Business - Knowledge

The announcement this week of the sad demise of American Printer magazine - established in 1883 and one of the most respected industry publications in the USA - has got us mulling over the future of printed publications here at LFR.  This closure is hot on the heels of Reed Business Information divesting itself of Graphics Art Monthly. 

So, we’re thinking... is there actually a place for printed industry publications with the advent of online publishing?

It can be rightly argued that LFR has an agenda here.  Of course we will extol the virtues of online publishing, marketing and advertising over and above printed copy.  It is our very lifeblood.  Nonetheless, there are several irrefutable facts – regardless of where your loyalties lie – that need to be considered.

Firstly, there are too many printed publications vying for the same advertising spend in a market hit badly by the recession.  The UK market is overpopulated with publications serving print, wide format and sign industries and it is inevitable that not all will survive.

Secondly, the costs to publish a hard copy of a publication are significantly higher than those of online publications and it follows that those costs need to be met by higher advertising revenue.  Advertising money that - crucially - many businesses just don’t have at this time.

Thirdly, printed media cannot offer the immediacy of online publications – and therefore their news is not in fact news – it is history.  Online media is immediate almost to the point of danger.  We once got our knuckles rapped for launching the HP DesignJet L25500 latex printer the day before HP themselves had launched it.  Now that’s what you call news (and a worldwide exclusive no less...)

With the advent of the internet and the associated arsenal of online marketing tools including ecasts, websites, social media etc, are magazines becoming less and less relevant for anything other than branding and positioning?

We ran an advertising campaign at LFR recently on behalf of ONYX Graphics.  The company had simultaneously advertised in printed publications and the results were pretty clear. 

Dean Derhak, Marketing Director at ONYX, comments, “LFR is a great vehicle for introducing new products to the global wide format industry.  We recently ran an industry-wide ad campaign and LFR delivered a high global impression total with one of the best per-click rates.  We are very pleased with their professionalism and value the results.”

The way people access their news is changing too.  More and more people are moving to smart phones and access information on the move.  They want easily downloadable, timely and relevant news. 

There are other distinct advantages in disseminating news online, rather than in print.  Online news can provide SEO (search engine optimisation for the uninitiated) value to other websites.  It is easier to search and find online news and readers can easily click through to relevant, linked sites to drill down further on any subjects of interest.  Finally, online news has a far larger reach as it can be easily syndicated by other online communities.

Of course, there will always be a place for printed media.  It is unlikely someone is going to read an in-depth report or white paper online.  Ditto, a detailed technical document.  Saying that, we all said that e-readers such as Kindle would never take the place of books.  Yet according to acknowledged publishing expert, John Kremer, in response to a question on eBook sales: “As of January [2011], Amazon reported that it sold 115 Kindle eBooks for every 100 paperbacks it sold – and three times the number of hardcovers it sold...”

One thing is for certain though: the future of publishing – and especially where news is concerned – lies with the internet.  Online publishing is immediate.  It is cost-effective.  The only way to go is online.

To invest, or not to invest?  That is this week’s question posed by Peter French, Projects Manager at Chelmsford-based Signtec Signmakers, in his second ‘Your View’ article...

“I remember, about 6 years ago, attending a seminar held by a leading large format printer manufacturer when one of the delegates uttered the words 'All I Need is a 610 Plotter and a Gerber Edge' as we both stood watching a machine roll out 1370 wide print.

As we stood there, I asked him whether he was considering buying such a printer and maybe that’s why he was at the seminar.  “No” came the prompt reply.  “All my customers are happy with cut vinyl and I’ve got the Edge II if I need to print a logo or two”.  We parted at that point. He wandered off back into his dream world and I continued to look in wonder at the capabilities of the machinery on show.

It was only about 8 years ago when we relied almost totally on a trusty 610 plotter.  At that time, we were one of the few small signmakers in the area who had an Edge II so became the trade supplier for “full colour” work.  About that time, we started to look at large format printing with solvent machines.  Certainly we were starting to be asked for more elaborate graphics for vehicles and customers’ requirements for banners became more demanding.  We invested in a moderate 1370 printer and, after about 10 rolls of material and 6 months, we became almost competent with it!

In 2008, we invested again, this time in UV print, buying an Agfa Anapurna M. At a shade over £70K, this was significant. However, the footprint of the machine is 7m x 4m! So add to this the storage of materials and enough room to manoeuvre a 3m x 1.5m alupanel, you are paying a sizeable amount in rent and rates just to have the machine standing there.  Now, owning a flat bed changes everything.  Materials are delivered by lorry on a pallet, a set of inks will clearout an average sign maker’s bank account in seconds and the waste materials will fill an industrial wheelie bin every day.  The learning curve is steep.  Although the “M” is a relatively dumb machine in microchip technology terms, it is mechanically complex and seems to have been designed by someone with more confidence in fluid mechanics than I have. The way it gets ink to a moving head is another wonder of the world.   I always believed that the inventor of these machines built a prototype on the bench to demonstrate the concept, and the manufacturer simply boxed up the prototype without any rationalisation in design.  That said, they work very well.

Despite all the above, our investment in large format printing has been a success to the extent that, at a conservative estimate, 70% of all our work is now print.  Certainly, in some areas the flat bed makes us extremely competitive on price.  Take Correx builders’ boards for example.  Made from cut vinyl, it can take you half an hour to make one, whereas with the flatbed it now takes me 6 minutes.

As staffing gets more and more expensive, it makes absolute sense to invest in technology that not only speeds up the process of sign making for the Friday afternoon “can’t wait” customer, but also greatly reduces bench time and bench resources.  If I could source enough full colour work to run 8 hours a day, I could produce £3,500 of work per day.  And that is just one man with an Anapurna and a wall saw.  The reality is that sourcing that amount of work even in the good times is extremely difficult.  However, I am running at least 3 hours a day on a variety of materials and the time the Anapurna saves me I can spend looking for new customers and providing a better service for my existing customers.

Without doubt, buying into large format is not for the faint-hearted.  Whilst the cost of entry explained by the salesman seems attractive, in reality this is just the start.  The overheads and costs increase dramatically in areas such as maintenance, accommodation, materials, and inks. Then there is business continuity to consider.  What are you going to do if the machine breaks down for a couple of days?  Can you source print from somewhere else nearby to keep you running?

And one final word of warning: carelessness may cost you everything. There are 6 heads on the Anapurna - each one will cost over £2000 to replace and taking out a maintenance contract won’t necessarily cover you for damage to the heads.  One upturned corner of a piece of dibond will rip apart all 6 heads in one pass of the print shuttle rendering the machine useless and likely to remain useless for several days whilst new heads are ordered. Poor maintenance can cause printing to fail, rendering a whole sheet of material wasted.  These are complex machines which need care and understanding if you are to get the most out of your investment.

Would we have survived the last 3 years without a flatbed?  I don’t think so. The capabilities, flexibility, increased product range, speed of production and reduced effort has underpinned the successful growth of this business substantially.”

About the author of this article:  Peter French has been working in the sign industry for 9 years having spent a lifetime in IT. Specialising in kick-starting businesses, Peter worked in many diverse business sectors.  For most of the time at Signtec, he has been at the forefront of large format printing with both solvent and UV technologies.

Is there something in the industry particularly bugging you at the minute?  If so, please email your views and opinions to abi@largeformatreview.com

 

 

INK JET ACADEMY – PRACTICE OF INK JET TECHNOLOGY
Letchworth, UK - October 10-13, 2011
www.imieurope.com

The Practice of Ink Jet Technology is an intensive course that provides the chance to get your hands dirty! Aimed at chemists and scientists who want to improve their level of ink jet practical expertise, the course is hosted at Xennia Technology’s laboratories at Letchworth, UK, mid-way between London and Cambridge. This is your chance to save months of moving up the learning curve by gaining knowledge rapidly via our intensive programme.

The course coverage includes:

Introduction to ink design & testing
Critical aspects, physical properties, ink types
Technology demonstrations
Operating a range of ink jet printing equipment
Overview of ink manufacturing
Mixing, milling, dispersions and filtration, scale up from lab to manufacture, manufacturing quality control practices
Practical Ink Making
Mixing, preparing pigment dispersions, filtration, physical characterization and QC process
Ink jet characterization of different inks and diagnosing performance
The effect of waveform on drop break-up, ligament and satellite formation for good and bad inks, droplet break-up, ligament behaviour, satellite formation
Measuring application and substrate properties of print
Image characterization techniques, factors affecting print quality, techniques to measure adhesion, scratch resistance, abrasion, optical density and other end user properties
Ink jet Configurations
XYZ printing systems, reel to reel/web based systems, fixed array/scanning
Ink jet integration and maintenance issues & demonstrations
Current ink jet developments and trends
Ink jet surgery
Question and answer sessions

All of this is packed into our course held over 4 days.  Numbers are strictly limited so please contact us as soon as possible to reserve a place.

Full course details and registration are available at www.imieurope.com or email enquiries to christine@imieurope.com

Full details on our web site www.imieurope.com .


Further courses also coming this Fall are:

19th Annual European Ink Jet Printing Conference

November 9-11, 2011

Ink Jet Academy: Theory of Ink Jet Technology
November 7-8, 2011

AWA Inkjet Label & Packaging Print Seminar
November 8-9, 2011
Sheraton Lisboa Hotel
Lisbon, Portugal

8th Annual Security Printing Conference
November 16-18, 2011
Hollywood Beach Marriott
Hollywood (Ft. Lauderdale), Florida

The most comprehensive introductory narrative available on the science and engineering behind UV LEDs has been completed with RadTech’s publication of “Part 3: Diode Manufacturing and Evolution”.

Researched and penned by Jennifer Heathcote, General Manager, North America for UV LED pioneer Integration Technology Ltd (ITL) , the article is the third installment in a three part series designed to consolidate key principles and technical information regarding the science and engineering behind UV LEDs.

This article completes the already-published “Part I: Operation and Measurement” and “Part II: Curing Systems” and acts as foretaste of a more comprehensive 12-chapter book co-authored by Jennifer Heathcote and Paul Mills planned for publication later in the year.

The three articles can be accessed at http://www.uvintegration.com/downloads/

To become a member of RadTech or to subscribe to the RadTech Report, visit http://www.radtech.org/

Ambitious West Midlands art students eager to begin a career in the competitive commercial world are being given a helping hand by one of the biggest names in the print and signs business.

Birmingham-based Hollywood Monster has forged a partnership with Dudley College to offer students work experience opportunities and projects that will potentially see some of their work featured at a new college building currently under development.

Tim Andrews, managing director of Hollywood Monster, recently welcomed the students to the company’s impressive headquarters in Tyseley. They were treated to a tour where they saw how original designs are impressively transformed into banners, hoardings and signs for customers across the country.

Hollywood Monster employs around 65 people and works with major companies including Next, Virgin Media, LilyWhites, Debenhams, Ann Summers, Coach, Whistles, HMV, Westfield, Carillion, Morgan Sindall, Lovell Homes, Redrow and Bovis Homes.  Sectors it is active in include commercial and residential property, construction, retail, corporate, exhibition, outdoor media, event, stadium, museum and theatrical.

Ben Gamble, centre manager for art, design and media at Dudley College, said: “Students from our extended Diploma Graphic Design and Interior Design course visited Hollywood Monster to develop a working relationship through work experience and future live projects with Dudley College.

“The students were extremely impressed with the printing facilities and structure of the business and were given a personal tour by managing director Tim Andrews.  Staff and students are very excited to be working alongside the company on new initiatives.”

These may include large format displays of collaborative work in Dudley College’s impressive new Evolve campus building which is due to be completed in 2012.

Hollywood Monster will also be offering work experience to students. Ben added: “It is refreshing to see a company actively encourage working partnerships with creative students especially in the current economic climate. I am really looking forward to developing our curriculum with creative companies like Hollywood Monster.”

Tim said: “It’s a tough world out there for young people trying to get a foothold in their chosen career so we are delighted to be able to offer students work experience opportunities and the chance to get involved in commercial projects. I’m looking forward to seeing how they progress and we hope that our support will give them the edge when applying for jobs in the sector.”

Hollywood Monster has invested heavily in state-of-the-art printing technology enabling it to produce enormous banners and advertising hoardings at high-profile sites including sports stadiums, festivals, rock and pop concerts, shopping centres and property developments.

For more information, please contact Tim Andrews on 07774 100013 or visit www.hollywoodmonster.co.uk

Mutoh and Avery Dennison team-up to hold three more car wrap classes throughout the United States this year. Classes begin at $399 and all students receive over $600 worth of tools and media kits just for attending!

Classes provide an in-depth understanding of how to properly wrap almost any vehicle and gain a competitive edge in the wrap industry.

Professional car wrap instructor, Justin Pate, will teach each of these classes using his, easy to learn, Universal Graphics Installation System (UGIS).

"Over my 15-year career, I have wrapped more than 2,500 vehicles. I developed my Universal Graphics Installation System as a result of that experience. UGIS is a fluid, easy-to-learn installation system that reduces mistakes and ensures quality, resulting in a significantly lower install times," shares Pate.

The workshop will include a 2 day class (with optional 3rd day certification exam) that will focus on properties of the film, recessed areas, proper tool use, tips and tricks and cleaning of the wrap process.

"Mutoh experienced a very successful 2010 with our car wrap classes, and we are looking forward to partnering with Avery Dennison for the ten classes offered in 2011," shares Brian Phipps, General Manager of Mutoh America Inc. "New this year, students can receive Avery certification that can enhance their businesses; we look forward to continuing to help the wrap industry grow!"

Participants of the class will receive a NT Cutter A-551P knife, Avery Dennison toolkit, Martor safety box, 25 yard rolls of MPI1005 Super Cast Easy Apply RS and DOL1360, and a 30 percent coupon for purchases at www.learntowrapcars.com

Class sessions will be held at the following locations:

September 12-14
Atlanta, GA
Mutoh Southeast Regional Office

October 27-29
Chicago, IL
Modagrafics

November 7-9
Seattle, WA
To Be Announced

Cost for the 2 day class, plus 3rd day certification exam is $599. Certification is available for non-class attendees at $299 per exam. Each classes allows for 15 students, spots fill quickly so sign up now at http://na.averygraphics.com/AvGrNA_avery_wrap_school.asp

Mutoh printer owners are encouraged to sign up at www.carwraps101.com free of charge. This site offers a multitude of information on car wraps and can prepare students for certification testing.