink, and many still don’t. However, as a means of

retaining control over machine performance and for maintaining a

permanent link with end users, ink justifiably is a valuable

consumable for printer suppliers. Machine manufacturers

recognise this and, for every single piece of equipment

sold, the intention is that repeat business comes from

the continued purchase of ink.

As a convenient and essential chemistry that results

from mixing pigments with carriers, ink is the stuff which

really is crucial because it’s the element of an end job

to which the human eye is instantly attracted. Its quality,

accuracy and coverage combine to become the

make or break element and its colour renditions are the

combination of chemistry and the instructions handed

out by the software used to drive the printer.

There’s another important factor responsible users

and, even, entire countries take into account when

considering ink as part of a process. Formulations can

be pretty unpleasant. We are all aware of the

potential carcinogenic properties and hazardous

chemicals contained in some of the full-strength

solvent-based options.

Users should also understand that UV-curable ink,

in its liquid state, is very nasty stuff indeed and needs

to be treated with the greatest respect. Likewise, it is

the law here that inks must be supplied with a

material data safety sheet (MSDS) that lists the

hazardous components incorporated with

instructions on how these should be handled in case

of accident or spillage.

SOPHIE MATTHEWS-PAUL DISCUSSES THE ESSENTIAL VALUEOF TODAY’S FORMULATIONS

Ink:are you gettingwhat you pay for?

Ink represents far more than its end appearance ofbeing a coloured liquid in a cartridge or container

spec inkLS1.qxp:Layout 1 16/2/11 14:47 Page 14


Ink formulations suffer from harsh criteria where printer users

want fantastic colour consistently, products that have a long

shelf life and flow flawlessly through their machines day in and

day out. Nonetheless, there is often a curious reluctance to

accept its litre costs. But ink is a confusing element within the

wide-format industry and many people can’t understand why it

can’t have a cost which equates to the same price of milk or

bottled water. We see increasingly third-party, or after-market,

options all promising to be cheaper and perform as well as OEM

products. This confusion is exacerbated by the thought that,

despite the label the ink appears to be carrying, it could well

come out of the same production facility where manufacturers’

own formulations are generated.

Additionally, the combination of chemistries could easily involve

different specialist companies being responsible for each of the

components. These only get given a recognised manufacturer’s

name once all the elements have been put together to become

the product we know as ink. All the end user really wants is a

consistently reliable formulation which literally does what it says on

the tin and enables the efficient output of inkjet applications onto

various different materials.

Ink chemistries cannot be developed overnight because there

are too many imponderables that need to brought into play

before a formulation can come to market successfully. Safety is a

key factor, of course, as is the way the end product behaves in

different climates and environments, including reacting properly

with temperature and humidity variations. It needs to remain in a

liquid state until we want it to dry or cure, and it has to behave itself

within the complexities of printing machines’ inner workings, pumps

and, of course, printhead nozzles. And it must be controllable but

sufficiently flexible to be able to produce the desired droplet sizes in

both greyscale and binary heads.

Once its relationship with the print unit has been established, ink

has to meet the necessary criteria to adhere properly and provide

the right appearance on the end material. These days, this can

vary from low-end papers through the full gamut to premium rigid

and flexible substrates. This performance is vital to its success; other

factors, such as durability and flexibility on the substrate’s surfaces

plus the ability to maintain its adhesion once contour cut, also

need to be taken into account.

As the constant requirement within the print process, there is the

additional consideration that manufacturers have to take on

board. The constant developments and improvements in

technologies, and introduction of new machines and revised

printheads and jetting capabilities, don’t necessarily mean that

users will cast their existing equipment aside just because it’s no

longer a current model.

Currently there are vast numbers of older systems which have

long been superseded in development terms that are still in use

today, beavering away to produce satisfactory results. Some of

these are no longer supported by their original manufacturers and,

thus, are obsolete through no fault of their own. Yet they still

function perfectly well and, as a result, their owners expect to be

able to obtain compatible ink to keep these printers running.

Maintaining stocks of inks for old systems whilst keeping up with

new developments also puts pressure on manufacturers in terms

of production and logistics. New generations of formulations with

claimed added benefits still need to compete with the high

volume requirements of older chemistries; thus the supply

channel is expected to deliver, no matter the vintage of the

printer in question.

Overall, ink represents far more than its end appearance of

being a coloured liquid in a cartridge or container. It is the key

repeat purchase for every display producer and, of course, it is the

printer user whose responsibility and choice rests on staying with the

original manufacturer or venturing into the often unknown territory

of switching to a third-party supplier.

Contention will always be rife as the arguments for and against

changing or staying with original ink suppliers continue. Some

display producers don’t want to move to an after-market channel

for fear of blowing a hole in their warranties; others are more gung

ho about making the decision to take the third-party route.

Like so many elements in life, all ink manufacturers claim they

are equal; but some are more equal than others. This dystopian

allegory is misquoted deliberately here but, nonetheless, it is true.

Some print companies rue the day they moved to a third-party

ink supplier whilst others applaud the fact that they made the

decision, claiming that better colour and lower costs have

resulted in huge savings.

Inkjet technologies will continue to move forward to encompass

new production areas and techniques as print carries on down the

road of development. Revisions to ink chemistries no doubt will also

continue to emerge, and it is up to the individual and his printing

machine as to the long-term route chosen for his ink supply.

� Remember that inks have a shelf life and need to be storedcarefully according to instructions.

� No ink is particularly pleasant to handle. It is a myth the UV-curable ink is ‘safe’. Until it is cured it must be treated withthe utmost safety and care.

� Inks requiring an MSDS must be supplied with this informationso that accidents and spillages can be handled in thecorrect manner. Don’t buy a third-party ink if this informationisn’t available or if, instead of listing the components, itstates: ‘secret ingredient’.

� Accept that inks can be susceptible to colour shifts on finaljobs which are affected by room temperature, variations oncoatings on the finished material and other elements such asprinter performance and numbers of passes.

� Don’t buy a generic after-market ink unless it has beentested thoroughly in the printer for which it is destined.

� Don’t expect the original manufacturer to continue tosupport your machine under warranty, or even call-out, ifyou have moved to a third-party product.

� If a range of inks seems to be too good to be true, then itprobably is. Know your supplier and don’t risk buying cheapimports over the internet. Lengthy shipping times and havingto pay import duty can end up costing money rather thansaving it.

CUTTING COSTS

IT IS THE LAW HERE

THAT INKS MUST BE

SUPPLIED WITH A MSDS

THAT LISTS HAZARDOUS

COMPONENTS

“”

spec inkLS1.qxp:Layout 1 16/2/11 14:47 Page 15

42 march.2011

MENTION GREEN and many large-format print

companies see red. Why? Price – plain and simple. Or is it? Simple,

that is. The overwhelming view within the sector is that

environmentally friendly alternatives to the likes of PVC demand a

premium that the customer won’t pay and the printer can’t afford

to swallow. Too often one hears of ‘green’ jobs being won to the

detriment of margin because a printer has met a cheaper ‘non-

green’ quote just to capture the customer and build turnover. It’s a

state of affairs that needs rectifying, and the materials

manufacturers and suppliers understand that as well as you do.

But, price isn’t the only issue – indeed, some argue that it isn’t an

issue at all – education is just as key.

“These days, end users expect suppliers and printers to help

them stand out from the competition and lessen environmental

impact - at a competitive price. We've found that it can pay to be

creative and proactive with customers, but that means that with

new products and technology being developed all the time, it’s

essential that expert knowledge is passed on,” stresses Dufaylite

chief executive Tony Moscrop.

“Dufaylite shares all of its print and cutting techniques with

printers and it has helped win business. Most recently, BAF

Graphics used (Dufaylite’s) Ultra Board in a window display

campaign for Selfridges (see In Situ, Jan/Feb issue). BAF’s

knowledge of the product’s structural properties as well as its eco-

credentials meant it was quickly able to identify the product as

right one for the job, ticking all the boxes for practicality and for

Selfridges’ environmental policy.

“Similarly, one of our customers did John Lewis' 2010 'green

circles, brown plinths' window display. They knew that John Lewis

would normally get its circles and plinths cut from MDF, then

painted before being installed into each store by fitters. So we

offered to digitally print the designs on Ultra Board, cut them out

and send directly to each store in a honeycomb pallet. We

included simple assembly instructions for the staff to follow, and

when the campaign was over, the displays were returned in their

pallets and recycled. This saved John Lewis time, money and cost

the environment nothing.

“Many major retailers are already on the road to total

sustainability; Tesco now recycles 100% of its operational waste

with no landfill and Marks and Spencer aim to be the most

sustainable retailer in the world and is currently recycling 92% of its

operational waste. It’s no longer acceptable for retailers to ignore

their impact on the planet – and that goes for us too.

Manufacturers and printers have a responsibility to acknowledge

this direction by sourcing sustainable materials, gaining absolute

understanding of environmentally aware materials, and changing

production methods. All retail clients will want sustainable materials

at some point in the near future and they will want them at the

FINDING OUT THE FACTS ABOUT ENVIRONMENTAL

PRODUCTS WILL MAKE OUR INDUSTRY FUTURE PROOF“ ”“No matter how much the industry tries to look away, all signs pointtowards sustainability. Landfill tax currently stands at £48 per tonneand will increase to £56 per tonne on 1 April. Tax will continue torise by £8 every year until 2013 – meaning that recycling is, and willcontinue to be, more cost effective than landfill. Every boardproduced that contains multiple materials including plastics suchas PVC, laminates and vinyl, is impossible to separate and goes tolandfill. Although the solution requires a giant step forward, it’ssimple - reduce or eliminate plastic materials and adoptenvironmentally friendly ones,” says Dufaylite chief executive TonyMoscrop.

“As the reigning king of POS and displays, PVC is mass producedand therefore often comes at a cheaper price. The price of greenproducts will only fall when there is increased demand for them, so

for most manufacturers it’s a catch-22. However, there are somegreat competitive green products on the market right now andmanufacturers, like Dufaylite, which mass produceenvironmentally aware products, can keep the price down, andoften come in cheaper than PVC.

“When it comes to price, the figures speak for themselves:2440mm x 1200mm sheets of 10mm Ultra Board are just £3.91 perm2. Like many green products, Ultra Board also saves users moneythroughout its lifecycle. Being ultra lightweight means that transportcosts are reduced. For example, did you know that Rigid PVC is 6.8times heavier than 10mm Dufaylite? And that at the end of its life,Ultra Board can be recycled through traditional recycling routeswith end users even being paid for the waste.”

Neschen managing director Sarah Janes, argues that though

PRICE POINTS

IS SUBSTRATES PRICING THE ONLY ISSUE PREVENTING THE MASS TAKE-UP OFMORE ENVIRONMENTALLY FRIENDLY LARGE-FORMAT PRINT?

Totalling thecost of green

spec greenLS1.qxp:Layout 1 16/2/11 15:01 Page 14


same price (if not lower in these tough economic times). Finding

out the facts about environmental products will make our industry

future proof.”

Andy Voss, managing director of Madico Graphic Films, warms

to the education theme, taking it a step further: “The PVC market

is extremely saturated and mature, hence PVC-products are

available at a very low price. Our Mother Green range of films can

be up to twice the price of conventional PVC substrates. This is due

to a number of factors, including the R&D cost dedicated to

engineering these products, the limited demand from end-

customers as well as the demand for smaller quantities.

“In order for this to change long-term, two things need to

happen - suppliers need to take responsibility to educate not only

the printers about available non-PVC alternatives but, equally,

they need to stimulate demand among end-users to create a pull-

through effect.

“We have dedicated a lot of time and resource to research the

end-user market to actively take our green message to end

customers and educate them about available non-PVC

alternatives, their advantages and the opportunities. It’s surprising

how little end-users know about non-PVC alternatives so clearly

there is a lot of work to be done. But this can’t just be down to the

suppliers. Printers need to adopt a similar mindset and use their

suppliers as sounding boards to learn more about greener

alternatives. A small proportion of printers are providing

information about non-PVC alternatives already at pitching stage

and incorporate it in their overall sales strategy. Increasingly, we

are finding that these printers are creating a niche for themselves

with very lucrative profit margins.”

Like Moscrop, Voss acknowledges that it is the larger retailers

that are driving any demand for greener large-format print but

warns printers to educate themselves on the materials front now in

time for increased demand from further down the food chain. “So

far, for glazing enhancement films and other printable substrates,

we are increasingly finding that the demand for non-PVC

alternatives is driven by larger organisations which need to meet

their corporate objectives for environmental-friendliness. This

scenario is exemplified by retailers like Waitrose and M&S, who

have both banned the use of PVC self-adhesive window films

throughout their stores. This will gradually become the norm as

smaller companies adopt this policy, although it will probably take

some time, but printers need to be prepared to understand the

greener alternatives available now.”

And that means understanding and ‘selling’ the full impact of

using such materials. Peter Bray, national sales manager at

euromedia, Fujifilm Graphic Systems UK, adds: “The main pricing

issue concerning ‘green’ media is that total cost depends on

each individual application. Greener substrates may be up to 40%

more expensive, but if they are reusable and self-adhesive (such

as Fujifilm’s WonderTack) costs come down as they have longer

lifespans and there is no need to hire a signmaker.

“Also, there are media available that, although aren’t reusable,

are easily recycled and therefore cheaper in the long run. For

instance, fabric substrates are becoming increasingly popular as

they are cheaper to transport than paper and easier to dispose

of than PVC. Take into account all the above and you, and

hopefully your clients, have a much clearer idea of the total cost

of the application.”

Seeing it from the suppliers’ perspective: IR talks to (l-r) Tony Moscop,Andy Voss, Peter Bray, Steve LIster and Sarah Janes.

‘green’ substrates are generally more expensive – largely due tothe volume argument – their price point isn’t always higher thantradition products.

“We have a green range of lamination films, Filmolux PP, that isgenerally 19% cheaper than our standard Filmolux range that hasa PVC carrier. Plus, one of our best selling mount films is the MountPP Clear (just re-named as Gudy Clear) which has an OPP carrierand is nearly 28% less than one of our standard mount films with aPVC carrier. Neschen UK has also just launched a roll-up, calledPoly Prop, in both eco solvent and water-based lines. Both lines arethe same price and a roll-up in 914x30m width is currently £80.”

“In the past customers were willing to pay a small premium ofaround 10-15% for sustainable products but that is not the casenow as they do not want to pay any more for alternative

products,” admits Steve Lister, group business developmentdirector at Robert Horne.

“This is extremely challenging as cutting edge, innovativeproducts at the beginning to their life cycle will always be higherpriced due to lower volumes and higher base materials costs butwe are working hard to change this. All products are underpressure from materials rises, pulp prices continuing to rise and withoil pushing $100 a barrel our long term focus is to have a balancedproduct portfolio with sustainable alternatives where our customersrequire them.

“The market will continue to be under extreme financial pressurefor the foreseeable future but there are some encouraging signs incertain sectors where business is good and sustainable initiativesand products are very much at the forefront of the business.”

spec greenLS1.qxp:Layout 1 16/2/11 15:01 Page 15

44 march.2011

MENTION see-through graphics, or one-way vision

graphics as the medium is also popularly known, and thoughts

immediately turn to perforated self-adhesive materials that are

printed and then subsequently applied to all manner of transparent

surfaces from vehicle windows to office partitioning; architectural

glazing to impressive expanses of buildings’ exteriors and retail

windows. That however, far from encapsulates the medium. There

are other ways of producing see-through graphics, and other

materials to use. They work practically anywhere perforated media

can be used, and in thousands of places, situations, and

applications where they simply can’t.

The artifice at the heart of most see-through graphics is as simple

as the results it produces are impressive. A design or colour visible

on one side can be seen through from the other. The effect relies

on the design side reflecting more light back to the observer, who is

viewing the design, than penetrates the perforations from the

environment on the other side. From the see-through side, the

observer sees out through a perceived tint. It’s only upon closer

examination that this is revealed to be the perforated construction

of the material.

See-through graphics take designs and what appear to be solid

colours into areas that would otherwise be out-of-bounds for

applied graphics. Sweeping design elements such as stripes and

flourishes that would be abruptly punctuated by a vehicle’s

windows in, for example, a bus livery, can now continue

unimpeded thanks to see-through graphics. Valuable advertising

space can be capitalised on office and shop windows and the

view out preserved. The applications really are, for once, limited

only by imagination. But, see-through graphics don’t always get a

favourable reception when attempts are made to sell them.

The popularly applied perforated medium is not without its

limitations and, for some, those limitations are enough to rule out

use of the medium. One objection that’s raised is that the

materials’ functional perforations serve to accumulate water and

so-called street dirt picked up by vehicles’ and windows’ exteriors.

Accumulated water and dirt blurs the view out. Laminating the

printed graphic doesn’t really redeem the situation, but Contra

Vision TT evidently does.

Contra Vision TT is a material system for easily producing

perforated see-through graphics that can be applied inside, or

behind transparent surfaces, so protecting them from the

conditions encountered outside from where they are seen. The

system is said to be very simple to use requiring only basic digital

printing hardware and a suitable hot-roll laminator.

The Contra Vision Performance clear perforated material

supplied as part of the Contra Vision TT system is simply printed in a

conventional four-colour operation with the image in reverse.

Once dried, the printed media is then passed through a suitable

laminator with the system’s second material component, a transfer

foil carrying white and black layers which are simultaneously

transferred to the printed media. The white and black layers are

bound in a thermally activated resin which transfers in the mass

and fractures cleanly around the perforations when the second

component’s carrier film is removed, a fast and trouble free

operation. The result is a potent perforated see-through graphic

that can be applied inside transparent surfaces and be seen from

the outside.

Taking perforated see-through graphics under cover can benefit

the material’s application in difficult access conditions and

SEE-THROUGH GRAPHICS OFFER A HUGE OPPORTUNITY BUT THE MOST COMMONLYUSED MATERIALS HAVE THEIR DRAWBACKS. AS LEADING PLAYER CONTRA VISIONPOINTS OUT, NEW DEVELOPMENTS MEAN IT’S WORTH LOOKING AGAIN.

SEE THROUGHTHE OBJECTIONS

spec one wayLS1.qxp:Layout 1 16/2/11 14:49 Page 14


eliminates the need to overlaminate. Overlamination is often used

with conventional perforated graphics in an attempt to close the

perforations so that dirt and water can’t accumulate in them. To

that extent, laminating works. Overlaminating though, actually

blocks the view out because the observer is forced to look through

a layer of laminate and, crucially, a layer of adhesive that’s in

contact with nothing but the void within the perforations and to

that extent it doesn’t work well. The see-through effect is degraded.

Further benefits of see-through graphics produced using Contra

Vision TT is that the optical continuity with the product’s adhesive

and the glass to which it adheres makes the graphic really ‘pop’

and the applied graphic may escape the scrutiny of rules and

regulations related to printed materials applied to the exterior

surfaces of windows.

Another innovation in the field of perforated media is Contra

Vision’s Backlite, a Performance material that is perforated in its

construction, much like other media supporting the printing of see-

through graphics but, differs in that it does not use a black layer to

obscure the graphic from the side intended to be seen through.

Contra Vision Backlite cleverly utilises a white layer which has a

calculated degree of translucency. This permits the passage of a

component of ambient light to the face of the printed and applied

graphic. Thanks to this patented innovation, the see-through

graphics don’t ‘wash-out’ when exterior light levels fall - they

actually appear to light up and so work around the clock,

functioning just like illuminated signs.

Viewed from the inside, in daylight conditions, the observer will

see a pale, reversed image of what’s printed on the design-side of

the applied graphic. Despite this, a remarkable degree of through-

vision is maintained. Contra Vision Backlite technology has been

recently used for hundreds of high profile campaigns on telephone

kiosks around the UK and its popularity as a medium is growing

according to Contra Vision.

Perforated see-through graphics are very widely specified and

utilised. Some applications such as vehicle liveries for small

businesses may only be one-offs. Others though, such as a

nationwide point-of-purchase campaign, may see the production

of many thousands of pieces of printed, see-through graphics.

Whether for one-offs or for longer production runs, print quality is

often variable as perforated materials do present certain

challenges not encountered when printing conventional media.

For example, a white liner will cause a pale, washed-out

appearance.

Perforated materials are very often over-inked during printing in

an understandable attempt to restore apparent contrast levels that

suffer as a consequence of the material’s liner being visible through

the very perforations that support the see-though effect. This can

result in excess ink usage, drying difficulties and produces a finished

product that often looks muddy due to the sheer density of the

dried ink. Contra Vision Performance with Grayliner is another of

the company’s recent innovations in the field of perforated media

and said to address many of the difficulties encountered in printing

perforated material constructions and presenting the result for

client approval.

Contra Vision Grayliner looks for all the world like a conventional

perforated material. However, if results are compared directly with

the conventional version of events, the difference is immediately

obvious and startling. The Grayliner component of the material

created a printed result that is perceived on the liner as it would be

if applied in typical installation conditions. As a consequence,

contrast levels are more realistic, colours pop”and the result is

much easier for both client and printer to evaluate - and of course

for the client to accept.

Grayliner delivers its benefits using ink loadings typical of those

used for quality polymeric imperforate films. This reduces the

wastage that results both from the printed graphic being rejected

by the client, and the waste arising from excess ink usage. Less

energy is typically required to satisfactorily dry perforated see-

through graphics using Grayliner which in turn saves money and

reduces odours which follow under-dried graphics right to the

installation site - or the client’s nose.

See-through graphics represent a potent commercial

opportunity and the technology required to produce them to an

incredibly high standard is readily accessible now to even the

most modestly equipped printer, digital or otherwise. Contra

Vision’s continuing innovation in the field of perforated media,

and in the broader development of the see-through graphics

markets generally, means easily workable options now exist and

are readily available which overcome some of the most common

objections raised against the medium’s use in a wide range of

application arenas.

See-through graphics have the capacity to deliver advertising,

branding and messages in areas that other media simply can’t

reach and the see-through effect’s novelty and impact supports

the broader application of conventionally printed material too.

From a printer’s perspective, see-through graphics deliver a highly

marketable printing capability beyond business-as-usual which can

support premium pricing and better margins and should be

required reading in any presentation portfolio. Once seen, and

seen through, they’re sold.

TAKING PERFORATED

SEE-THROUGH GRAPHICS

UNDER COVER CAN BENEFIT

THE MATERIAL’S

APPLICATION IN DIFFICULT

ACCESS CONDITIONS

“”

spec one wayLS1.qxp:Layout 1 16/2/11 14:49 Page 15

DIGITAL PRINT technology is at the stage whereanything can be realised. Here we look at how somecompanies have capitalised on the possibilities of wide-format to grow and evolve their businesses and in doing so,have created new market areas.

THE BIG SLEEPThe bereavement industry and digital wide-format printingare turning out to be a match made in heaven. The pressingneed of the former to find ecological solutions for last rites,coupled with a cultural shift that is increasingly tendingtowards a celebration of the departed’s life, rather thanhis/her demise, has created a quiet revolution, which whenunderpinned with wide-format digital printing has created anew market.

Creative Coffins is one of the foremost players in this area.An offshoot of Guernsey-based advertising and designagency Hamilton Brooke (HB) established 22-years ago,Creative Coffins began almost by chance, when thecreative team at HB was asked to design a coffin featuringalbum covers for a 70th birthday gift. The creation of this ledto more enquiries to the point when the powers at HBrealised they had a new business on their hands andCreative Coffins was born.

That was three years ago, and now Creative Coffins offerspre-designed, personalised / bespoke digitally printed coffinsdirect to the public via the Internet as well as through themore traditional route of funeral directors. To date thecompany has produced in excess of 1,500 coffins anddemand is growing says Creative Coffins’ sales director,June Ozanne.

The coffins themselves are made to a patented design,using cartonboard produced from unbleached pulpcontaining 60% recycled paper as well as wood pulpsourced from sustainable forests. Clever, robust foldingtechniques and natural starch glue make traditional fixingsredundant while handles are made of woven cotton.

All coffins, as you would expect, are made to order,digitally printed on an Agfa Anapurna XL and dispatchedfrom a production site in Leicester with turnaround anddelivery times of three days or under. The company initiallystarted using the Zund UVjet 250-combi but only changed

due to shipping logistics.Both machines, saysOzanne, have producedgreat results.

Creative Coffins offers anumber of imagery optionsfrom its catalogue, which can then be personalised with thedeparted’s name and a date. However, the company alsoworks directly with bereaved friends and relatives to createhighly personalised items.

Ozanne says that quite surprisingly, digitally printed ecocoffins are very popular amongst the older age group, andthat it is not uncommon for people to buy them (sometimeseven as presents) long before any actual dying has takenplace. She also points out that many people plan their ownfunerals and Creative Coffins work with them to create theright look and feel for their final resting place, which shesays is very rewarding work, as the many letters to thecompany testify.

While floral imagery is very popular - in particular, upliftingsunflowers - some of the more wacky designs haveincluded Vote Lib Dem and Rest In Peas, which features animage of a coffin full of John Major’s favourite vegetable(each to his own).

Three designers work in-house at Creative Coffins and asOzanne points out, the quality of imagery, vibrancy anddepth of colour are vital. “Unlike other processes,” she says,“You’ve got to get it right - there’s no second chances here.”wwwcreativecoffins.com

HOMES AND GARDENSWhat is really set to get theneighbours talking are the newphoto curtains from German-owned company style-your-garage.com which gives plain oldgarage doors a whole new lookturning your home into a localcommunity focal point.

Style-your-garage.com offers over250 3D photographic images thatdisplay garage fantasies: a


Ma

rke

ts

MELONY ROCQUE-HEWITT TAKES A LOOK AT SOMEOF THE MORE UNUSUAL NICHE MARKETS OPENED-UPBY DIGITAL WIDE-FORMAT PRINT.

Niche

moves

What a way to go! One of theofferings from Creative Coffins

Something to get the neighbourscurtain twitching

marketsLS1.qxp:Layout 1 16/2/11 14:27 Page 1

Ma

rke

ts

48 march.2011

spectacular racing car, wild horses, a batch of golden bars,and a fully stocked wine cellar. In addition, the company hasmanaged to get cult brands on board like Harley-Davidsonand Mini. Customers also have the option of sending in theirown images for reproduction.

Company spokesperson Verena Lenninghausen says thatimages are printed onto exclusive material similar to trucktarpaulins but which have a finer structure. These are ripproof, can be cut without fear of tearing, are completelyweatherproof and come with a fire safety certificate.

Turning suburbia into a David Lynch-style TV series is thebrainchild of Thomas Sassenbach, a designer and head ofadvertisement agency Sassenbach and 204 in Munich. Theidea came to him whilst driving through the grey streets ofCologne.

The company started the garage curtains in April 2008 andsince then has extended to the rest of Europe, US andCanada. The curtains are output using a NUR Expedio 5000and solvent-based UV inks, and now almost every type andsize of garage (whether single, multiple or high capacity withup-and-over doors, wing door or sectional door) can behandled.

The company has set its sights on selling to Africa andAustralia and also offers the same treatment for interior doorsat www.style-your-door.com. Presently, the company hasplans to launch www.style-your-window.com later this year.

SOUND AND VISIONInitially, you wouldn’t think that there was any synergybetween digital printing and sound control solutions forbuildings, but you’d be wrong. In open plan areas such asrestaurants, museums, offices and conference rooms, thespace can get very noisy indeed as hard surfaces (such aswalls and ceilings) reflect sound, allowing it to bounce backinto the room, creating echo and reverberation. Thesituation becomes worse as people begin to raise theirvoices in order to be heard. Adding porous materials to theroom reduces the level of reflected sound, dampening theecho and reverberation.

The Bucks-based Soundsorba has been providing acousticproducts for the last 15 years and four years ago it set upFotosorba, recognising there was a real need in its productportfolio to create acoustic panels that not only managedsound issues but also looked good.

Fotosorba acoustic art panels are made from a highlyabsorptive semi rigid fibreglass core with a digitally printedfabric face made of polyester. The panel can either beprinted with an image chosen from the company’s library orfrom a customer's own image. The panels are created usingdye-sublimation digital printing that is outsourced. Once animage has been printed, it is then returned to Fotosorbawhere it is applied to the acoustic panel with adhesive, over-laminated and finished to resemble an art canvas.

At 25mm thick, these sound/vision panels can bemanufactured to customer requirements to fit almost anyspace. The surface of the panel can be vacuumed toremove surface dust and the printed panel surface can becleaned with a damp cloth. Soundsorba managing directorMunir Hussein says that the adoption of digital printing hasbought in extra work for the company and the demand forits Fotosorba products have been growing year on year.Also, with their introduction, the company has a newcustomer base (such as surgeries and canteens) and theyhave allowed the company to penetrate the domesticmarket, particularly for home cinemas and conservatories.www.soundsorba.com

Fotosorba acoustic panels areproving a hit

To celebrate its tenth anniversary and to showcase thesheer versatility of products created using its wide-formatdigital print technology, Cambridge-based Inca Digitallaunched its IDEA awards last year.

One of the more unusual applications was produced byUS-based Visual Marking Systems using its Inca Spyderflatbed when it was approached by leading crossbow andvertical bow-maker Horton Mfg to decorate a crossbowlimb with a printing technique other than heat transfer.Printing directly to the substrate there were several issuesthat had to be overcome, the main one being the ability toprint quality graphics on both flat and curved surfaces thatcould withstand bending. Colour match and patternrepeatability were also major considerations, and printedlimbs had to be able to receive a supplied matte clearcoat sprayed on in a paint booth.

Another stunning example of the potential of digital printwas carried out by Canadian print shop Optima which wasasked to produce furniture featuring multiple wood grainusing Exterior Medite, which is an MDF panel developedspecifically for use in a wide range of external applicationsincluding external signs and woodwork as well as marinecraft interiors.

In order to reproduce realistic inlay woodwork, Optimascanned many different types of wood grains in highresolution before creating the artwork to give the final inlayeffect. Using the Inca Columbia Turbo the company wasable to print onto pre-cut shapes, which were then airbrushvarnished to increase the wood grain effect. It was difficultto distinguish the printed result from the real thing.

GET THE IDEA?

marketsLS1.qxp:Layout 1 16/2/11 14:27 Page 2

ad.qxp:Layout 1 14/1/11 09:46 Page 1

Tech

no

log

y

MANY in the large-format print space today want to

create all sorts of shapes, sizes and finishes away from

conventional indoor and outdoor applications. As a result

there have been machines coming to the fore which have

a lot more to offer than just their broad width.

A few years ago Roland DG brought to market a solution

with a difference. After the introduction of its first UV-curable

printer, the VersaUV, it was clear that this was a company

that wasn’t simply bringing to market another typical

production printer which sat in a specific category. Instead,

this new print-and-cut solution, opened up intriguing

production areas; integrated cutting and the ability to output

high opacity white ink and clear varnish being key aspects.

So, when Roland announced a larger version of its VersaUV

platform, the LEC-540 able to handle widths of up to 1.37m, it

increased its UV-curable potential to a new brand of users. With

a remarkably small footprint for its production capabilities, this

unit encompasses the ability to offer an integrated print-and-cut

solution along with the company’s own flexible formulation of

UV-curable ink and a low-cost and efficient LED curing system.

The combination of white and clear is not new to wide-format

inkjet production but the incorporation of inline cutting, which

can be fine-tuned for creasing and perf-cuts, adds to its

versatility. Although the LEC-540 is ideal for producing signs and

displays which have the added extra of gloss or matte varnish,

this machine also comes into its own when placed in a colour

managed workflow critical for prototyping and proofing.

Similarly, for value-added labels, decals, stickers and, even,

textile decoration, it offers huge creativity from a single platform.

The value of clear varnish is worthy of discussion in its own right.

As well as enhancing finished applications when applied as a

spot ‘colour’, it can be layered to produce durable textures and

finishes, and this extends to its talents for tactile output. Thus, for

the first time, it’s straightforward to produce Braille and other

raised elements, making the VersaUV a powerful tool for

packaging, labelling and signs which are required to carry these

markings on applications where accuracy of touch is as

important as visual appearance.

The Roland Versa-UV LEC-540, like the smaller LEC-330, has a

CMYK inkset plus a high opacity white and versatile clear

varnish. Workflow is simple, with the included VersaWorks

software and Rip providing all the elements users need to

produce applications incorporating special textures and finishes.

This comprehensive program also includes 72 ready-to-use

textures and special finishes, making it easy to create unusual

effects and distinctive output.

The machines don’t need a special power supply, simply

requiring a 13amp socket and, because the LED-curing lamps

are designed to be low cost and long running, operating costs

are kept to a minimum. This curing technology means that a

wide range of delicate and tricky materials can be used with

the machine, including foils, BOPP, PET and PE as well as

standard display and proofing materials. Additionally, it is

suitable for printing direct to more unusual substrates, including

leather and suede.

The Roland VersaUV LEC-540 has a maximum resolution of

1,440 x 1,440dpi complemented by exacting tolerances in its

integrated cutting capabilities to make it suitable for precision

accuracy on even the smallest nested jobs. This machine can

handle materials up to 1mm in thickness, and users are able to

generate high quality printed, cut, folded and creased

applications in a single workflow operation.

For proofing and prototyping applications, the Roland

VersaUV can be integrated with colour management options

such as solutions from EFI, GMG, FourPees and CGS. As a result, it

is hardly surprising that offset and flexo printers, as well as wide-

format specialists, are snapping up this sophisticated print-and-

cut system as it is so easy to incorporate into an existing workflow

environment.

The Roland VersaUV LEC-540 comes in three versions of CMYK

plus white and clear, CMYK plus two white ink channels for high

opacity or in its most popular configuration of CMYK plus two

clear varnish channels. It is available from specialist distributors

and is priced at £45,999 (+VAT).


Roland VersaUV

SOPHIE MATTHEWS-PAUL FINDS THIS MACHINE ISMUCH MORE THAN A WIDE-FORMAT PRINTER

Technology machineLS1.qxp:Layout 1 16/2/11 15:07 Page 1

Tech

no

log

y

THE APPLICATION of the term ‘colour

management’ in the wide-format display sector is all about

control but, until the chaps from ISO (International

Organisation for Standardisation) step in with an overall

compliance initiative, this remains each to his own. Everyone

knows that the parameters surrounding accuracy of output

compared with the original data are reliant on several

criteria but, in this industry sector, it is still filled with confusion

and queries and, to a certain extent, blame.

Inkjet as a process does not have the same principles that

can be applied to it as, say, offset printing. It doesn’t have

the ability to stick to the standards that are used in analogue

production and, as such, it is dependent on how its varying

processes and devices see colour and how to reproduce it.

Those steeped in pre-press tended to understand about

colour and had a set of rules and charts to help make sure

that what came out of the resulting offset press was correct.

The trouble (if it can be called that) we find today is that

anyone can sit in front of a computer, run up a graphics

package and produce the bones of a display. If it looks okay

on-screen then that should be sufficient to render the colour

accurately when the job comes out of the printer. Rarely

does this happen; indeed, if this happy occurrence does

take place it’s purely down to luck.

When producing jobs for wide-format inkjet output, colour

management relies on a host of different criteria that are

needed to control what comes out of the other end.

Applying a generic standard for digital production is tricky

because there are so many elements involved, with many of

these being controlled not by a set of applied algorithms but

via several component parts each of which build up to

affect the finished job. In offset and screenprinting, ISO 12647

comes in with specific process parameters whose values are

applied to encompass the different parts of the production

stages. For example, the screen process uses ISO 12647-5

which takes into account the idiosyncrasies encountered,

such as colour separation, proofing and printing. These differ

to the parameters used in other areas of graphic technology,


If it’s all the same

SOPHIE MATTHEWS-PAUL UNRAVELS SOME OF THE ELEMENTS USED WHENWORKING WITH COLOUR, AND STRESSES WHY WE NEED A STANDARD.

Technology colour 3LS1.qxp:Layout 1 16/2/11 15:05 Page 1

Tech

no

log

y

the most common probably being ISO 12647-2 which has

specifics for four-colour offset printing and which now

accounts for direct-to-plate as well as via traditional film.

Without such a standard applying to wide-format digital

print - yet - those specialising in inkjet and who need to be

able to use a stated set of criteria are pretty much still in the

dark. It should be easy, surely, to translate the principles of

ISO 12647 but, in reality, it isn’t; and this is because there are

far more digitally driven variables which need to be factored

in than the equivalent to be found in analogue printing.

Controlling the process in wide-format is reliant on how the

data is prepared and PDF format offers a classic example of

a standard in its own right yet one which is affected by the

data it is given and how it reacts when output through an

ink-jet system to an end material. We can say that PDF is

good because it adheres to its own set of rules with ISO

15930-8 but this encompasses the dissemination of digital

data in terms of identification and inclusion; however, it does

not provide control over the colour determinants which are

held therein.

Colour used in a job has to be determined by a set of

factors which uses standards to suit an input or output

device. With the help of the International Color Consortium,

the resulting definition or ICC profile for correct colour

reproduction within a specific colour space should ensure

that fidelity is maintained across monitors, scanners, printers

and, even, digital cameras. So a system which has no ICC

colour management requires profiling so that the device’s

colour space can be adjusted to a controlled equivalent in

order to produce an accurate result.

Today most software applications include a choice of ICC

profiles to make the job easier, in the same way that output

devices, or printers, can add them for different materials on

the host computer at the time of driver installation. This

profile support has to go further, however, because it is not

only the input device, the software and the output device

which need to consider the correct colour algorithms. The

material being used for the application also needs to be

factored in according to parameters including coating,

absorbency and reflectivity.

The inkjet waters are muddied further because many

printers contain more than the basic four colours of CMYK

and need to generate these additional channels from RGB

or CMYK data with the intention of improving the gamut.

Many will argue that the improvements in today’s greyscale

variable dot printheads do not need the additional options


Bluetree’s range of digital equipment provides great versatility,but, it has also brought new layers of complexity in the area ofworkflow and file management. The company runs six digitalinkjet machines: a roll-fed Epson Stylus Pro 1180 and ScitexXP2700, a flatbed Inca Spyder, a Develop Ineo 5501 and twoflatbed HP Scitex FB7500s. Ensuring consistent colour across allsix is no easy matter.

“Each manufacturer has its own Rip, and becausetechnology has moved so quickly, each Rip is effectively froma different era,” says managing director Bryan Shirley. “We alsohad issues with colour consistency from one device to the next,and in matching corporate colours with the level of precisionwe required. The bigger the client, the more important correctcolour becomes, and either directly or through agencies wehave been producing for some very well known national andinternational brands.”

In order to address these issues, Bluetree turned to GMG for itsColorServer and SmartProfiler colour management solutions.“One of our machines had a GMG Rip, which was alwaysreliable, so we already had a positive view of GMG. Once wedecided to go for GMG ColorServer and GMG SmartProfiler, wequickly began to reap the benefits and I can honestly say it’shad a big impact on our business,” says Shirley.

One of the tangible benefits of the GMG workflow is in theprepress department. “Consistent input is as important asconsistent output. We have all sorts of artwork coming to us,created in a variety of ways in a variety of formats, and in aworst-case scenario the files wouldn’t even be recognised.GMG ColorServer reliably automates tasks such astransparency flattening and CMYK colour conversion so that nomatter how the original is presented, a quality job is presentedto the Rip, and it doesn’t matter which Rip. This means far fewer

hold ups in prepress.”SmartProfiler is another time-saver, as Bryan explains. “This is

vital, considering the variety of output devices we have. Wepick the right media, the right device and the right runningspeed for the job, then just drop the file in the right folder, whereit is queued for output. Once all the profiles are set up, itcouldn’t be simpler.

“The main thing it’s given us is confidence. With an almostinfinite range of variables from artwork, substrate, Rip andoutput device, I can never offer an absolute 100% guarantee ofconsistency – but I can now look a client in the eye and tell himhis job has gone through a GMG workflow, which means it’s asclose as anyone can possibly get,” enthuses Shirley, who’scompany now employs 40 staff and is on course for a £4mturnover in the coming year.

BLUETREE TURNS TO GMG


Tech

no

log

y

of light cyan and light magenta or other fancy shades to

generate smooth graduated tints and more accurate

colour. But, nonetheless, what you perceive to be the

colour information generated in your origination is not what

is sent to the printing machine. In fact, it is the driver or the

Rip that provides the transformation and the information

used is determined by the ICC profile. Thus, an ICC profile

will not determine the specific numbers of inks used in a

printer, nor will it correct unwanted artefacts such as colour

casts. In the same way, a profile cannot improve a narrow

gamut, such as sRGB and make it wider so that the colours

will render properly; if the colours are missing in the first

place, it isn’t possible to get them back. Likewise, an ICC

profile isn’t a correction device and won’t put right errors in

the original data.

In simplistic terms, when a job is generated the application

on the computer will convert the file to the chosen colour

space, normally a calibrated RGB work space such as

Adobe RGB (1998) which has a far wider gamut, or ability to

determine colours accurately, than sRGB whose narrow

gamut is fine for internet reproduction limited to viewing on-

screen. When the job is sent to the Rip, the image is

converted from the working space on the desktop to the

required colour space via the correct profile.

Experienced studios and printer operators know how to get

the best colour from their devices, all based around using the

most suitable ICC profiles or from creating their own with the

help of a spectrophotometer. This latter is essential when

working with unprofiled media. The rendering intent used in

the ICC specification handles the problems incurred with

clipping, where inaccurate representation can lead to

incorrect destination colours. The common associations are

absolute colorimetric, relative colorimetric, perceptual and

saturation, with the first two only differing in their handling of

white point media adjustment and the latter two being

preferred often for colour separation and for colour

saturation where actual hue isn’t as vital as impact.

A true colour managed workflow goes far beyond a bit of

monitor calibration and the application of a few ICC profiles.

Growing numbers of print service providers are now being

asked to produce the same input data with the expectations

that it will match the output from

various destination devices. These

could be inkjet printers using

different ink formulations, proofing

which must be good enough to

emulate the finished print run or,

even, the same printer being

used to output the same graphic

onto various different types of

media.

Rips contain a fair amount of

colour management capability

but, where greater levels of fine

tuning and consistency are

required, it’s often time to bring

in the experts. Thus, it is hardly

surprising that specialist

companies have decided to develop colour management

software designed to take the pain out of ink-jet printing.

This solution is even more obvious when you consider that

there are advertising agencies and design studios located

miles away from the print house yet expect to be able to

produce proofs which can be matched from one remote

location to the next to the necessary levels of accuracy.

No-one wants a horrible shock when prints from different

sources are lined up side-by-side and look completely

different in colour terms.

GMG, for example has software which uses hot folders for

automatic conversion of colour for all print processes,

including different colour spaces, plus the ability to profile and

calibrate various output devices coming under the digital

remit, including wide-format printers. It’s even able to reduce

the incidence of chromatic colours to save on ink usage

without compromising colour integrity. Likewise, EFI’s Fiery also

helps users to generate consistent colour across different

machines, with its open platform technology meaning it can

be integrated into all environments, as well as wide-format.

And there are growing numbers of companies moving into this

sector, including CGS and FourPees.

For colour management to work in any environment, it

really needs to start at the end and not at the beginning, for

it is the printed product which determines the acceptability

of the colour criteria put in place as the job passes from

design and creation, through the Rip and on to the output

device. This observation is really common sense, particularly

taking into account the fact that rarely do two individuals

agree on implementation in order to generate a faithful

environment on a desktop which can be maintained

throughout the entire printing process.

Successful colour management relies on the sum of its parts,

but these parts need to be organised in such a way that the

operator’s capability and the implementation of the

processing do not compromise one another. In truth, and in a

perfect world, any user should be able to rely on a standard

set of rules so that it makes no difference who is at which end

of the production process. In practice, this isn’t the case, and

that’s why wide-format digital inkjet needs compliance with its

own ISO standards which must be adhered to and honoured.



march.2011

When? Where? Cost? Who’ll be there? Should you go? Rating

Sign and Digital UK

12 – 14 April,2011

NEC,Birmingham

Free but pre-register online atwww.signuk.com

The show is likely to host most of themajor kit, consumables andancillaries suppliers. Keep your eyeon the website as exhibitors sign up.

This is really the key UK annual event forthe wide-format/sign making print sector soit is worth attending. This is where you’ll getthe first sight of much of the kit launchedsince Fespa 2010.

9/10

When? Where? Cost? Who’ll be there? Should you go? Rating

Fespa Digital Europe

24 – 27 May,2011

Hamburg,Germany

For free entry pre-register atwww.exporeg.co.uk/visit/sites/fespa

Fespa is predicating that over 12,500will attend this show to see aplanned 380 exhibitors. All the mainwide-format players will be there

Yes. This will be the most dedicated wide-format show in Europe in 2011 and apartfrom seeing what the exhibitors have tooffer there will be a programme of seminars,workshops and debates.

10/10

When? Where? Cost? Who’ll be there? Should you go?

Northprint

10 – 12May, 2011

HarrogateInternationalCentre

Pre-register as afree visitor at www.northprintexpo.com

Northprint is a general print show andas such draws a mixed bag ofexhibitors and visitors, but it’s worthnoting that this year the organisers,backed by this magazine, arepresenting a Wide-FormatApplications Showcase so there willbe more of a focus on this sector thanthere has been previously.

From a wide-format perspective the onuswill really be on showing commercialprinters what large-format can deliver, butthat also means there will applicationsand technologies on show that might wellbe worth the attention of the moreestablished players in the sector.

Rating

7/10

When? Where? Cost? Who’ll be there? Should you go?

Print Ireland / Sign and Digital Ireland

12 – 13October,2011

CitywestConventionCentre, Dublin

Free but preregisteronline nearer theshows at www.print-ireland.comorwww.signanddigitalireland.com

It’s too early to put any meat on thebones but keep an eye on thewebsite to see who’s signing up toexhibit.

The last time this event took place wasSeptember 2009 when it was at the RDS inDublin. The organiser says research firmlypoints towards having the show in Octoberand that the Citywest location was chosenbecause of its easy access, free parking andhotel/leisure facilities. If you’re based inIreland this is one for you.

The fourth Fespa Economy Survey shows printers are gearing up for year ofgrowth in 2011. The survey, conducted on behalf of Fespa by InfoTrends at the end of 2010, had 432 respondents

worldwide, almost half being print service providers, the remainder comprising manufacturers (22%) and resellers (18%).

Three-quarters of respondents were evenly split between North America and Europe, with the remainder coming from the

Asian, Middle Eastern, African and South American markets.

reported that sales in the fourthquarter of 2010 were better than2009, 19% said they were betterthan expected, and 39% thoughtthey were as expected.

of all respondents believe the wide-format market has recovered from theeconomic downturn.

Rating

9/10if you arebased inIreland.

25%

50%

expect their businesses to grow in2011, with more than half of thosesurveyed forecasting growth to exceed10%. More than 17% anticipate growthabove 25%.

86%are seeing an increase in requestsfor QR code and other VDP services,and 52% are equipped to meet thisdemand, though the remainder hasno such capability.

40%

reported a spike in interest for 'green' printing.Nearly half of printers have already re-engineeredtheir wide-format production practices to becomemore environmentally-friendly.

45%

Vit

als

tats

Ou

tan

da

bo

ut

66

ForumLS1.qxp:Layout 1 16/2/11 14:16 Page 48

What exactly is VDP that I keep reading about, and why do yousay it’s now becoming increasingly relevant in wide-formatproduction? Can you explain its use in simple terms as I think I’mgetting left behind with not knowing about these technologies. Ionly seem to learn about it when it goes wrong!

In a nutshell, variable data printing stems from the ability to use on-demand

capabilities so that changing text, graphics and other elements can be

incorporated into an existing document during the printing phase without

compromising or slowing down the process. Thus, in wide-format production, if

you were asked to print 500 banners using the same images but which

incorporated, say, a different price or address on each, without automating the individual

elements each job would have to be produced separately.

VDP has evolved through digital printing which can be linked to databases or mail-merge

files to produce mass customisation on all run lengths. We tend to hear tales of woe where

VDP goes wrong, with people sent details of others’ bank accounts for example. But this is

extremely rare. The real key to variable data is to configure the print stream so that repeated

elements are only Ripped once, and the varied data is streamed.

QA

Do I have to use a specialised printer and inks to be able towork with digital textiles, or are there fabrics on the marketwhich are compatible with my solvent-based and UV-curable printers? I’m being asked increasingly for jobs onpolyester-based materials rather than PVCs, and a lot of

these come under the textile heading.

There are, indeed, plenty of materials which come under the digital textile

umbrella but which don’t need to be printed with dedicated machinery or inks.

Several manufacturers and coaters produce media which can be printed on

wide-format machines, including HP’s latex printing technologies as well as

eco-solvent, solvent-based, UV-curable and, even, aqueous-based printers.

Neschen is one specialist in this area and has a good range of products

(www.neschen.co.uk). Another site has a neat selector where you can see which printers

can be used with which materials. CMYUK Digital, recently appointed to handle Berger

textiles in the UK, has developed this easy-to-use specifier at

www.cmyukdigital.com/berger

Q

A

What’s having the greatest impact on yourbusiness at the moment?I would say the economy. 2009 was a tough year for Harrisons - we

learnt a lot about ourselves and came out of it a smarter and more

efficient company which resulted in trebling our 2010 forecasted profits.

Where do you see the greatest wide-formatopportunities?We have invested heavily in wide-format flatbed printing which has

opened up numerous opportunities in the retail sector - the latest is a

project printing direct to toughened glass. The opportunities are

endless.

What would make your day-to-day operationseasier?Longer customer lead times and short customer payment terms!

Your favourite bit of kit is..?As a company it has to be our wide-format Vutek QS flatbed printers.

Personally, it’s got to be my new toy - the iPad.

What’s the best bit of business advice you’vebeen given?You’re only as good as the people around you.

What are you most proud of achieving?Being the fourth generation of a successful family run and family

owned business renowned for its first class service and quality

products.

What lesson does the wide-format sector needto learn?For me it’s all about service and quality. Learn to embrace the ever

changing technology but invest wisely in hardware as there are too

many ‘box shifters’ out there who are happy to take your order then

leave you on your own if there is a problem!

Ove

rto

you

Need technical advice? Email Sophie at [email protected]

Sales Director, Harrisons Signswww.harrisonsigns.co.uk

Richard Hunter

ForumLS1.qxp:Layout 1 16/2/11 14:17 Page 49

68

wide resource

march.2011

wide resource.qxp:Layout 1 25/2/11 18:17 Page 52


wide resource


70 march.2011

wide resource



wide resource

Please forward your CV [email protected]

Ambitious SalesPerson requiredto represent ourDisplay & Signdivision, in

Dublin City andthe surroundingcounties. A

minimum of twoyears salesexperience isrequired.

Telephone 01252 837929 or

www.laminate-it.co.uk for further details

I Im ma a

g ge e

R RE E

P PO O

R RT TS S

M MA A

G G. .C C

O O. .U U

K K

Print Finishing Technician/ Mounter Salary:

24kLocation:

Islington, LondonJob Type:

Permanent

Operating Cold Seal and Heatseallaminating machines. Producing graphics for

PopUps and Rollups. Wrap mounting flatpanels and producing canvas stretch

frames. Butting wallpaper drops. Purchasingmaterials & organising deliveries. Face

mounting Acrylic panels. General finishingand mounting duties. Maintaining qualitycontrol and ensuring work is produced on

time. Occasional installation work.


72 march.2011

web look - software

Industry leading signmaking software. An integrated design,print and cut solution that addresses all of the production

workflows that signmakers face on a day to day basis.

www.cadlink.com

Crimsonwing is an international IT solutions provider,developing and implementing leading-edge technology

and specialises in eCommerce, ERP and customdevelopment solutions. Crimsonwing is a specialist MIS

supplier to the print industry.

www.crimsonwing.com/printVis

As colour management experts Atmos Design areable to offer ColorByte Image Print and Shiraz RIPs atexcellent prices. Call us to discuss your requirements

or visit our website.

www.imaging-expert.co.uk

Headquartered Foster City (Ca, USA), with 23worldwide offices, EFI™ offers value-added

combinations of hardware, software andconsumables to drive the print industry’s

transformation from analogue to digital colour.

www.efi.com

CRM, quoting, contacts, reports, stock control, deliverynotes, invoicing, bill of materials, purchase

orders…Clarity Professional does it all and is thequickest, most accurate software with 2,500 UK users

www.claritypro.co.uk

The Caldera V8 software version powered by Adobe PDFPrint Engine allow PDF files to be rendered natively helping toensure that complex designs and transparency effects. The

new i1Prism engine enhances color separation andmatching in the caldera print workflow.

www.caldera.eu

wide resource


web look - sign & display systems

Innovative tools and everyday essentials, software,framing, cutting mats, benches, storage, Velcro,

adhesives, tapes and fixings, stand-off locators, stainlesssteel brackets, banner equipment...

www.jagtradesupplies.co.uk

Your one-stop-shop for display services to the TRADE.Europe’s leading hardware manufacturer and supplier,

with the widest range of display equipment. Wide-format printing along with hardware for the complete

solution.

www.ultimadisplays.co.uk

Expand International are market leading manufacturersglobally recognised for innovative, easy to use, durable

portable exhibition, display, marketing and communicationequipment. Expand’s products simply and effectively

place your message where it will have maximum impact.

www.expand.info

When you have printed your image and need to display itBoldscan offers a wide range of solutions - frames; pop ups;

roll ups; wall and lamp post fittings etc'.

www.boldscanshop.com

We supply a wide range of display products. Theseinclude pavement signs, snap frames, swing signs, A

frames, chalkboards, banner products, light boxes andmany other items.`

www.arkpresentation.com

Eurostand Display is one of the UK's foremost tradesuppliers of exhibition stands and other graphic

solutions. We pride ourselves on supplying productswhich are crafted from only top grade materials,

finished to an unbeatable standard

www.eurostanddisplay.com

Xpressions, the new generation in fabric pop-updisplays. Numerous configurations, totally green,

and eco friendly, recyclable fabric media. Arevolution in pop-up displays.

Visit our web site to continue the journey...

www.displaytoattract.com

D I S P L A Y T O A T T R A C T

Neil FraserD I S P L A Y S O L U T I O N S L T D

Tecna UK, Manufacturer and Distributor of the T3Airframe and the T3 Fabframe. The World’s most

versatile display systems. Widely used in POS, Retail,Conferences, Exhibitions – ANY customer facing

seamless display

www.tecnauk.com

Suppliers of eyelets and eyeleting equipment for bothlarge and small scale production as well as everything else

to finish banners, including: hemming tape, bungees,welding machines and fixings etc.

www.eyelets.co.uk

Bringing innovation and digitally printable wide formatmagnetic media to the display trade for 38 years. New

wide format (1370mm) PET steel film and foam coremagnetic display boards. Next day delivery as standard.

www.bisbellmagnets.com

PINETREE ENTERPRISES fabricate acrylic andmanufacture, in North Hampshire, a complete

range of support systems for wall, suspended andfree-standing visual displays. Great products,

great service, great value for money!

www.pinetree-enterprises.co.uk

Mid West offers a wide range of competitively priced highquality components ideal for the signage

industry, specialising in next day delivery from large stocks.We even guarantee specials at “off the shelf prices”.

www.midwestdisplays.co.uk


Are you looking for a supplier?Check out the Intelligent Directory

ImaaggeREPORTSMAG.CCO..UKK

on the Image Reports website


74 march.2011

web look - media

Colour Mill Ltd, Distributors for SAM INK, Jetbest &Blackjet inks in the UK. Ink for Roland, Mimaki, Mutoh,

Epson, and HP. HP5000/5500 colour matched inks.Zebra Inkjet media.

www.lfpink.co.uk

Landor UK develops print solutions for the Exhibition,Display, POS and Signage market from our exclusive

Media, Ink, Printer and Software range. Optimum resultswith Water-based, Solvent, Eco-Solvent and UV printers.

www.landoruk.com

Josero Limited is the master distributor for TriangleInx inthe UK, specialising in supplies of digital inks as well as

spare parts, printheads and wide format machines

www.triangleinx.co.uk

RPSD Print Supplies deliver market leading brands of wideformat digital inks and huge range of print consumable

supplies on a next day UK wide delivery service.

www.rpsd.co.uk

Innova Art is a UK based specialist producer of inkjetprintable papers and canvasses for Fine Art, photography

and signage for aqueous and solvent systems.

www.innovaart.com

Neschen manufacture a large range of printable andprotection consumables.

The printable ranges are; Printlux for waterbased andoilbased, Solvoprint for eco solvent, Solvent and UV

curable, and lastly, Solvotex for machines from 2.5m to 5m.

www.neschen.co.uk

QPS Ltd are leading suppliers of third party digitalinks and technical support. With inks for Grand andWide format printers, UV curing printers and textile

applications.

www.qualityprintservices.com

Stretcher bars and consumables for canvas wraps.Textile and fabric specialists supplying fine art

canvas media for aqueous, solvent, UV-curable anddye sub printers.

www.randc.net

The widest range of inks for wide and superwideformat printer

www.sunchemical.com

A superb range of textiles for digital print. Suitablefor flags, banners, retail & exhibition graphics.

Printable by dye sublimation, UV curable & solventprinting with outstanding results. All textiles including

flame retardant options are available from stock.

www.brookinternational.com

Digital Inkjet Printers, Nazdar UV, Solvent and AqueousInk, SA International Photoprint Rip, Engineering

Services and Spare Parts, Trade Printing

www.printersupplies.uk.com

UK based Independent Inkjet Ink manufacturers withISO9001-2008 certification, supplying a comprehensive

range of Eco, Mild & Full Solvent, Industrial Coding &Marking, UV Curing & Water Based Inks.

www.itlgb.com

High quality clean-room manufactured pressuresensitive ultra-clear printable window films. Suitable for

UV and eco-solvent ink-jet with roll widths up to 1560mm.

www.glazingenhancement.com

web look - inks

TOYO INK has manufactured products that are backedby coloring and speciality chemical techniques; such as

inkjet ink, adhesive vinyl, ecological film, and more.

www.toyoinkeurope.com

Essential information for today’s wide-format digital printer



web look - wide format printing machines

Epson’s award-winning large format professional inkjetprinters, wide gamut inks and media produce stunning

results for display graphics, fine art, professionalphotography and proofing applications.

www.epson.co.uk

Graphic Printing Technologies (GPT) has established itself asone of UK’s premier providers of large format printing

solutions with market leading brands from Mimaki, Epson,Canon, HP, Apollo and Seiko.

www.g-p-t.co.uk

DIGIPRINT SUPPLIES™ offers the widest online range oforiginal spare parts, print heads, accessories and tools forwide format digital printers. DIGIPRINT SUPPLIES™ providereliable products, best price, shortest delivery lead-times,

supported by impeccable service.

www.digiprint-supplies.com

Gerber Scientific Products is a leader in the developmentand manufacture of computerized sign making andspecialty graphics systems, software, materials and

accessories. Made in the USA.

www.gspinc.com/catuv

Specialist reseller for Canon, Epson, HP and Mutoh Printersand fully accredited to support EFI, ColorGATE, GMG and

ONYX RIPs. With over 50 independently sourced inkjetmedia products, Colourbyte

offer complete, colour managed print solutions.

www.colourbyte.co.uk

Total print systems management, sales and supportwith extended warranties for wide format printers.

OEM and speciality print media and ink solutions forSeiko, Mimaki, Roland, Epson and HP.

www.printtechnologies.co.uk

Target are Manufacturers and Distributors of CAD-CUT®Textile Vinyl, Heat Applied Custom Transfers, Print and Cut

Media, Hotronix® Heat Presses, Mimaki, Summa andGraphtec Cutters for the Garment Decoration Market.

www.targettransfers.com

Providers of large format printing solutions fromMimaki, Agfa and HP using Solvent, UV

and Latex ink technology. Laminating and cuttingsolutions, Inks and medias also supplied.

www.i-subdigital.com

Specialist in the supply and support of Wide Format TextileDigital Printing Systems including direct to textile and

sublimation applications. Complete ‘turn-key’ solutionsincluding printers, rotary calendars, heatpresses, fabric

steamers, digital fabrics and textile digital inks.

www.rasmart.co.uk

Established 120 years, Granthams mission is to offer the bestpossible service. Granthams offer a range of solutions fromMimaki, Graphtec, Canon, Epson & HP together with inks

and medias.

www.graphicdiscount.co.uk

Spire Digital Solutions are a specialist supplier of RolandWide Format Printers and Printer/Cutters and relatedequipment and accessories. All products including

genuine Roland Eco-Sol Max inks are available on-linefrom our web site at exceptionally competitive prices.

www.spire-digital.co.uk

NEW and REFRURBISHED Wide Format Printers for allleading brands. Systems for direct to textile

applications together with Solvent, Eco Solvent andaqueous printers. All systems with warranties.

www.mclinkmedia.co.uk

Revolution provides "Print and Cut" and "Print for Pay"solutions with expert and accredited colour rip support.We are Canon, Mutoh and Graphtec reseller partnersand authorised installers for ColorGate and Wasatch.

www.revolutiontransfers.co.uk

DPS are a leading reseller of Epson, HP & Canon large formatprinters, ink & media to photographers, fine artists, printshops,commercial printers & other graphics companies throughoutthe UK. DPS offer the most competitive prices, backed up with

market-leading service and support.

www.digitalphotosolutions.co.uk


Colourgen is the UK's leading specialist distributor oflarge format digital colour printing solutions,

consumables and support services. Our range covers wide format inkjet printers from Mutoh,Seiko I Infotech and Epson as well as finishing equipment

from Kala and Seal.

www.colourgen.com


76 march.2011

web look - finishing

Vivid is a UK based designer and manufacturer oflaminating systems, specialising in a wide range of

unique products. Systems range from desktop pouchlaminators to wide format systems designed for a print

shop environment.

www.vivid-online.com

Colourgen is a leading supplier of Kala and Seal wideformat finishing solutions and comsumables for

laminating, mounting and encapsulation applications.We also offer experience technical support services

www.colourgen.com

ClearShield liquid Lamination is an easy to applysolution providing essential UV protection, scratch

resistance and colour enhancement for wide rangingapplications – Fine art, vehicle livery, Signage and

many more.

www.landoruk.com

D & K Europe Ltd manufactures a wide range of Lamination& Encapsulation Machines from desk-top to fully automated

systems. Our film range includes SuperStick® adhesive fordigital output.

www.dkeurope.co.uk

High quality clean-room manufactured pressuresensitive overlaminating and mounting films. Extensive

range including optically clear polyester, matt,textured, anti-glare, anti-graffiti and optically clear

mounting adhesives.

www.glazingenhancement.com

UK based Drytac is one of the world’s most highlyregarded manufacturers of products for graphics

finishing and display, with a sterling reputation for qualityand 32 years experience

www.drytac.co.uk

Ark Presentation ltd are specialist suppliers of smalland wide format laminating machines, binding

systems, rotary trimmers, collator/booklet makersand all print finishing equipment and consumables.

www.arkpresentation.com

GBC-Professional is a leading manufacturer of professionalbinding and laminating solutions. GBC-professional offers

laminating-solutions (equipment/films) for the small-format,wide-format and on-demand digital market. Our brandsinclude NAP-2, Octiva, Arctic-film and Sureprint-media.

www.gbceurope.com

Laminating systems for professionals

www.gmp.comExclusive distributors of James Burn International -

originators & manufacturers of the Wire-O®binding system & versatile Punching solutions - for

offices to factories!

www.simplyprintfinishing.co.uk

Atech Ltd supply a wide range of large format hot andcold lamination machines from the industry's leading

manufacturers as well as finishing films to suit all types ofapplications from their mediAtech range.

www.atech.co.uk

AXYZ is a leading supplier of CNC Routing and knife cuttingmachines for all print finishing applications.

www.axyz.co.uk

Essential information for today’s wide-format digital printer


The Xyron A0 machine applies lamination or lamination oneside and adhesive on the reverse without the need for

heat. No waiting for the machine to warm up.Simply feed inthe item, push the button and trim.

www.laminate-it.co.uk

GPT provides complete solutions based on industry leadingprinting solutions, consumables and services for graphicproduction companies. GPT provides comprehensive

consultancy and after-sales technical support to ensurecustomers maximise their investment in large format solutions.

www.g-p-t.co.uk


HALF PRICE SALE

78 march.2011

Ze

itg

eis

t

FAN

CY

50%

OFF

THE

PRIC

EO

FYO

UR

NEX

TPR

INTE

R?TH

ENC

ON

SID

ERA

USE

DM

AC

HIN

E.JO

SERO

MA

NA

GIN

GD

IREC

TOR

LOIC

DEL

OR

EXPL

AIN

SW

HY

NO

WIS

AG

OO

DTI

ME

TORE

-EVA

LUA

TETH

ESE

CO

ND

HA

ND

MA

RKET

. Once the perishable parts have been replaced or refurbished

the machine will run as new.

Another advantage in getting a machine that has a bit of

‘mileage on the clock’ is that it protects you from problems

new models sometimes pose in terms of stability or

electronic and software updates. It is a bit like buying a new

car; you don't really want to pay huge amounts of money for

the first series of a new model. Early problems are only

found once the machine has been running in a real life

environment.

If you’re thinking of taking your print services into a new

arena, reducing the initial financial commitment to the

lowest point can make good sense. If you are going to dip

your foot into superwide, for instance, isn’t it sensible to do

it with a £50,000 - £100,000 investment as opposed to a

£200,000 - £300,000 one? Buying a used machine can let

you do that.

Of course, if you want to keep up with the Jones’ you can

buy a new machine with the latest features and maybe a bit

more speed. But, in reality, for a few extra square meters per

hour is it really worth an extra £100,000+?

You are talking about savings of up to 50% by investing in

secondhand superwide printers from reliable sources. And

good dealers also offer spare parts, warranties and finance

deals on their machines. Inkjet specialist Josero

(www.Josero.com), for instance, has recently expanded its

offering to include secondhand superwide printers – all of

which are fully refurbished and sold like new. They also

come with a one-year spare parts and labour warranty.

There are now many independent choices on the market

that will allow you to make significant savings while also

giving you peace of mind, so maybe it’s time to re-think the

idea of buying a used printer if you need to invest in

another machine.

Times are tough, margins are tight and sadly companies are

going down. It’s certainly true that, in general, there isn’t as

much business around, and when you do find it you will

probably have to fight harder for it and if you win it, you will

make less margin. You can focus on those negatives and

have a glass half empty approach or you can see them as a

catalyst to you running your business more efficiently and

see your glass as half full instead.

For instance, have you been thinking about expanding

your business? Have you tried to buy a new printer recently?

Been shocked by the price? Struggling to get the finance you

need from the bank? The glass half full approach might be to

look at secondhand printers and re-evaluate their potential

place in your operation.

Over the past few years there have been a fair amount of

poorly maintained secondhand printers on the market -

largely due to previous owners not having the money

and/or inclination to maintain the equipment properly or,

worse still, machines that have been left idle for lengthy

periods of time before being sold off by liquidators. And we

all know inkjet printers do not like to be ignored!

On the face of it, these factors would point to buying such

equipment as being fairly risky, so why would you consider

doing so? Perhaps, because the positives can outweigh the

negatives and there are now some really decent machines

on the market.

Inkjet printing equipment has come a long way in the

past decade and although the machines have constantly

been improving, the print quality has been fairly stable over

the past few years - it’s the speed really that has improved.

The build quality of the machines, as well as the

manufacturers’ experience has also progressed a lot. A

superwide printer which is a couple of years old can now be

considered hardly run in if it has been looked after properly.

At the time of going to press this 2008model was available for £159,000

zeitgeistLS1.qxp:Layout 1 16/2/11 15:09 Page 58

CONSUMABLES P35 6 Image DIGEST REPORTS

Documents

Transcript of CONSUMABLES P35 6 Image DIGEST REPORTS