SD 111 - jul-augsigndirectionsonline.co.uk/wp-content/uploads/2013/... · Mimaki’s new JV400 LX printer,which marks the company’s first foray into latex ink.Hybrid Services,Mimaki’s

IN THIS ISSUE

THE MIMAKIFICATION OF LATEX HYBRID UNVEILS THE JV400 LX

A QUESTION OF QUALITY YOU KNOW IT MAKES SENSE!

MATERIAL MATTERS THE LATEST RIGID AND FLEXIBLE MEDIA OPTIONS

www.signdirections.co.uk www.graphicdisplaycommunity.com

April/May 2012 - No.124

www.bsga.co.uk

Link Signs & Graphics helpsto bring the Beatles to life

DoubleTrouble!

Sign Directions April/May 2012 | 3

April/May 2012

What’s in this issue…

signdirections

4 Setting the Scene - What’s in this issue of Sign Directions

6 News Briefing -Our regular news round-up

10 Projects - The latest application stories

12 Supplier News - News from around the industry

16 Equipment & Materials - Some of the newest product releases

Sign Directions Hotline:If you would like to contact any ofthe companies featured in thisissue of Sign Directions, pleasecontact us on Tel: 01623 882398for full company information, or alternatively, [email protected] for a response by return.

Coming Next:The next issue of Sign Directionswill be the June issue, which willinclude special features on Routing& Engraving and Printwear &Promotions

What’s in this issue…

p22 p32Projects- Applications in Action

Innovation - The Mimakification of latex

Cover Story - Double trouble

news

Innovation

22 The Mimakification of latex - Hybrid Services unveils the JV400 LX

Special Feature – A question of quality

24 Good Design Pays - Val Hirst discovers why quality will out

26 The only way is up!

- David Catanach makes the case for proper pricing

28 Does it print? - Mark Godden looks at digital media

30 Light relief - Mike Hall explains the intricacies of ECA

34 Cover Story - Double Trouble at Madam Tussauds

Digital Directions

34 Digital News - The latest digital updates

36 My Way - Worthwhile investments

40 Sign & Digital UK 2012 Review - Show highlights

44 Sign Awards - The winners!

Special Feature – Signmaking Materials

50 Material Matters – Some of the latest flexible and rigid material choices

features

20 Tips & Tricks - Fujifilm’s Euromedia Q & A Column

48 Go with the Flow - Software under the spotlight

59 Classified - The industry’s marketplace

60 Directory - The Who’s Who of the sign industry

62 Last Word - Mark Godden focuses on application

information

Publisher/Managing EditorVal Hirst Tel: 01623 882398e-mail: [email protected]

Deputy EditorMike Connolly Tel: 01737 842410e-mail: [email protected]

Associate EditorMichael Lyons Tel: 01277 650037e-mail: [email protected]

Contributing Editor Mark Godden Tel: 07717 885325e-mail: [email protected]

Art EditorHina Mistry Tel: 07773 319465e-mail: [email protected]

ContributorsZinnia CordellAlicia Fairlie

Cover PhotographyCourtesy of Link Signs & Graphics

Head Office & Data Base ManagementTrinity Creative Ltd.Unit 1B Melrose NurseriesLongland Lane, Farnsfield, NewarkNottingham NG22 8HD

Tel: 01623 882398e-mail: [email protected]

Annual Subscription Rates:UK £50 $78 €78Europe £93 $143 €145Rest of the World: £114 $178 €178Agents can claim a l0% discount

No part of this publication may be reproduced without the writtenconsent of the publishers. Editorial photographs supplied courtesy ofthe companies they feature. The publishers accept no responsibility forany statement made in signed contributions or those reproduced fromany other source, nor for claims made in any advertisement. SignDirections is available to individuals who qualify within the terms of acontrolled circulation

Special Feature – Material Matters

p50p10


April/May 2012

Introduction

Fortunately, there was much amusement to be had during the day’s

televised question time debate in the House of Commons, where Jeremy

Hunt, the beleaguered Culture Secretary was defending his relationship

with the Murdochs. Whist Jeremy, displaying all the oleaginous charm that

frequently causes people to mispronounce his surname, vehemently

protested his innocence, claiming that it was all the fault of his special

adviser, it was interesting to study the faces of those sitting behind him.

Cleggy, looking as sick as the proverbial parrot was ruefully facing the

unpalatable fact that his new career as a house husband edges daily

nearer, while the smarmily gormless Boy George was obviously just

waiting for the moment that he could divest himself of his human skin and

reveal the lizard that lurks beneath. (Question to self: Can lizards add up?

Can they read? It explains everything really, doesn’t it?).

At the same time, a whey-faced ‘Call me Dave’ actually threw back his head

in despair at one point, no doubt in order to get a better look at the last

vestiges of hope, as it scampered over the horizon with its arse on fire.

‘Call me Dave’, is only too aware that when the Culture Secretary goes, he’s

the last one in the firing line. Suddenly all that hobnobbing with the

Chipping Sodbury set doesn’t seem like such a good idea after all, does it

Dave?

setting the

sceneOn the day that it was announced that, technically speaking atleast, the UK was slipping into the second part of a double-diprecession and despite our current drought status, the rainrelentlessly continued, we had to take our pleasures whereverwe could find them.


signdirectionsThen dear old Dennis Skinner shambled to his feet to echo Nadine Dorries’

shrewd observation of the previous day, relating to the arrogance of

Cameron and Osborne and the cost of milk, to proclaim: “When things go

wrong, posh boys blame the servants!” What a wag!

Later, further interest was provided on the opposition benches, as Ed the

Red shrugged off his habitual adenoidal ennui and sprang into life with a

rare display of spirited eloquence, when he accused the Coalition of

‘manufacturing the recession in Downing Street!’ Harriet Harman on his

left, resembled nothing so much as a nervous mother watching her child

stutter his way through his first school nativity play. Never mind that he

only had one line, every fibre of her being was willing him to do it well.

And he did! The nervous expression was quickly superseded by one of

quiet maternal pride.

Meanwhile, on his right, Yvette Cooper, revealing all of the early tell-tale

signs of a stealthy glamover, sporting freshly highlighted hair and a smart

new green jacket, quivered with ill-concealed anticipation, A thought

bubble suspended above her head would probably have read: “ After you

Ed, anyone would look good and when Gok’s work is done, I’m going to be

FAB-U-LOUS!”

Since then of course, there’s been further turmoil, with the local elections

proving disastrous for the Coalition, the booting out of Sarkozy and Greece

more or less stuffing its austerity budget where the sun don’t shine.

But happily, the corresponding jitters of the money markets don’t yet

seem to be influencing the signmakers who flocked to Sign & Digital UK

and who are now eagerly awaiting the installation of the equipment they

so enthusiastically purchased at the show. For edited highlights of the

event, turn to pages 38-45. Many of the show’s visitors were intrigued by

Mimaki’s new JV400 LX printer, which marks the company’s first foray into

latex ink. Hybrid Services, Mimaki’s UK and Ireland Distributor reveal all of

the advantages this can offer on pages 22-23. On pages 24- 31, A question

of quality, looks at the many different ways that quality of lack of it, can

impact, for good and for ill, upon a signmaker’s success and profitability,

while our main feature, Material Matters, which starts on page 50,

highlights some of the latest rigid and flexible material options. And this

month, Mark Godden, following in the footsteps of Phil and Kirsty, declares

that it’s all about Application, Application, Application! while our cover

story showcases Link Signs & Graphics’ work for Blackpool’s swish new

Madame Tussauds. Elsewhere, you’ll find all of our regular news pages.

Our June issue, which is all set to be another bumper edition, will include

two special features, one on routing and engraving and the other covering

printwear and promotions, but between now and its publication we have

the 'joyful prospect of seeing ‘Call me Dave’ squirm as he tries to explain

to the Leveson Inquiry just why he felt it necessary to send so many texts

to Rebekah Brooks.

I don’t know about you, but I can hardly wait!

Val Hirst – Editor

Email: [email protected]

Twitter: @Valthemaghag

Web: www.signdirections.co.uk and

www.graphicdisplaycommunity.com

Faversham House hasannounced that Digital Print UKwill move forward from itscurrent slot in September 2012to take place in the autumn of2013.

Explaining that this change follows

extensive consultations with

industry suppliers who are already

facing budget constraints in a Drupa

year, Rudi Blackett, Show Director for

Digital Print UK, said: “The consistent

feedback we’ve received is that there

is a demand for a digital print-

specific show that provides a mix of

advice, demonstrations and working

applications, all in one place, at one

time to provide real business value.

All that’s changing now is the date,

which will also provide us with more

time to model the show to further

suit exhibitor and visitor

requirements, thus ensuring

considerable benefits for

everybody.”

Chris Rushton, Sales Manager for

Digital Print UK, added: “Companies

that had made firm bookings for the

event originally planned for

September 2012 have reconfirmed

their support for the show, which will

build on the successful Sign & Digital

UK formula, which, once again in

2012, was a hugely popular event.”

For further information visit:www.digitalprintuk.net


news briefing

Digital Print UKdate moved

Signmaker Horizon Signs andits sister company, HorizonBSF, the education sectorspecialist, have merged,together with a number ofother divisions to form TheHorizon Group in order tomore effectively deliver itsdiverse range of products toits expanding client base.

Working out of a 30,000sq.ft

manufacturing facility in

Huddersfield, West Yorkshire, the

group now also includes Horizon

PTI, which specialises in transport

sector signage, Horizon

Fabrications, a bespoke

metalwork provider and Horizon

Powder Coating, which offers an

onsite paint finish resource.

For further information visit:visit www.thehorizon-group.co.uk

A merger on the horizon

The Horizon Group Directors L to R – Ross Ball, Keith Ball & George Foster

The Cardiff branch of Signs Expresswas recently commissioned to wrapa new Audi A1 car that was used topromote the Richard Parks’ 737Challenge.

This global ‘first’ race saw Richard

striving to become the first person to

climb the famous seven summits on

each of the world’s continents and

stand on all three poles (the North Pole,

the South Pole and the summit of

Mount Everest) within a seven-month

period, in order to raise a predicted £1

million in support of the Marie Curie

Cancer Care charity.

Amazingly, Richard achieved his

incredible goal in just over six months,

with the fundraising continuing via a

special competition that will run until

midnight on 12th July 2012 with a brand

new Audi A1 donated by Mon Motors

Audi as the winner’s prize

For the vehicle wrap, Signs Express

chose the high-performance and ultra-

conformable Controltac Graphic Film

IJ380 from 3M. This was printed with

eye-catching graphics combining black-

and-white photography with rough

edges and complex typography created

by the fundraiser’s design partner

Limegreentangerine to convey the

Challenge’s message to the public.

Suitable for high-quality screen and

digital printing, the film incorporates

3M’s Controltac Adhesive technology,

which enables vehicle wrappers to

reposition the graphics-applied film at

will, until perfect application is achieved.

Co-owner of Signs Express (Cardiff),

Grant Zehetmayr commented: “As a

keen extreme sports fan and graphic

arts enthusiast, it was a great project in

which to get involved. We have

completed vehicle wraps for other

customers on this scale but never with

such a high profile and for such a

worthwhile cause.”

For further information on 3Mgraphic solutions, visit:www.3M.co.uk/graphicsolutions andfor further information on thecompetition visit:www.737challenge.com

3M and Signs Express support 737 Challenge

Will Tyler, Chief Executive of

Octink, has been invited to join thejudging panel for the Queen’s

Awards for Enterprise, in the

category of Sustainable

Development.

The awards, which are made

annually by HM The Queen,

recognise the highest levels of

excellence demonstrated by UK

businesses in the categories of

Innovation, International Trade and

Sustainable Development.

For further information visit:ww.octink.com

Bowden and Dolphin has won a

major new contract to provide the

signage package for Yardley's SwanCentre, which will include the

design and manufacture of

directional signage as well as front-

of-house signs for the shopping

centre itself

Located on a 100,000 sq. ft site, the

shopping centre comprises 26 retail

units in total, including Tesco Extra,

Costa, Specsavers, and Pets 4 U.

For further information visit:w w w . b o w d e n a n ddolphinsigns.co


news

Metamark has

appointed NeillBoatman to

the role of

Territory Sales

M a n a g e r

covering the

south east of the UK.

Neill, who has been involved in

the material and media supply

markets for a number of years, is

already a familiar face within the

industry and, since he previously

ran his own company in the

graphics sector, he also knows the

industry from both sides of the

counter.

He joins Metamark at a

particularly busy time in the

company's development and is

looking forward to showing its

large portfolio of products,

together with some exciting new

additions to both established and

new customers.

Canon has

a p p o i n t e d

Rokus vanIperen as the

new President

& CEO of Canon Europe, Middle

East and Africa (EMEA). He

becomes the first European to

lead Canon’s business across the

EMEA region, succeeding

Ryoichi Bamba, who is retiring

after four years in the role and 40

years with Canon.

Rokus Van Iperen previously

served as Chairman & CEO of Océ

N.V., which was acquired by

Canon Inc. in March 2010. He

originally joined Océ N.V. in 1978,

where his key achievements

included the acquisitions and

subsequent integration of the

Siemens Nixdorf Printing Division

and Imagistics Inc. into the Océ

organisation.

Mimaki has

r e c e n t l y

announced that

its current

Executive Vice-

P r e s i d e n t ,

H i s a y u k iKobayashi, is to become the

company’s new President

following the retirement of MikioNoguchi, in late June. .

Appointments

In Brief


newsnews briefing

showtime

DIA

RY D

ATE

S FO

R 2012 Marketing Week Live 2012

27th-28th JuneGrand Hall, Olympia, London Organiser: Centaure-mail: [email protected]

Viscom France 201225th-27th SeptemberParis Nord VillepinteOrganiser: Reed ExpoTel: +33 1475 66 782e-mail: [email protected]

EcoPrint26th-27th SeptemberThe Station, Potsdamer Platz, BerlinOrganiser: FM BrooksTel: 01372 370821e-mail: [email protected]

Viscom Italy 20124th-6th OctoberFiera Milano, MilanOrganiser: Reed ExpoTel: +39 02 435 170-1e-mail: [email protected]

Sign & Digital Ireland 2012 24th-25th OctoberCitywest Convention Centre, Dublin, IrelandOrganiser: Faversham House GroupTel: 0208 651 7155www.signuk.com

Viscom Germany 201225th-27th OctoberExhibition Centre, FrankfurtOrganiser: Reed ExpoTel: +49 211 90191-219e-mail: [email protected]

If you would like your event to feature on this page,please send full information via e-mail to Val Hirst [email protected]

As part of its ‘Do more. Be More’

awareness-raising poster

campaign, the Territorial Army

(TA) and out-of-home advertising

company Clear Channel

commissioned Prismaflex UK to

install an illuminated poster on

one of the peaks of the Brecon

Beacons mountain range in Wales.

The location for many of the training

exercises carried out by part-time

soldiers, who have served recently in

the British Army in Afghanistan and

Iraq, the Brecon Beacons provided the

TA’s installation team with a plethora

of challenges, not least of which was

the weather!

Primasflex, which is based in

Newhaven, Sussex, selected its largest

standard format for the mountain

posting, a 96-sheet made of mesh and

in total, the installation necessitated

the transportation of three and a half

tonnes of kit up the mountain, Corn

Du, including the poster itself, the

frame and the electrics for the hoped-

for illumination

“This was clearly a big test for the TA

but also for us,” said Prismaflex’s

Managing Director, Tom Weaver. “Our

posters work well on the high street

but we’d never tried to erect one on a

windswept mountain before!”

The intrepid TA team’s first attempt

was confounded by the climate when

a storm made the first peak unsafe for

climbers, let alone poster installers, but

the second attempt worked, even

though weather conditions were still

uncomfortably blustery. Happily,

when the poster was switched on, the

TA’s bold slogan could be seen blazing

away over the foggy peaks.

Tom Weaver commented: “I was

amazed at the skill and commitment

shown by the TA team and, since their

motto is ‘nothing is impossible.’ I was

both pleased and relieved that we

didn’t let them down!”

To watch the installation visit:

h t t p : / /www . a rmy .mod . uk /

join/26838.aspx

For further information on

Prismaflex visit:

www.prismaflex.com

Nothing is impossible!

‘Don’t look down!’ was the

excellent advice that Lisa Metcalfwas given before she and her

fiancé, Ian Moncrief, recently

risked life and limb abseiling from

the top of Bristol’s Premier Inn

hotel, which at 200 ft tall, is one of

the city’s highest hotels. Lisa, who

is Roland DG (UK)’s Marketing

Manger, and Ian, braved the wind

and rain in order to make a

successful descent that raised over

£800.00 for CLIC Sargent, the

children’s cancer charity.

Anyone wishing to make adonation can do so by visitingwww.clicsargent.co.uk

Don’t Look Down!

Lisa descends the Premier Innto raise money for CLIC

Lisa and Iain descend the Premier Inn

new projects

projectsINSA | London 2012 Olympic and Paralympic Games | University of Salford | Boodies |

Salford City Stadium

Sign Directions April / May2012 | 10

new

Renowned UK artist INSA, who has beenproducing his unique artwork for more thanten years, commissioned BAF Graphics todigitally print and install fabric-backedwallcovering in order to showcase his one-night installation entitled ‘Self Reflection is

greater than Self Projection’. The exhibition,which draws on familiar INSA themes, such associety’s twin obsessions with money andimage, was held in London's Shoreditch areaand featured 160m2 of wall covered inDigimura 2.1 Smooth and 60m2 of Aslan floor

vinyl with anti-slip laminate. The entireprinting and installation process was carriedout by BAF and documented from start tofinish.

For further information visit:www.baf.co.uk

Icon worked closely withAdidas to deliver the launch ofTeam GB's athletes’ kit for theforthcoming London 2012Olympic and ParalympicGames at a star-studded eventheld at the Tower of London.Icon constructed a temporarystructure in the grounds of theTower, which had a seatingcapacity of 250. In addition,there was a 12-metrecatwalk/stage. The kit, designedfor Adidas by Stella McCartney,

was modelled by Team GBathletes, including Jessica Ennisand Phillips Idowu, whoshowed it off in dramaticfashion with state of the art,laser mapped projectionbringing the stage set to life,whilst video content featuringsome of the athletes provided adramatic backdrop for on-stageperformances.

For further information visit:www.icon-world.com

Photo courtesy of Ian Cox

The ground floor of theUniversity of Salford’s uniquedigital learning, teaching andresearch space, which opened lastOctober at Salford’sMediaCityUK, is now dominatedby a digital interactive showcasethat includes a formalpresentation space and teninteractive touch tables designedto engage visitors. The centralfeature is a high-resolution displaywall made up from 120 ChristieMicroTiles, which are able todisplay images of 9600-3840resolution.

The building is home to 1500students and staff, offering bothundergraduate and postgraduatecourses in all aspects of radio, TV,computer games, and digitalmedia production, as well asproviding research facilities.

The entrance area of the newbuilding itself is known as ‘TheEgg’, and is described as ‘a publiclyaccessible digital interactiveshowcase for visitors andstudents’. It has been designed asa flexible space where resourcescan be deployed in different ways,with cameras and PC’s installed formotion tracking.

The Centre prepared the originaltechnical design for VirtualEnvironments at the University ofSalford and Electrosonic wasawarded the contract to engineerand install the complete system.The MicroTiles wall has initiallybeen installed as a 15 x 8 array;however in future, the tiles may beredeployed to achieve project-specific layouts.

For further information visit:www.christiedigital.eu

Sign Directions April / May 2012 | 11

Boodles, one of the UK’smost highly respected jewellers,with stores located throughoutthe UK, recently commissionedPaul Turner Displays, withwhom it has a longstandingrelationship, to produce its newseason shop fronts and internaldisplays. Whilst ensuring thatinstallation provided for aseamless transition between thenew spring look and the

previous Christmas theme, PaulTurner Displays also had toproduce each display, which hadto be individually crafted in orderto fit the varying window sizeswithin the different Boodles’stores, so that they could beeasily assembled by store staff,

For further information visit: www.paulturnerdisplays.co.uk

Following its earliersuccessful branding of thenew Premiere Grandstandat Fontwell Park Racecoursein West Sussex, Sign 2000was again nominated byleading land regenerationand construction contractorBuckingham Group tomanufacture and installsignage at the newlydeveloped Salford CityStadium. Home to SuperLeague rugby team theSalford Reds, the stadiumwas built on a brown field site andincorporates a banqueting andconference suite and seating for12,000 spectators.

The signage covered the exterior ofthe stadium and the back wall ofthe reception area. The main IDbranding comprised a host of built-up fascia and halo-lit letterstogether with supplementary fourmetre-wide club brand logos andlow-level club shop, ticket officeand entrance signage. Main brand

logos and larger text were deliveredin two stages, with a first-fixstructural steelwork with stud rodsinstalled by Sign 2000 prior toinstallation of a plasterboard wallcovering by the principalcontractor. This preparatory workwas carried out to support thesignage that was superimposedonto the façade cladding featuringa special finish.

For further information visitwww.sign2000.co.uk


news briefing

Supplier News

In order to maintain its long-term

growth strategy, W&Co Design

Solutions has moved into new,

larger premises located at

Lakeside in Essex.

The purpose built commercial unit,

which has been specially customised

to suit W&Co’s precise requirements,

provides the company with three

times as much warehouse space as its

previous premises and will thus

enable it to increase its stockholding,

which it claims, will also lead to a

reduction of its stock prices. In

addition, the new unit will provide

twice as much production space, plus

1000sq.ft of first floor office space and

a dedicated 400sq.ft. showroom that

will be used to display the company’s

energy efficient displays and signs.

Appropriately, for a company that

majors on its energy efficient and

recyclable products, W& Co has

installed low energy LED lighting

throughout the property, using the

same slim line LED light panels and

LED tubes that it also now offers its

clients.

For further information visit:

www.w-co.co.uk

W&Co is on the move

Following recent calls for a

patriotic economic policy, UK Point

of Sale (UK POS) has thrown its

support behind the campaign

developed by Stoves, which was

launched to encourage UK

businesses to promote and display

the official ‘Made in Britain’ logo

on their products.

The company will thus be adopting the

‘Made in Britain’ logo and displaying it

alongside products which are

manufactured from acrylic and PVC at

its site in Greater Manchester.


www.ukpos.com

UK POS fliesthe flag

PaperlinX has agreed to sell its

Italian business, Polyedra, to

Lecta, the European Paper

manufacturer, for €45 million.

Commenting on the sale, PaperlinX

Executive Vice President Dave Allen

said: “It will reduce debt and fund

essential restructuring in Europe. The

purchase price after transaction costs

and repayment of related debt in

Italy, is expected to release

approximately €13m (A$17m) in net

proceeds.”

The multi-phase restructuring of

PaperlinX’s business was a headline

issue in the Interim Results

announcement earlier this year and

the company expects it to realise

savings of A$61m by FY14.

Dave Allen continued: “We have a

profitable UK business and this

purchase clearly shows there is value

in PaperlinX. However, given the

continued uncertainty of world paper

markets, aggressive cost reduction is

our most important initiative for the

next two years. Every one percent

reduction in our cost to sales ratio

represents some A$40m. We are

aiming for a three percent total cost

reduction, half of which will be

generated from the current plans by

FY14.”

The sale is subject to the usual

regulatory approvals and a final value

audit.


www.paperlinx.com

PaperlinX sells Polyedra

Following its win last year of

the Silver Award, AntalisMcNaughton has achieved the

Gold Award in the RoSPAOccupational Health and

Safety Awards 2012, for its approach

to the prevention of accidents

and ill health. The Awards

programme is designed to provide

recognition for the winners and to

encourage other organisations to

raise their standards of accident and

ill health prevention.

For further information visit:www.antalis-mcnaughton.co.uk

Digiprint Supplies, the on-line,one-stop shop for spare parts,

accessories, software and tools for all

eco-solvent, solvent and UV digital

wide format printers has now also

become a distributor for Purexfume extraction systems, including

the Purex Captivair Max system,

which is compatible with all of the

popular makes of printer.

For further information visit:www.digiprintsupplies.com

The Warwickshire-basedIndustrial Adhesive Solutions(Indasol) has acquiredAvanti Tapesin a deal that will enable Indasol to

add new products and services to its

extensive range of specialist

industrial adhesives and tape

solutions.

For further informationvisit:www.indasol.co.uk

Following an agreement made

between Reklamide AB, the

manufacturers of the RollsRoller

Flatbed Applicator, Spandex Grouphas been granted international

distribution rights covering fourteen

countries. Thus, Spandex UK has

now been appointed as a further UK

distributor of the RollsRoller

Applicator series, which will also

continue to be available from

William Smith, who has distributed

the RollsRoller for the past seven

years.

For further information visit:www.williamsmith.co.uk andwww.spandex.co.uk.

In Brief


Powered access provider Smart

Platform Rental has marked its

tenth anniversary of hiring

self-drive truck mounted

cherry pickers with the recent

opening of its third depot in

Manchester.

The 6,700 sq.ft. facility is sited in

Trafford Park which is located only

four minutes from the M60

Manchester Orbital and 15

minutes from the M6, thus offering

easy access to Greater Manchester,

Merseyside, Lancashire and

Cheshire, as well as trans Pennine

routes. It also expands the existing

Smart network; the Sutton

Coldfield branch serving the

Midlands and Hemel Hempstead

depot supplying the south east.


www.smartplatforms.co.uk

A smart expansion

Metamark’s hefty

‘Brick’ SignVinyl

and Speciality

Materials swatch

now has a

somewhat lighter-

weight cousin,

which Metamark

refers to as the e-

Brick.

This new innovation

takes a useful chunk of the Metamark

Brick’s contents, the four series and

seven series SignVinyl ranges, and packs

it into an intuitive and easy-to-use

iPhone app that makes material colour

selection and specification even easier.

The new app uses the iPhone’s camera

to capture images of anything its user

might want to survey. The captured

images can be saved and subsequently

examined in close detail using a

touch-controlled cursor. The app

dynamically calculates and displays the

closest available Metamark SignVinyl

matches for the image area under the

cursor’s focus.

Captured images and corresponding

selected matches can be saved for

future reference and the entire swatch

can also be browsed without making a

match reference to an image. Full

product data sheets are also stored

within the app and it’s possible to e-mail

Metamark directly from the application.

The app is available free of charge on

Apple’s app store listed under ‘e-Brick’.


www.metamark.co.uk

Metamark launches e-Brick app

news

news briefing newsSupplier News

Tecna Display has won theQueen’s Award for Enterprise inInternational Trade in respect ofT3, its advanced modular displaysystem.

A strong, lightweight, fast and easy

to build framework, which, when

clad in graphics, can be used to

create exhibition stands, walls and

retail and POS displays, T3 has been

used for many high profile projects

and companies worldwide. In fact,

over the last three years, Tecna has

seen overseas sales of the product

increase by an incredible 92 percent.

Jonathan Evitt, owner of Tecna and

also the designer of the T3 products

commented: “The last three years

have been very challenging for the

display and exhibitions industry, but

we have managed to buck the trend

by developing a high quality product

that stands out in the market place.

The Queen’s Award is a huge honour

and we are absolutely delighted as it

recognises the hard work that we

and our global distributors have put

into the brand.”

For more information visit:www.tecnadisplay.com.

Metamark has introduced itsnew Digital Media and SignVinylProduct and Price Guides, whichreveal that the company’spricing structures remainunchanged.

The new guides continue to detail

the full range of Metamark Digital

Media, as well as its range of

SignVinyl and speciality materials.

Both material ranges have grown

and the new guides also detail the

new material and media

introductions. The company’s class-

leading value, shipping costs and

pricing policies remain unchanged

and Metamark claims that if the

product appears in the price guide,

it’s also in stock and ready to

despatch the day it’s ordered. In

order to

m a i n t a i n

this level of

c u s t o m e r

service the

company has

r e c e n t l y

relocated to

larger distribution

premises that are

better able to

accommodate its

larger inventory and

handle increased

order traffic.

In addition to despatching customer

orders the day they’re placed,

Metamark will also despatch sample

rolls of materials and media the day

they are requested too.

Both guides are available free ofchange by [email protected] or bycalling Metamark’s sales desk on0845 3455645

EFI has acquired NanoPrint, a

miniaturisation company

based in American Samoa.

The company plans to use the

NanoPrint technology to

release a Micro-VUTEk

pocket-printer, driven by a

Fiery Mini-RIP, for the

creation of many unique, on-

demand applications,

including individual business

cards, labels, ID tags, and e-

signatures.

Current CEO Edward Minimi will

step down and CTO Michael

Smolen will take on the role as

the new general manager of EFI

Miniature Printing in American

Samoa.

In a separate announcement, EFI

revealed that it has also acquired

the privately held Metrics

Sistemas de Informacao, a

leader in ERP (MIS) systems for

the printing and packaging

industries in Latin America.

Based in Sao Paulo, Brazil, Metrics

has built a base of more than 250

customers in Brazil and Latin

America during the past 14 years.

Now, the company, under the

leadership of Osmar Barbosa, co-

founder and CEO of Metrics, will

become part of EFI's software

applications portfolio. EFI intends

to integrate support and

operation of Metrics into the

existing Business Software

organisation, while continuing to

enhance the product offerings.

While financial terms of these

transactions were not disclosed,

the acquisitions are not expected

to be material to EFI's 2012

results.


www.efi.com

EFI on theacquisitiontrail


Queen’s Award for Tecna

Metamark issuesnew price guides


William Smith is now supplyingHP PVC-Free Wall Paper, whichprovides signmakers with ahigh quality, odour freealternative to vinyl for use inshort or long-term interiordisplay and decorativeapplications.

Offering vibrant colour

reproduction and high definition

details, HP Wall Paper is ideal for

wall murals and other creative

displays with an ultra smooth finish.

The material comes pre-pasted for

easy application, strips off easily and

is easier to dispose of than

traditional PVC-based products.

As well as meeting commercial wall

covering standards, it is also flame

retardant, comes with an HP

warranty for clean removal and has

an indoor durability of up to 20

years, dependent upon location.

HP PVC-Free Wall Paper is available

in 1372mm (54in) x 30.5m (100ft)

rolls and same day despatch is

offered on orders received up to

6.00pm.

For further information visit:www.williamsmith.co.uk

Another hang-up

Two new Avery FleXtreme‘micro-squeegees’ are the latestadditions to the professionalAvery Tools range from AveryDennison.

Developed in close co-operation

with Avery Dennison’s professional

tool applicator network across

Europe, Avery FleXtreme squeegees

are specifically intended for intricate

vinyl graphics applications featuring

very tight, compressed compound

curves and other narrow substrate

indentations.

Supplied in a specially designed

plastic grip that fits easily into the

Avery Toolbelt, the products are

available in two logo-branded

versions, with the blue version being

designed to facilitate film application

in areas of narrow curves and over

the edges of car panels, and to

ensure that the film conforms

appropriately around the edges of

logos and emblems. The red version

is the ideal choice for film application

over narrow, concave parts of a car,

such as the grille, around the

headlights and the weatherseals

around doors and windows.

Available in boxes of 25 per quality,

they are available from Avery

Dennison Graphics and Reflective

Solutions distributors throughout

Europe.

For further informationvisit:www.europe.averygraphics.com

Super squeegees

news briefing

Equipment & Material


Doming has become one of themost widely used technologiesthrough which sign manufacturerscan introduce a vital new revenuestream by extending their coreactivities to include theproduction of nameplates, labels,badges and decals as well as a hostof garment and accessorydecoration applications.

The highly innovative PolyDrop

doming system, which is now

available in the UK from its recently

appointed exclusive distributor

Graphtec GB and its dealer network,

offers the most cost-effective route to

these potentially lucrative new

markets.

The system, which is manufactured in

Italy by a company with 30-year history

of producing high-quality

polyurethane and epoxy resins central

to the doming process, is supplied

with a start-up kit that includes both

manual and automatic feed functions,

resin dispenser and polyurethane

doming resins and hardeners. The

PolyDrop solution dispenses the

polyurethane resin to a wide range of

substrates commonly used in

signmaking, including ABS, vinyl,

polystyrene, polycarbonate,

aluminium and acrylic, as well as

fabrics such as Lycra, cotton, cotton

mixes and nylon used in the printwear

and promotional products sector.

The Tex Drop application of the

system uses a thermo-adhesive film on

to which an image is printed, cut out

and then domed with a choice of resin,

including a special glitter effect option,

using an industry-standard heat press

that helps accelerate the doming

process. Polyurethane resins are

extremely flexible and provide a high

level of resistance to solvents, abrasion

and UV degradation. They are also

completely safe to handle and

available in different approved grades

for a wide range of interior and exterior

applications.

The resin can be applied using a

choice of either manual or automatic

feed functions. The manual function

enables the creation of, for example,

domed labels in any shape and size in

a particularly intuitive way, while the

automatic function will enable around

1,400 labels to be domed in just one

hour.

The system is extremely easy to

operate and requires no special

training or operator skills. It also

requires only standard signmaking

software and a desktop space to start

the process and to show a fast return

on investment for all users.

For further information visitwww.graphtecgb.co.uk

Dome, sweet dome!

With materials constantlyevolving to suit the demandsof ever more adventurousapplications, there is an evengreater need for precision,especially in the area ofvehicle wrapping.

This is why Metamark has

introduced Vehicle Magnets,

which are designed to hold

printed vehicle graphics in place

whilst they are being applied,

thus making the whole

application process much easier

for the applicator.

The rubber-coated magnets are

43mm in diameter and, with a

60mm handle, they’re easy to

position and remove. Sold in

pairs, Metamark’s Vehicle

Magnets will appeal to busy

wrap-stars everywhere.

For further information visit:www.metamark.co.uk

Magneticappeal

news


news briefing newsEquipment & Material

Components can now begiven a whole newdimension without anyinvestment in equipment,thanks to a new service fromBPD Manufacturing.

With 20 years’ experience in the

quality application of spray

satin, gloss, textured,

woodgrain and splatter surface

finishes, BPD has recently

expanded its range of 500

standard colours with the

addition of a further 15 new

shades, for application to

plastics including PVC-u, ABS,

GRP, nylon and polyethylene,

metal, wood and glass. The

company delivers a finish that is

colourful yet scratch resistant,

UV stable and guaranteed

weatherproof for 10 years. Anti-

graffiti and fire-retardant

options are also available.

Using specialist computerised

equipment, BPD has the further

capability to create any RAL or

Pantone colour, or colour-

match as required, on orders

from ‘one-off’ prototypes to

large volume batches, coating

the whole unit, or selected faces

or sections as required.

For further information visit:www .bu i l d i ngp r odu c tdesign.com

A perfectfinish

3M has combined the 3MScotchcal Graphic Film Series IJ40with the new Scotchcal Over-laminate 8019/8020 to provide ahighly competitive integratedgraphics solution. This latestoffering again demonstrates 3M’sability to meet a wide range ofcustomer needs, including highperformance products at anaccessible cost.

Scotchcal Graphic Film Series IJ40 is a

five-year polymeric film available in a

gloss or matte finish with either a

permanent or removable pressure-

sensitive adhesive, with or without

3M Comply air release technology.

The majority of films feature a grey,

pigmented adhesive that offers

excellent hiding power for

applications requiring this particular

performance enhancement.

Scotchcal Over-laminate 8019/8020 is

a transparent polymeric laminate

material, also available in either a

gloss or matte format, with a

pressure-sensitive adhesive. Both

films can be converted using solvent-

based piezo inkjet printing systems

and are covered by the 3M MCS

(Matched Component System)

Warranty for appropriate

intermediate applications.

This new integrated graphics solution

can be used for a range of diverse

applications involving flat or gently

curved surfaces, including vehicle

fleet and window graphics, interior

and exterior signage and backlit signs

and displays. The solution is available

from 3M primary distributors William

Smith and Spandex.

For further information, visitw w w . 3 M . c o . u k / g r a p h i c solutions

A cunning combination

Cheshire West and ChesterCouncil recently specified Stylosfingerposts from William Smithfor use along a 3KM length of anold railway corridor to create atraffic-free route and to link upwith the existing ChesterMillennium Greenway.

On this occasion, three-armed Stylos

units were stove enamelled dark

green with white text applied to both

sides of the arms, in order to meet the

regulatory style of Greenway signs, but

a wide choice of styles and colourways

ensures that Stylos fingerposts blend

sympathetically with both urban and

rural environments.

Designed to point in up to eight

different directions, they feature a

concealed internal fixing system,

comprising an inner post into which

the pre-drilled aluminium arms are

slotted and secured into position. This

enables the fingers to be securely set

either at one height or at several

different levels. Available as complete

units or supplied in component form,

Stylos is offered in a range of finishes

including anti-graffiti film.

In addition, William Smith can create a

range of bespoke features, such as

specially designed and manufactured

finial caps, incorporation of special

crests and logos, and specific colour

matches, so that Sylos can be used to

complement other street furniture

and signage.


Stylos points the way



We’ve been asked toprovide some exteriorfloor graphics for one ofour regular customers.

The graphics are going to beplaced on concrete outside of abusy shopping area so must behard wearing and have theability to be easily removed andthen replaced every so often. Doyou have any suggestions?

Jezebel Signs, Northallerton

There are floor graphics

that are suitable for

outdoor usage, typically

concrete and asphalt, but as the

majority of coverings designed for

this purpose would be a permanent

fixture you would need to make sure

that you choose a floor covering that

is short-term, removable and residue

free, in order to ensure that there is

no unwanted adhesive left behind

when you want to change them.

The ideal product to look for is a

dual-purpose vinyl that is suitable for

outdoor usage on rough surfaces,

such as pavement and tarmac, as

this will be more robust and

therefore resistant to scratches and

footsteps. As the graphics are going

to be placed in a high footfall area,

the safest option is to use a non-slip

laminate along with the vinyl. Not

only will the laminate provide the

graphics with non-slip properties

but it will also offer added protection

from dirt and abrasions, thus

providing vibrant results for a longer

time period.

For the best results you also need to

source a high quality white gloss

vinyl that enables you to produce a

high contrast, brilliant print image

that also achieves outstanding

opacity, which counteracts any

show-through of dark surfaces it

may be adhered to.

There are two products in the

Euromedia range that would be

suitable for your customer’s

requirements and which tick all of

the boxes listed above; these are

Street Vinyl and Street Laminate.

Stick to these guidelines (no pun

intended) to ensure you get vibrant,

non-slip floor graphics that your

customer can remove (residue-free)

and update whenever they want.

Good luck!

For further information on theEuromedia range of productsvisit: www.euromedia-eu.com

Q

A

In its latest advice column, Fujifilm’s Euromedia experts advise on thesuitability of floor graphics for placement onto concrete

information

Tips and Tricks

Perspex Distribution Limitedhas added the full range ofSloanLED products tocomplement its extensiverange of Perspex cast acrylicand thermoplastic sheets,thus enabling signmakers,specifiers and designers topurchase both LED productsand specialist Perspex sheetsfrom a single supply source.

In addition to the new range,

Perspex Distribution will also be

providing a free estimate and

layout service, together with

expert advice and support.

“We continue to listen to the

changing requirements within

the sign industry,” explained

Craig Dodson, Director at

Perspex Distribution, “and this

new partnership with SloanLED

will enable our customers to

easily access what we believe to

be the best quality LEDs in the

market. Our expanding range

of specialist Perspex material

for LED use further

demonstrates our continued

focus on providing quality

material for the sign industry.”

Recent product development

includes Perspex Spectrum LED,

developed for signmakers and

designers who are looking to

make an impact with light.

Using white LEDs, Perspex

Spectrum colours have been

specially formulated to give

optimised colour performance

with both transmitted and

reflected light.

Commenting on its decision to

supply Perspex Distribution

Barry Blythe, Sales Director at

SloanLED, said: “We are

delighted to be working

alongside Perspex Distribution

and believe that our SloanLED

products offer the superior

brightness that will be the

perfect complement to their

specialist LED materials.

Perspex Distribution will stock

our full range of LEDs,

combining over 50 years of

product development with the

very best customer support.”

As well as stocking SloanLED

products, Perspex Distribution

supply a complete range of

semi-finished plastics including

Perspex acrylic sheet, extruded

acrylic, rod & tube, Alupanel

aluminium composite, Bencore

composite, Polycarbonate,

APET & PETG, foamed PVC, rigid

PVC and polystyrene.

For a free LED estimate orfurther information onSloanLED products visitwww.perspex.co.uk.

The future is bright

Lighting



innovation

When HP first introduced theconcept of latex ink back in 2008, itheralded a new era of moreenvironmentally friendly printedsigns and graphics, which,nevertheless, still retained all ofthe well-documented advantagesof solvent inks, in terms of a richand vibrant colour gamut and longterm outdoor durability.

I can remember being at that

particular press launch and can also

recall the mild scepticism that initially

greeted this new ink technology, but

HP was obviously right on the money,

because since then, the demand for

greener graphics has grown

exponentially. An aqueous resin-based

ink, which has no odour and which

emits no hazardous compounds, thus

eliminating the need for fume

extraction or ventilation equipment,

the demand for latex printing

technology was initially fuelled by the

many leading retailers, who having

nailed their own environmental

colours firmly to the mast, felt duty

bound to insist that their in-store

displays were solvent free. However,

latex printing has since become much

more mainstream, with many other

categories of customer now also

requesting ‘greener graphics’ too. This

trend is reflected in the fact that HP

reputedly sold a substantial number of

latex printers within the UK during the

past year.

Now, Mimaki is all set to further

advance the momentum with the

introduction of its new JV400 LX, a

printer that will help to ensure that

latex printing becomes the default

printing mode for sign and display

companies everywhere.

To learn more and to see the machine

properly in action, I visit Crewe-based

Hybrid Services, Mimaki’s UK and

Ireland distributor, where Sales

Manager John de la Roche and

Marketing Manager Duncan Jefferies

are on hand to discuss the benefits of

latex printing in general and the more

specific charms of the JV400 LX.

According to John de la Roche, the

JV400 LX, which is available in a choice

of two widths, 1.3m and 1.6m, and can

be used in either four or six colour

configurations, offers two very specific

in-built advantages: Firstly, it benefits

from the impeccable pedigree that its

JV status confers and secondly, it offers

a white ink option, something that is

totally new in the world of latex

printing and which significantly

expands the scope of possible

applications.

John explains that the machine also

scores another first, in as much as the

JV400 LX is one of the first of a whole

raft of new Mimaki printers to use a

new style piezo print engine that

employs 320 nozzles per head to

deliver a four picolitre dot size,

together with variable

dot technology to ensure high

quality print. Regular Mimaki users will

also be reassured to know that this

new innovation has been

masterminded by Shinichi Uehara,

General Manager of Mimaki’s Sign and

Graphics Business Unit and the man

who developed the whole JV series of

machines, including the JV3 which is

widely credited as being the machine

that really spearheaded the uptake of

digital printing within the sign

industry. Its ease-of-use benefits, in

terms of being plug and play and

requiring minimal maintenance or

engineer related intervention are thus

safely assured.

“What the new head development

means in practice,” John says, “is that

the printheads use less ink, print

quality remains consistently high and,

unlike thermal printheads, they don’t

need frequent replacement, so waste

is reduced with obvious cost-saving

benefits for users and the

environment”.

In addition, the provision of a second

ink cartridge for each ink colour, which

automatically kicks in when the first

cartridge is empty, means the machine

can be safely left to run unattended

overnight if desired, further improving

productivity. The cartridges

themselves are supplied as 600cc sacks

that fit neatly into Mimaki’s Eco Cases,

which as well as reducing packaging

requirements

and shipping

volumes, also help to

further bolster the machine’s green

credentials

John goes on to say that Mimaki has

ensured that the JV400 LX can be used

in conjunction with the widest

possible selection of materials by

cleverly reducing the traditionally high

curing temperatures required to

provide dry-to-touch latex output that

can immediately be laminated or

packed for despatch. Its new latex ink

is quick drying, and is aided and

abetted by the printer’s three heaters –

pre-print, print and post-print – all of

which run at temperatures of below

60C. These are further complemented

with built-in drying fans, with the

result that the printed output needs

no ‘gassing-off’ time.

Referring to the JV400 LX that currently

takes pride of place in the company’s

demo suite, John confides: “We are

experimenting with lots of different

substrates and are very excited about

some of the effects that we are

achieving on all sorts of unusual

materials.”

John flicks the ‘on’ switch and I witness

the JV400 LX’s fast start-up from cold,

yet another benefit of the lower curing

temperatures that are such a big

feature of the machine, as it begins to

print a vibrant floral pattern onto

The product that caused the biggest buzz atthe recent FESPA and Sign & Digital UKexhibitions was undoubtedly Mimaki’s new JV400LX wide format printer, which uses Mimaki’s newlatex ink to take digital printing to a whole newlevel. Val Hirst reports

The Mimakificationof Latex


In marketing speak, ‘whitespace’ defines a condition whereneeds are not met by currentlyavailable products. White spacesometimes only becomesobvious when a new productfirst generates a demand for itslogical successor - HP’s latex inkis an example. No sooner was itintroduced, than the marketbegan to ask: ‘where’s the whiteink?” The answer comes in theshape of Mimaki’s new JV400 LXseries printer and the seven-colour, white included, latexinkset it uses.

Mimaki has a huge equity with

legions of very satisfied businesses

operating printers with a JV prefix.

Now, those users have a clearly lit

career path to greener pastures with

Mimaki and to elevated standards of

productivity, ease of use and

outright versatility.

New print hardware often has to

fight its corner behind specmanship

and Top-Gear like 0-60 times. The

new JV400 LX series can do that too,

but it can also engage what to many

will be new tactics to land its

knockout punches. It’s not just a fast

printer, it’s an amazingly productive

one too.

Output that emerges from the JV400

LX series is ready to roll and put in a

box for shipping - it doesn’t smell. It

can be laminated without waiting

for hours - it’s dry and fully cured-

out. It can be applied immediately to

whatever substrate - it’s genuinely

ready-to-use. Being able to use

printed output without waiting

doesn’t erode lead times - it

absolutely flattens them.

With droplet sizes as small as four

pico-litres and a big bag of smarts

controlling ink delivery, quality from

the JV400 LX series is going to satisfy

the closest and most critical scrutiny.

With much lower drying

temperatures than might be

expected, the JV400 LX isn’t exactly

narrowly talented in terms of the

media it can handle either. It uses all

the industry staples, such as vinyl

and then some, such as textiles –

printing with the same ink. It’s a

potent mix of application led

versatility and the means to go after

any and all work that comes its way.

White ink underscores the JV400 LX

series’ versatility even further. It

opens the applications mix to

include a whole class of output that’s

simply off limits to printers without

white ink. Add to that the low-odour

and benign environmental signature

delivered as standard, and the new

Mimaki printer looks as capable of

attracting first time buyers to the JV

fold as it clearly is of retaining

established Mimaki users.

The new JV400 LX series is bristling

with innovation, not least its MCT

system. Mimaki Circulation

Technology keeps the white

pigments in suspension in the ink

without any manual intervention

from the operator. That means great

looking whites - always. The printer

also boasts a failure averting nozzle

recovery function, and who needs

bulk ink when you can have

continuous supply and no

interruptions to production?

It ticks all the right boxes in an

outright specification comparison

but promises much more in the

simple and very practical terms on

which it appeals. Superb, odour free

output with touch-button simplicity.

Output that’s ready to use as soon as

it’s printed. Fewer customer

objections. More application

possibilities.

White space? Consider it filled!

wallpaper in its fastest mode of

18.1sq.m/hr. The highest quality

output can be achieved at speeds of

12-14sq.m/hr.

Duncan Jefferies believes that this

wider choice of media, together with

the white ink, which is available as a

seventh colour when users opt to

use the six colour inkset, will help to

secure the JV400 LX a reputation as

the most versatile all-rounder.

He observes: “It will enable our

customers to deliver high quality

output for use in a wide range of

different applications at high speed,

whilst also satisfying the increasing

demand for ecologically responsible

print. Whatever the application,

whether it’s signs, banners, POP,

exhibition graphics, soft signage –

the JV400 LX can do it all!”

Priced at just under £23,000 for the

JV400-130LX and just below £25,000

for the JV400-160LX, he adds that for

the many sign companies who

originally entered the digital arena

some years ago and who are now

ready to re-invest in equipment, the

Mimaki latex printer also represents

excellent value for money.

From everything I’ve seen so far I

think it could well prove to be the

best investment signmakers will ever

make – will you be one of them?

The Mimaki JV400 LX printer is available through HybridServices’ specialist resellernetwork. For further informationor to arrange a demonstrationvisit: www.hybridservices.co.uk

Here, Mark Godden, who first saw the JV400 LX in action at FESPA in Barcelona, where Mimaki received 150 pre-orders,explains why he believes the machine’s white ink option will help to fill ‘white space’.

Filling the white space

A question of quality


When Mark Godden penned hispiece for last month’s issue, heobviously tapped into aconundrum that is taxing manysignmakers at present – namelyhow to uphold quality during thischallenging economic climate,when often, it seems, it’s thecompany that quotes the lowestprice who waltzes away with theproject, even though that mightmean using inappropriatematerials and/or installationtechniques.

It’s a curious thing, but ever since I first

came into the sign industry in 1990,

I’ve been struck by the seeming

reluctance of sign companies to realise

a proper profit. In fact, I’d go as far as

to say that in their approach to

business, signmakers go all girly. Whist

companies operating in other

industries proudly boast about how

much money they are making,

signmakers almost seem to vie with

each other to make as little as they

possibly can on every job, no matter

how prestigious or complex it might

be. Instead of going in bullishly with a

price roughly double what they really

expect to make, you can almost see

them standing there clutching their

hands and saying “Ooh no, please

don’t pay me too much – I’m really

rubbish me!”

This has had the disastrous effect of

persuading just about everyone – sign

buyers, main contractors, architects,

designers, specifiers, Uncle Tom

Cobley and all - that good signing can

be easily achieved for a tiny fraction of

the overall cost of any project. And,

during a time of economic restraint

everyone simply expects that the

already low price should be further

reduced, even thoughcosts are still

rising.

By setting such a low benchmark for

themselves over the years, many

signmakers have ruled themselves out

of the quality market, which is fine if

every job is viewed as a ‘one hit

wonder’, but does nothing to foster

on-going client relationships.

So how to redress the balance? David

Catanach, Mark Godden and Mike Hall

offer their suggestions overleaf, whilst

below, author, poet and artist John

Ruskin offers some sound words of

wisdom and Jamie Wood of

Onthecase illustrates why the quality

option is always the best one.

Originally formed in the spring of2009, Onthecase, the supplier ofhigh quality modular Showcases, isowned and managed by JamieWood, who as the former ManagingDirector of Wood & Wood Signs, acompany renowned for its stylishlyunderstated signage schemes, andSignsystems, a leading provider ofmodular sign systems, has clockedup an impressive 30 years ofmanagement experience within thesign industry.

It is logical therefore, to suppose that

when it comes to signage, he knows

what he is talking about. Jamie has

spent a lifetime dealing with brand

owners, designers and specifiers and he

is convinced that when it comes to the

final analysis, customers care more

about value for money than getting a

‘bargain’ especially when that bargain

often comes at a very high price.

To illustrate this philosophy he cites the

example of projects he completed at

the Tate in 2000 and the Wales

Millennium Centre in 2002. He

remembers: “These projects were

completed by my former company

Signsystems, which was acquired by

Allsigns early in 2009. However, I

retained the rights to one of our

bestselling products, the Showcase

range when I set up Onthecase and this

was the system that we used for the

Tate and Millennium Centre signage.

We have also used it more recently for

signage projects at a number of

landmark locations, including Oxford

University, Buckingham Palace, Natural

History Museum, Museum of London,

The London Eye, St Paul’s Cathedral and

the Royal Shakespeare Company, to

name but a few.

Jamie continues: “Whilst compiling a

selection of application shots for our

own publicity purposes, we revisited the

Tate and Millenium Centre signs and I’m

Good design pays

Mark Godden’s piece on quality for his Last Word slot in theMarch issue provoked so much response that it seems that heunwittingly touched a nerve. Val Hirst reports

“It's unwise to pay too much, but it's worse to pay too little.When you pay too much, you lose a little money - that's all.When you pay too little, you sometimes lose everything,because the thing you bought was incapable of doing thething it was bought to do. The common law of businessbalance prohibits paying a little and getting a lot - it can't bedone. If you deal with the lowest bidder, it is well to addsomething for the risk you run, and if you do that you will

have enough to pay for something better.”

John Ruskin 1819 –1900

special feature


pleased to say that we found them looking as

good as new – the photographs shown here

were taken in January of this year. It is a great

testimony to the product that following

respectively 12 and 10 years of exposure to both

the British climate and the general public, they

are still going strong and continue to be used on

a regular basis, with the graphics being refreshed

whenever necessary.

“I think it shows that its is worth paying a little

more for well designed and engineered products

that will retain their appeal over the long haul.”

These cases in question are constructed from

powder coated aluminium, feature 4mm

toughened glass covers and are top hinged with

gas cylinders for easy opening. Frost proof

security locks are located under the frame, and

the design allows for specially punched holes, so

that the air is free to circulate, thus avoiding any

condensation issues.

Jamie adds that although Onthecase does

provide a trade service, architects and designers,

who appreciate the aesthetic appeal of its

systems as well as their practical attributes and

durability, more often specify its products, as with

Vitrum, a frameless, back lit LED monolith and

wall mounted system which it installed at the

Royal Shakespeare Company. Wall mounted

cases have also recently been specified for

installation at the newly re-furbished Iron Monger

Row Baths in London, which will be opening this

summer. They also seem to appreciate

Onthecase’s capacity for innovation, such as its

new range of solar powered showcases and

bollards, which will be launched shortly.

Jamie explains: ‘Although signmakers often

assume that clients will be frightened by the

higher cost of a quality system, I usually find that

clients just want to get the best all round deal and

while a ‘cheap as chips’ system might be the right

choice for a short term application, something

more robustly constructed is always a better

option when they require longevity.”

He admits that he is sometime frustrated by the

refusal of some sign companies to put their trust

in their own skills. He opines: “Signmakers do,

after all, have a lot more to offer than a simple

product procurement, customisation and

installation service. They are –or they should be -

uniquely placed to advise on every aspect of sign

usage, including design, material selection, safety

issues, running costs and maintenance and this is

part of what clients are, or should be paying for.”

He adds, though, that a select number of sign

companies who share his philosophy who have

achieved great success selling Onthecase

products. These companies include

Greenbarnes, Rivermeade, Westmorland Signs,

Spectrum and Wood & Wood, as well as

Marshalls, a leading street furniture company.

Proof indeed that raising the bar does pay! Jamie

concludes: If all signmakers took a similarly

professional approach, it would help to elevate

the whole industry and signs would eventually

be accorded the level of deference they deserve,

becoming a more important and integral part of

any project rather than just an after thought.”

And what’s the betting that he’s right?

For further information on Onthecase, visit:www.onthecase.com


The only way is up!As thec u r r e n tDirector ofthe BSGAand assomeonewho alsohas hands-

on experience of the supply side ofthe sign industry, David Catanachexplains why he feels that when itcomes to quality, there’s only oneway to go – up!

The fact is that ‘quality’ makes sound

business sense. If you supply a quality

product and service, the likelihood is

that you will get repeat business and at

a price that not only helps keeps the

margins high, but also keeps you in

business.

It is a simple fact of life - people buy from

people: if you provide something that

doesn’t live up to expectations, you are

unlikely to be given the opportunity to

supply again to a customer who feels

cheated.

By the way, I am not advocating that any

of this is easy. Just claiming you

produce a quality product doesn’t cut it.

The implementation of quality

standards needs to become a ‘lifestyle’.

Otherwise, why do companies such as

Waitrose, British Airways, Mercedes, and

Bang & Olufsen still flourish in a market

that provides competition such as

Netto, Ryan Air, Perodua and Logik?

Buyers aren’t stupid and all have the

ability to match any quality with any

price and we all look at a price to see if

we can get the same thing elsewhere

for less.

There is nothing wrong with comparing

prices from more than one source. If it is

exactly like for like, it will be the quality of

service that determines where you

decide to buy from and whether you go

back again.

A couple of anecdotes illustrate what

I’m on about:

In the first, I was providing technical

support in a pitch for a project that

included a large number of post and

panel signs in the first of a five-phase

project. Having established and satisfied

the client that the materials, fabrication

and installation processes to be used

were of the right quality, would last the

duration and look the business, we

came to the question of costs.

My colleague’s words were: ‘This phase

will cost £35,500 including installation,

but we can do it cheaper if required’.

In the de-brief he explained that he was

worried that the £35k would have

priced him out of this and the other

phases, and if he had to reduce his price,

he could change the specification to

‘materials from other sources’ as they

would ‘do the job just as well’. To me this

approach was so wrong on so many

levels and I still shudder when I think

about it.

He did go back with a lower price, won

the job and used different materials to

those originally specified. However, he

later had to replace about 25 percent of

the signs he produced using the inferior

materials and he wasn’t asked back to

quote for phases two to five.

The sign company that won phases two

to five stuck to the original spec, went

on to do three more sites for the client

and are now that client’s first choice for

providing signs.

In the second case, a customer only had

a limited budget to spend on a sign

above a shop front. To meet the financial

restrictions, the sign company supplied a

framed sign using banner material.

However, it failed to mention that,

because of the materials used, the sign

was only temporary, and would not last

longer than six months at most.

You can probably guess the rest. The

sign failed after just four months.

So, who was at fault? The customer laid

the blame squarely on the signmaker. It

delivered within budget, but failed

totally to explain the pitfalls to the

customer. The arguments rolled on for

months and, needless-to-say, the

customer never placed any business

with that particular signmaker again.

As I said, it’s not easy, but if you build

quality into every aspect of your business

practice - from how you present yourself

and your business, through your

dealings with customers, to the finished

products - your reputation will grow and

so will your business – good luck!

For further information visit:www.bsga.co.uk

special feature

Quality is never an accident; it is always the result of highintention, sincere effort, intelligent direction and skillful

execution; it represents the wise choice of many alternatives.

William A Foster, Igniting the Spirit at Work: Daily Reflections

Quality means doing it right when no one is looking.

Henry Ford, quoted in Elizabeth Dole's

Hearts Touched with Fire



Does it print?

When I interviewed Mike Stuart,Marketing Director of Metamark,he espoused the view that in orderto achieve what everyone agrees isan optimum result a deliberateapproach in materials formulationis required, together with someidea of what the desired end-stateshould looks like. He said: “Nowthat there’s an establishedappetite for printing on widelydiffering substrates, to deliverwidely differing results, it’s moreimportant than ever to have a basecase defined for quality overall.”

He went on to add that some of the

materials in Metamark’s portfolio of

digital materials produce results that

bear little physical resemblance to the

data intent that’s input. He said:

“Window films are a good case in

point. There is no base colour, so the

output doesn’t stand comparison or

measure with any standard. It does

however produce very satisfied end

users. Despite the lack of a colour

fidelity reference though, we’d argue

that the whole notion of such

materials being “digital” is something

for critical users to consider.”

The Metamark view is that digital

materials should hold ink in respectable

amounts, dry without complications,

transport without causing mechanical

problems, and be clean enough to

apply. Many apparently don’t fulfill such

basic needs and

require, at best, costly

experimentation in

order to work, and at

worst, the

intervention of a

much more costly

engineer to remedy

printer damage.

However, despite the

w i d e - r a n g i n g

application of digital

print, the substrates

available, are, in some

cases, very narrowly

talented. This

though, Mike

observed is not the

case with Metamark’s

popular MD5. “To get

optimal results, it is

necessary to

reference quality standards and to

tightly qualify the material’s remit. In

order to present a material that works

across the various different ink species,

such as MD5, a degree of ‘over-

engineering’ is necessary.”

Indeed, if the amount of MD5 that is

output at exhibitions is any indication, it

does produce remarkably consistent

results with UV, solvent, eco solvent and

latex inks.

Where materials are concerned, sign

and digital companies have always

tended to gravitate towards the familiar

products they’re used to using and for

which they have a preference. But with

printer hardware developing as quickly

as it is, unless material or media evolves

at a similar pace, it’s likely to under-

perform.

Today’s printers make big demands of

media. Hardware resolution can

produce results that many would

regard as being ‘photo quality’. Lots of

users though, never get to see it

because many materials owe more to

the cut and applied legacy than they do

to the media age introduced by digital

technology. Gamut is taken to describe

the range of colours a total print system

can resolve but, equally, it could be

used to map the overall performance

capability as a composite express. In

order to qualify as being genuinely

digital, material needs to perform in

every respect and not just a limited

subset.

Mike Stuart stated that much of the

effort Metamark focusses on

development is with a view to

delivering results that don’t spring

unpleasant surprises. He said, “It’s not

unreasonable, to expect that, given an

identical set of conditions, identical

results can be produced, even though

the media may be from a different

batch. We appreciate that our

customers don’t have the resources,

time or appetite for endless

experimentation to make things work

as expected, which is why we invest in

developments that ensure each roll is

just the same as the previous one, and

of course, capable of performing

optimally with the latest hardware.”

Not every roll of media or material is

created equal, that much is obvious by

looking at price spreads alone. But then

again, not everything that’s sold as

digital actually justifies the label. That’s

often not so apparent until it’s too late.

Which is why it’s better to trust a brand,

than to trust to luck alone.

For further information onMetamark’s digital materialsportfolio, visit:www.metamark.co.uk

special feature

There’s a lot of white material in the world and some of it can be used in modern wide format printers, but as anynumber of expensively crashed printheads and odd looking output attest, just because a material can be loaded intoan inkjet printer, doesn’t mean it should be. Mark Godden discovers how print quality can be assured

The bitterness of poorquality remains longafter low pricing is

forgotten

Anonymous



Light Relief

These days, we all accept thatthere is a need for everyone toradically reduce their energy use,both at home and in theworkplace. However, in the case ofcommercial organisations, one ofthe main obstacles to achievingthis is that more energy efficientsolutions simply cost more.

In recognition of this, the Government

has developed a mechanism to help

businesses overcome this obstacle

through their corporate taxation,

which is why it has enhanced the

capital allowances of the investment a

company makes when it invests in

qualifying energy efficient products

and equipment.

This Enhanced Capital Allowance

Scheme is managed by the Carbon

Trust and HMRC and is intended to

provide a real financial incentive to

encourage companies to invest in the

higher capital cost associated with

energy saving technologies. Amongst

many other categories, this scheme

specifically covers the use of ‘White

LEDs (Light Emitting Diodes) in

illuminated signs’.

Investing in E.C.A. compliant signage

can make a real difference financially.

When compared to conventional T8

fluorescent lamps, LEDs can deliver an

energy saving in excess of 80 percent.

When this energy saving is combined

with the government incentive, and

the greatly reduced maintenance cost,

it means that the investment can pay

for itself in less than 12 months.

For example, if a retail chain’s estate of

100 signs, each of which uses 20 x

70watt T8 lamps, run for 10 hours a

day, it will consume over half a million

kilowatts of electricity per year.

However, when these same signs are

retrofitted with an ECA compliant LED

system, energy use reduces to less

than 55,000 kilowatt hours, thus saving

89 percent of the energy expended.

When further coupled with the clear

benefit of reduced maintenance,

typically five years maintenance free

with LED and only 12 months for

fluorescent, this scheme is even more

attractive when retailers are

considering a capital programme of

signage refurbishment.

The sign buyer invests in a new sign

illuminated with White LEDs, or

decides to change the lighting in his

existing sign from, say fluorescent

lamps, to LEDs. That sign will show

on the client’s balance sheet as a

capital asset, which in normal

circumstances would be depreciated

against tax at the rate of 20 percent per

year on a reducing balance basis.

However, under this scheme, the tax

relief on this sign can all be claimed in

the first-year, potentially reducing the

tax liability on the capital asset by as

much as 28 percent. Whilst the

terminology is slightly ambiguous, the

tax relief not only applies to the cost of

the LED system, but could also cover

the cost of transporting the sign to

site, as well as installation and access

equipment.

HMRC are the final arbiters on any

claim, so the services of a good tax

accountant won’t go amiss!

Where then is the catch?

If the right LED system is chosen, there

is no catch and any claim should

proceed with few problems. However,

finding the right LED system is not

easy.

The E.C.A. scheme was initiated, not

only to encourage the use of energy

saving technologies, but also to ensure

that LED manufacturers develop

systems that are highly efficient in

terms of Light output and energy

consumption and display minimal

Lumen depreciation. In order to be

eligible for the scheme, the chosen

LED device has to have a colour

rendering index of at least Ra 60 and,

along with the control gear, it must

comply with the recognised industry

standards. The criteria list is very

specific as to which testing procedures

must be adhered to and a simple

declaration from the manufacturer

that their particular system is

compliant is just not sufficient to make

a viable claim. HMRC have stipulated

that any claims made should be

backed up by the necessary technical

data.

So what can go wrong? Well, a recent

example involved a well-known High

Street clothing retailer. Bank Fashion,

via its nominated signmakers, Astra

Signs and Innovate Signs, made the

decision to switch from conventional

Cold Cathode to LED illumination for

the majority of its estate signage. The

switch was made in order reduce

energy consumption and to take

advantage of the benefits of the E.C.A.

scheme.

Both sign companies showed due

diligence when choosing what

appeared to be a reputable brand of

LED from a recognised industry

supplier, and rightly assumed that if

Designed to make LED lighting solutions more affordable theECA Scheme encourages companies to install an energyefficient method of illumination. However it might not bequite as simple as it seems. Mike Hall examines the intricaciesof the scheme

special feature

You can't fake quality any more than you can fake

a good meal

William S Burroughs, The Western Lands


that supplier was prepared to declare,

in writing, that its products satisfied all

the necessary criteria, then that would

be sufficient to carry a claim forward

and thus written confirmation was duly

supplied. However, after further

investigation with the Buildings

Research Establishment and HMRC,

Bank Fashion was advised to submit

supporting evidence from its

signmakers’ LED supplier that the

products used complied with the

specified criteria. After much

obfuscation, it became apparent that

the manufacturer concerned was

unable to provide the necessary test

data and to all intents and purposes, the

original written declaration became

meaningless.

Bank Fashion was left to make the

decision to either continue or risk the

possibility that HMRC considered the

claim to be fraudulent, or withdraw

altogether and lose out on the financial

benefits the scheme had to offer. Under

the circumstances it had to decide on

the latter course of action.

In order to avoid this happening it is

essential to deal with a reputable LED

manufacturer. In the case of Bank

Fashion, both Innovate and Astra made

great efforts to quickly understand the

finer details of the requirements of the

ECA scheme and sought to nominate

an alternative LED supplier. This

supplier (Vink Lighting Solutions in

partnership with GE) had at its disposal

far more comprehensive and accurate

test data and a considerably more open

and honest approach when making

claims of compliance.

Bank Fashion, now armed with all the

required supporting evidence, is happy

to proceed with the programme of

converting its signage estate to LED

illumination, confident that it will gain

the benefit of the government’s carbon

reduction incentive.

To be eligible, products must:

• Include one or more White solid-

state LED devices, luminaire and

associated electronic control gear.

• Use electronic control gear that

complies with the following

standards:

• BS EN 61347-2-13:2006 ‘Lamp

control gear. Particular requirements

for d.c. or a.c. supplied electronic

control gear for LED modules”.

• Use BS EN 62384:2006, “D.C. or

A.C. supplied electronic control

gear for LED modules Performance

requirements”.

• Be CE Marked.

All products must:

Have a luminaire efficacy (i.e lighting

efficiency) that is greater than, or equal

to 46 Lumens per Circuit Watt after 100

hours of continuous operation. The

electrical power consumed (in circuit

watts) is defined as the total power

consumed by the whole lighting unit

from main circuit connection point to

‘LED module’, including losses in the

power supply and constant current

source, and losses due to the effects of

temperature. It is not the ‘rated

wattage’ of the LED chip.

Have a colour rendering index that is at

least Ra 60.

Have a standby power not exceeding

1 Watt when fitted with an automatic

dimming or switching circuit. If the

product is not fitted with an automatic

switching or dimming circuit, the

product must not consume power

when it is switched off.

Have a power factor that is greater

than, or equal to, 0.7 at all levels

of product light output.

Required test procedures:

BS EN 13032-1:2004, “Light and

lighting. Measurement and

presentation of photometric data of

lamps and luminaires. Measurement

and file format”.

Or:

IES LM-79-08, “Electrical and

Photometric Measurements of Solid-

State Lighting Products”.

All products must be tested in

accordance with the procedures laid

down in one of the following and be

able to provide a light output (in

lumens) after 6000 hours of

continuous operation that is not less

than 90 percent of their initial light

output (in lumens). Test results carried

out on the LED chip in isolation are

NOT acceptable.

Testing must be conducted on the

complete product (i.e. solid state LED

device(s), luminaire and associated

electronic control gear) and under

normal operating conditions.

Measurements of the reduction in

product light output with time shall be

made according to the methods in

either IEC/PAS 62612:2009 “Self-

ballasted LED-lamps for general

lighting services - Performance

requirements”, or IES LM-80-08,

“Measuring Lumen Maintenance of

LED Light Sources”.

For the avoidance of doubt, test data

should be presented to zero decimal

places. As an example, an efficacy of 45

lumens per circuit watt for a display

lighting unit would be deemed to

be a fail.

Scope of Claim:

Expenditure on the provision of plant

and machinery can include not only

the actual costs of buying the

equipment, but also other direct costs,

such as the transport of the equipment

to site, and some of the direct costs of

installation. Clarity on the eligibility of

direct costs is available from HMRC.

Further information; visit:www.etl.decc.gov.uk/etl/criteriaor contact Mike Hall via e-mail [email protected]

cover story

Legoland, Alton Towers and TheLondon Eye might not appear tohave much in common beyondbeing very successful publicattractions, but they’re in fact alloperated by the same company,Merlin Entertainments Group,who also manages WarwickCastle, Chessington World ofAdventure, and Sealife Centres,among other attractions in the UKand overseas.

Merlin’s success has propelled it to

the point where it is now the largest

attractions operator in Europe, and

the second largest in the world. With

over fifteen thousand employees and

real passion for its brands, the

success of its attractions

demonstrates the company’s

expertise in its field.

Among other attractions to recently

enter its portfolio are Blackpool’s

iconic Tower, and what was, until

recently, Louis Tussauds’ Waxworks.

Blackpool Council acquired these

assets, and others, from Leisure Parcs

recently and now, together with

Merlin, is intent upon using them to

achieve Blackpool’s ambition of

becoming a thoroughly regenerated

international holiday and business

destination.

Ambition’s alter ego is investment

and the Council has secured

significant funding in pursuit of its

goals. It estimates that its plans will

DoubleTrouble!


When it came to choosing a signmaker to help it makethe celebrities at its new Madam Tussauds waxworksproperly impactful, Merlin Entertainments Group keptthe search local, selecting the Blackpool based LinkSigns & Graphics. Mark Godden reports


result in tempting as many as

800,000 additional visitors to the

town every year, all of whom will take

home great reviews, collectively

spend up to £55M and yet be all the

richer for the experience.

Plans for the Tower include an ‘Eye’

branded experience and a 4D cinema

at what’s now the Tower’s

observation level and, coming gently

back to street level again, Merlin

intends rebranding Louis Tussauds

Waxworks into the UK’s second

Madame Tussauds, thus extending

the reach of the London based

brand, which Merlin also operates.

Its plans for the waxworks are no less

ambitious than those it’s applying to

the Tower. In what amounts to a top-

to-bottom rebranding and relaunch,

Merlin is moving the attraction out of

the traditional and into the

interactive age.

So it speaks realms for the talents of

Link Signs and Graphics, or LSG as it

is more commonly known, that it was

selected to provide a significant

contribution not only to the new

attraction’s signing, but also to the

creation and installation of its

ambient exhibit graphics too. LSG

regards itself as a signmaker, but it is,

in fact, much more, as the versatility

of its digital output amply testifies.

The ambient graphics Blackpool’s

Madame Tussauds. employs

contribute powerfully to the overall

experience visitors will be buying

when they visit the attraction. The

models themselves engage the

visitor on one level, the ambience on

quite another. The whole experience

is the product of expert design and

the desired outcome is a memorable

visit that people will want to repeat,

thus building the brand’s reputation

and underlining its pulling-power.

LSG’s work amounts to a set building

exercise on a scale that befits the

importance of the venue. Working

with its operator’s designers, LSG

was required to produce flawless

digital output to decorate the scenes’

flats. The printed and laminated

output, which amounted to about a

thousand linear metres, was

produced on Metamark MD3 digital

vinyl, and was applied directly to the

flats’ prepared surfaces. In common

with other MD Class media,

Metamark’s MD3 is highly regarded

for both its ink appetite and

resolution holding ability and it

clearly produced a command

performance when used in concert

with LSG’s Mimaki JV-33 printer,

which output the entire print run.

The printed MD3 flats recreate real

world resonances in which the

models’ specialiites are well known.

For example, Ben Fogel’s model

perches on an exposed rock-face

rendered by LSG on the scene’s flats

and continuing onto the floor. Alan

Carr is surrounded by all his chatty

self’s familiar scenery together with

Jonathan Ross, Davina McCall and

many other instantly recognisable

faces who are all part of an

experience that is made even more

entertaining by the creative work

provided by LSG’s expertise with

Metamark materials.

Given the size of the print run and

the fact some panel matching was

inevitable, one of LSG’s production

challenges was ensuring total

consistency from one abutting panel

to another. The Metamark MD3

played its part well in this respect

with LSG’s application team and

Merlin’s designers, ensuring that

panel overlaps were carefully

managed and expertly fitted. The

result is uniform expanses of colour,

even where the design is swept in

density over a run of many metres.

Every element in a programme the

size of the Madame Tussauds project

plays a role in delivering the whole,

undiluted experience. Luckily, in LSG,

the project found a company where

quality is cultural, and talent readily

available. Digital print in the hands of

LSG has proven itself equal to the job

of transforming an attraction and

bringing it into an age where the

participation and involvement of the

visitor is key.

For further information on LSGvisit: www.linkssignsandgraphics.co.uk

For further information onMetamark’s MD3 vinyl visit:www.metamark.co.uk

For further information onMadame Tussauds visit:w w w . m a d a m e t u s s a u d s .com/Blackpool


Graphic Printing Technologies

(GPT) is now selling Secabo’s range

of heat presses, which complement

Mimaki’s range of dye-sublimation

textile printers.

Secabo develops high quality devices

and machines for signmakers, which

range from vinyl cutters to heat

presses. Its seven heat presses provide

a simple, cost-effective solution for all

common heat transfer methods and

objects and include the TC 5 and TC 7

clam presses and the TS 7 swing away

heat press, The TC C, which is made for

use with caps and hats, the TC M for

use with mugs and other round items

and the TC D 7, a pneumatic double

plate heat press for professional use.

For large-scale applications, the TC 10

offers a much larger working area.

GPT will offer the Secabo heat presses

together with Mimaki dye-sublimation

printers that use heat to transfer dye

onto a broad range of materials,

including plastic, paper and fabric. The

Mimaki TPC-1000 is an integrated

printer/cutter designed to produce a

range of apparel, including uniforms,

workwear, T-shirts, swimsuits and

virtually any type of clothing that

requires additional text or graphics. The

Mimaki TPC-1000 is based on Mimaki’s

market-leading CJV printer/cutter and

delivers a cost-effective integrated

solution for creating unique designs on

a range of apparel.


www.g-p-t.co.uk

GPT teams up with Secabo

EFI used the occasion of the

recent ISA International Sign

Expo to launch its new EFI

R3225 printer, a 3.2m roll-to-

roll, entry-level production

machine that uses UV curable

inks to provide high image

quality, low total cost of

ownership, and access to a

wide range of flexible

substrates.

The EFI R3225 provides eight-

level variable drop grayscale

heads for superior quality

images, optimised ink usage, and

can be used in conjunction with

a wide range of substrates across

countless applications, including

POP, banners, signage, fleet

graphics, exhibition graphics and

more.

Deemed by EFI too be an

‘environmentally friendly’ printer,

it produces minimal VOC levels,

while also reducing energy

expenditure and thus provides

an alternative to latex printers for

those looking for a greener

printing solution, while also

upgrading their businesses to

drive expansion and profitability.

Priced at an affordable $160,000,

and backed by the EFI pedigree,

the EFI R3225 is designed to

deliver high quality output, with

the minimum of hassle when it

comes to daily operation and

routine maintenance. Other

enhanced features and benefits

include print speeds up to 900

sq.ft/hr along with many

automated features to help

further maximise productivity.


www.efi.com

The bigbeastie

Super speedy dye-sub printingMimaki has added volume textileinkjet production to its range oftextile printers with theintroduction of the Mimaki TX500-1800DS, which is capable ofprinting at up to 150 squaremeters per hour directly onto pretreated polyester fabrics.

With summer availability anticipated,

the TX500-1800DS, when used

together with Mimaki’s new Sb300

sublimation ink, delivers enhanced

capabilities and productivity to the

textile, apparel and soft signage

markets by eliminating the need to

print to transfer papers. In common

with the recently released and equally

effective TX500-1800DsSB printer,

which prints onto transfer paper, it

uses newly developed printheads that

make it 150 percent faster in four

colour mode than more conventional

models.

A built-in heater accelerates the drying

time of printed fabric, which while

improving overall quality and

productivity, also eliminates rework

caused by excessive ink set-off and a

mist absorption filter prevents

problems caused by ink mists and

enhances the stability of print

operations. Further, the Mimaki

degassing module (MDM-20)

eliminates any gasses or bubbles that

occur in inks during the printing

process, thus decreasing the likelihood

of nozzle blockage and improving the

accuracy of ink dot placement. In

addition, this module also facilitates

the use of undegassed bottled inks

instead of conventional degassed ink

packs, thus reducing ink costs.

Mimaki’s new Sb300 dye-sublimation

ink has been optimised for use with

both direct and paper transfer dye

sublimation printing and offers an

affordable price, together with fast

drying and brilliant colours. Two ink

configurations can be selected at the

time of printer installation: the six-

colour mode for smooth gradation and

better pale colours, or the four-colour

mode for higher productivity.

The Mimaki TX500-1800DS is available

through Mimaki’s exclusive UK and

Irish distributor Hybrid Services.

For further information visit:www.hybridservices.co.uk.

digital news

Roland DG’s VersaSTUDIO BN-20 andVersaCAMM VS Series eco-solvent metallicinkjet printer/cutters, now offer aspecialised new ink configuration for white-colour printing applications.

This new configuration is available in five colours,

cyan, magenta, yellow, black and white for the

BN-20 and seven colours, cyan, magenta, yellow,

black, light cyan, light magenta and double white

for the VS Series. Users can choose the ink

configuration that best suits their business needs

at the time of purchase.

The BN-20 is a 20” wide compact Eco- Solvent

inkjet printer/cutter, which is ideal for the

production of small volume graphics, including

labels, apparel, window graphics and signage on

a wide variety of media, such as transparent film.

The VS Series Eco-Solvent inkjet printer/cutters

are available in four different widths: 30”, 42”, 54”

and 64” and, when used in conjunction with

transparent film and the new high-opacity white

ink configuration, can be used to produce a wide

variety of high-quality applications, such as

window displays, labels, decals or small

production packaging prototypes. The new white

ink configuration increases speed by 200 percent

for standard white colour printing, while

combination of a dedicated dryer and blower

vastly increases productivity, and ensures efficient

drying of the white ink even in high opacity

mode.

For precision printing, ‘TIFF Merge’ function,

which sends and prints a process-colour data file

and a white-colour data file at the same time, thus

preventing any gap between the two files, has

been added to both the VersaSTUDIO BN-20 and

the VS Series.

For further information visit:www.rolanddg.co.uk

Printers’ colour gamut extended

Spandex has extended its range of print

and print finishing equipment with the

addition of the EPSON SureColorT SC-

S30600, an affordable wide format printer

that is built for high production runs and

enables users to produce high quality,

long-lasting, durable and photo-realistic

prints for an increased range of indoor and

outdoor graphic applications.

Designed from the ground up, the printer

incorporates Epson´s latest technology, such as

the MicroPiezo TFP printhead and the new

UltraChrome GS2 ink technology, developed

exclusively by Epson and set to deliver a new

level of colour quality, production performance

and durability.


www.spandex.com

Spandex to sell Epson SureColor


First established in 1985,

Printwell (UK) has grown from a

corporate stationery and print

management business into a

comprehensive solutions

company with an annual turnover

in excess of £4 million. Offering

more than just a print

management service, it aims to

work with its clients in order to

reduce costs and develop added

value services, which is why it has

continued to invest in new

technology and develop its in-

house manufacturing capability.

Printwell originally provided a full

range of traditional litho print and

finishing services, but as

increasingly, clients were looking

to source a wider diversity of print,

including wide format digital, from

a single supplier, it decided to

substantially expand its wide

format division, whilst also looking

for ways to reduce operational

costs and improve its efficiency

overall.

To this end, it enlisted the help of

its long standing supplier partner

Robert Horne Group, who

helped it to explore expansion

options, which lead to Printwell’s

acquisition of two Canon inkjet

printers, the Canon iPF9000s andiPF8000s, which use eight colours

to deliver very high print quality,

together with two Easymount

finishing machines, the

EM1200sh and EM1600sh.

This new technology opened up a

host of new opportunities and

revenue streams and enabled

Printwell to produce POS and

display work as well as digitally

printed work for regular clients

and, after further consultations

with Robert Horne, Printwell also

invested in a Mimaki UJV160flatbed printer, in order to keep

pace with its growing volume of

business.

John Smith, Printwell’s

Commercial Manager, explained:

“We saw the potential for the wide

format division to grow and the

Mimaki machine has enabled us to

realise this, firstly by reducing the

requirement to mount paper onto

board, as it prints directly onto

substrates and secondly, by

opening up new revenue streams,

such as external sale boards, shop

fittings, window graphics, general

signage and exhibition work.”

The increase in the company’s

digital workload is substantiated

by the fact that whilst the

Canon/Easymount printing

combination accounted for just

one percent of its turnover, the

introduction of the Mimaki UJV160

will help to increase this to an

anticipated five percent during the

current fiscal year, rising to over 12

percent within the next two to

three fiscal years.

Robert Horne has also provided

Printwell with a press room

consultancy service that has

helped it to reduce its litho press

costs by 12 percent overall by

purchasing its inks, chemicals and

sundries from Robert Horne’s Total

Print Supplies (TPS) division, which

also supplies consumables for

Printwell’s three Heidelberg

Presses. In addition, Robert Horne

is currently helping Printwell to

reduce current paper costs and is

also helping Printwell’s sales and

customer service teams to keep

abreast of the constantly evolving

world of print.

In conclusion, John Smith

observed: “Robert Horne’s

technical know-how has enabled

us to significantly reduce

expenditure and to move into new

areas, and to pass on the savings

that have been realized to both

our existing and new client base –

we are delighted with the services

they offer.”

For further information visit:www.printwell.co.uk andwww.roberthorne.co.uk

First established in 1992, VictoriaLitho is a family run business that

originally built itself an enviable

reputation as a quality map printer,

but has more recently expanded into

the POP sector too. Based in west

London, the company, which boasts

a turnover of £3 million and employs

a staff of 18, has recently acquired an

Agfa :Anapurna M2540 FB flatbed

printer, which forms part of its £1.25

million investment in new plant and

equipment. Managing Director

Andy Wilson explained that having

previously engaged in litho printing,

he was initially hesitant to invest in

digital technology, saying: “I wasn’t

convinced that inkjet could match

the quality achievable from a litho

press, especially when producing

the high spec print required for POP

material.”

However, Andy was shrewd enough

to recognise that in order to grow his

business during these difficult and

ultra-competitive times, he needed

overcome his qualms and happily,

once he had seen the :Anapurna

M2540 FB being put through its

paces, he began to change his mind.

He said: “I was really impressed with

the level of detail the machine

achieved when printing a map –

even the smallest type was crisply

rendered and completely legible

and the white ink option further

extends our ability to provide the

exceptional quality photo realistic

reproduction that our POP clients

rightly demand.” The company’s

Technical Director, Craig Herd

added: ”An added bonus was that

we already know Agfa and its

:Apogee workflow, which we use to

drive all our prepress systems, can

also be used to drive the :Anapurna

as well. This means that if any

problems should arise, we are

dealing with just one company

whose service and support we know

and trust.”

Sign Directions April/May 2012 |36

my way

Worthwhile InvestmentsCompanies explain whythey chose theequipment they use

A high-speed flatbed, UV-curable

inkjet printer especially designed for

use by commercial and display

printers, photo shops and sign

shops, the :Anapurna M2540 FB

offers exceptional value for money.

Using Agfa's bed-design, which uses

vacuum that is divided into two

table zones of four different

compartments to ensure extremely

accurate and reliable dot placement,

it employs :Anapurna UV inks in a

CMYK, Lc, Lm + white configuration,

which dry faster and produce a

wider colour gamut, thus facilitating

the use of a bigger variety of

materials. The inks are also proven to

offer great adhesion properties and

high durability giving longer lasting

images that are suitable for outdoor

use.

Due to the accuracy of the flatbed,

pre- and post white can be printed in

a separate run, with use of the full

head, to print onto darker substrates

or transparent media, as well as

backlit and front-lit materials. It can

even be used as a spot colour to

highlight certain areas of an image.

The :Anapurna M2540 FB joins an

equipment line-up which includes

Victoria Litho’s two other new

acquisitions, a wide-format finishing

table and a KBA 162A five-colour

press with dedicated UV coater,

enabling it to provide customers

with a complete one-stop-shop for

all of their large format print and POP

material.

Andy continued: “We had been

losing out on jobs where customers

required varying quantities of POP

print using the same origination, but

now we can provide any quantity or

level of customisation that is needed,

using whichever machine is most

appropriate. I now feel very

confident that the level and

consistency of the print quality

provided by the Anapurna is such

that our customers are unaware of

which machine has been used to

print which job. This enhanced

facility hopefully will enable us to

further expand our business and the

scope of our operation, because if

there’s one thing I have learned it’s

that no successful business can ever

afford to stand still!”

He concluded “Our next step is to

plan an open day to show our

customers exactly what we can do

with our new technology, and we

are keeping our fingers crossed that

they will be impressed enough for us

to fund the purchase of a second

Anapurna in the very near future!”

For further information visit:www.printwell.co.uk andwww.roberthorne.co.uk


l to r: Craig Herd and Andy Wilson

sign & digital UK 2012 review

With unofficial figures revealing that

around 6,200 visitors passed through

the event over its three day duration,

Sign & Digital UK 2012 provided

exhibitors with a perfect launch-pad for

their latest products and innovations.

And while the current economic

forecasts remain gloomy, it seems that

signmakers and digital print companies

aren’t letting talk of a double-dip

recession dampen their optimism, with

many industry suppliers gleefully

reporting that the focus was firmly on

buying, with many visitors using the

show as an opportunity to make their

final purchasing decisions.

As usual, in addition to the 140 odd

exhibitors, the show also featured a

variety of ancillary events, including the

evergreen Adobe and Corel Theatres

and The Signmakers’ Workshop, all of

which attracted their usual enthusiastic

support. In addition, there were two

new features; the Green Trail, which was

specially designed to highlight eco-

friendly products and Café 25, which in

keeping with the show’s 25th

anniversary theme, provided visitors

with the opportunity to view some of

the groundbreaking equipment that

has been introduced during the last

quarter of a century, together with a

selection of photographs that provided

an effective 25-year timeline of the

event’s history.

Next year, Sign & Digital UK 2013 will

once again take place in Halls 3 and 3A

at at the NEC on 30th April – 2nd May.

For further information visitwww.signanddigitaluk.com


Business as usual!

If anyone was worried that Sign & Digital UK 2012 would be overshadowedby the international allure of FESPA in Barcelona in February and Drupa inDusseldof in May, there was no need. The 25th outing of the UK’s premiersign exhibition was as busy and as bustling as ever. Val Hirst reports.

“The quality of the visitors this year has beenexceptional, with sales being generated fromday one…” Brett Newman, Technical Director, Roland DG (UK)

“I couldn’t have wished for a better response!” Graeme Hoole, Director, The Sign Group

“Sign & Digital UK was a greatlaunch pad for Soyang…”Mark Mashiter, Managing Director,Soyang Europe

“We exceeded our target number of salesleads for the show on the first day!…”Martin Johns, Market Development Manager,

Professional Graphics, Epson

“We gained more sales leads during the showthan over the past three or four weeks…” Emerson Welsh, Clarity Software, Marketing Manager

“Everyone who visited our stand had a genuineinterest in our products and the solutions weprovide…..” James Carpenter, Managing Director, Dorotape


Exhibitors included Colourgen, who, despite

not having its own stand, felt that this year’s

event was one of its most successful. Melanie

Enser, Colourgen’s Product Marketing Manager

observed: “Since Mutoh, for whom we are the

UK distributor, and several of our key reseller

partners had their own stands, we felt our time

and energy was better served in supporting

them. And, I must say, the strategy served us

well.”

Mutoh used the show to demonstrate that the

much publicised re-alignment of its

manufacturing processes has resulted in an

ability to deliver exciting new products quickly,

as epitomised by its new range of ValueJet

printers, which cover just about every aspect of

wide format printing. The range includes the

Mutoh ValueJet 1638 series, a1650mm dual-

head, high speed, four-colour printer, which

prints at speeds of 36sqm/h with a resolution of

720 x 720 dpi. The standard printer in this range

uses Mutoh Eco Ultra CMYK inks, one of the

gentlest eco-solvent inks currently available,

while the textile version of the printer (1638W)

uses Mutoh’s water-based disperse dye inks to

deliver production speeds of up to 65sqm/h for

dye sublimation applications.

In total, Colourgen’s reseller partners took 10

orders for ValueJet printers and Kona cutters

and four for Kala Starter laminators, with orders

for the Seiko ColorPainter H2 and W-Series and

the Kala Arkane and Mistral laminators hotly

anticipated to follow.

Antalis McNaughton used the event to

unveil its new Coala range of commodity,

speciality and environmentally-friendly large

format printing products. The range, which

comprises 20 products for use with aqueous

ink and 54 for use with solvent, UV and latex

ink, includes a broad range of papers, self-

adhesives, banners, textiles, wallpapers and

speciality media, all of which have been

sourced from leading European suppliers.



Roland DG UK pioneered a radical

new look stand which took the form

of a welcoming and informal café, a

move it claims, paid dividends.

Forming the centre of a hub of

Roland dealers, the Roland Café

welcomed literally hundreds of

visitors, providing free refreshments

to those who signed up to the

Roland Forum community. They also

had the opportunity to chat to

Jayson Godridge of Freestyle

Designs, Fraser Moore of Compass

Graphics and Pete Colman of

Classic Lines Plus Signs, three happy

Roland users, who shared their

experiences of using Roland

machines to enhance their

businesses.

The company also used the show to

introduce the new double white ink

configuration option available with

the VersaCAMM VS and to promote

its RolandCare warranties.

There was much excitement on the

Océ stand when the Nottingham-

based graphics provider, John EWright purchased an Océ Arizona 360XT printer at the show. Now part of the

Canon Group, Océ provided live

demonstrations using its latest Océ

Arizona 318 GL printer, which was

unveiled in February, the Océ Arizona

360 GT and the Océ ColorWave 600

poster printer. Other stand attractions

included the new ONYX Thrive

workflow software, a scalable print

production solution based on Adobe

PDF Print Engine technology and

cutting systems from Zund UK

Hybrid Services used the show to

debut an array of new Mimakisolutions, with the Mimaki JV400 latex

printer range taking pride of place on

its stand. Hybrid’s National Sales

Manager, John de la Roche

commented: “Our resellers have taken

multiple orders and we are delighted!”

Other stand highlights included

Mimaki’s latest addition to its dye

sublimation printer range, the Mimaki

TS34-1800A and a new variant of

Mimaki’s LED UV flatbed.

The company also hosted a number of

stand attractions, one of which, The

Spot the Ball competition, saw winner

Laura Hutchings, of Silk Screen

Advertising, taking home a football

jersey signed by Man United legends

Arthur Albiston and Lou Macari who

helped Hybrid to celebrate the

exhibition’s 25th anniversary.



HP's stand featured an extensiveproduct line-up, whilst also offering

visitors an exclusive at-show £1000 or

€1250 'golden ticket' cashback

promotion The tickets were on offer to

the first 50 customers to confirm

orders of the HP Designjet L28500 and

HP Designjet L26500 Printers and

according to HP’s Phil Oakley, demand

far outstripped supply! Both printers

are ideal for the production of indoor

and outdoor signage, such as point-of-

purchase displays, soft signage and

vehicle graphics.

Newcomer Kongcrete showed a

brand new,Canadian developed

product, which it believes, is set to

revolutionise the sign sector. Q-Set

offers signmakers a new way of

installing sign posts, which, unlike the

more usual concrete option, doesn’t

require water, sets in three minutes

,and is extremely easy to use!

Comprising a two part composite that

is water resistant, thus protecting the

post from deterioration at its most

vulnerable point under the ground, Q-

Set is a light-weight product that

expands and sets to 50 percent of its

full strength in just three minutes, and

is completely set within two hours,

significantly reducing installation time.

Supplied in three sizes, small, medium

and large and in a choice of two

grades, it can be used in conjunction

with wood, metal, concrete and

fibreglass posts

Visitors flocked to the adjoining DigitalPrint Innovations and InkEtc stands,to see the brand new InkTec Jetrix

2030FRK flatbed printer, which was

actually purchased by Quantum

Technologies on the first day of the

show. In addition to six colour printing

(CMYK LC LM) the 2030FRK printer also

offers primer and white options to

facilitate high quality printing onto

traditionally difficult substrates, such as

brushed metal, glass and other

specialist materials. Visitors were

particularly attracted to the robust build

quality of the machine and the density

of the white ink, which was shown

being printed onto black and coloured

Forex. However, DPI’s runaway stand

best seller was undoubtedly the

EasyRack, a cost effective media storage

and handling system available in seven

different widths, which neatly holds up

to 24 rolls of material, together with

application tapes. DPI’s Stewart Ball

claimed to have sold 12 units during the

three days of the show, with many

more orders in the pipeline!

Making its debut at the show, SihlDirect, attracted visitors with its

eye-catching graphics, which

represented the company’s

extensive range of media for use

with just about every signmaking

printing application, including

posters, banners, backlit,

photobase, canvas and wallpapers.

Ian Turnbull, Operations Director

for Sihl Direct UK reported: “We

were busy all three days, which

gave us the opportunity we

needed to establish our own brand

and to let everyone know that our

extensive manufacturing, testing

and quality control capability

means that we have the broadest

range of products for use with just

about all the leading printers on

the market.”




sign & digital UK 2012 awards

The second edition of Sign & DigitalUK Awards & Networking Event,which took place at the NationalMotorcycle Museum, Birminghamon the middle evening of the show,was well attended by bothnominees and the industry at large.

A drinks reception was followed by a

three course dinner, before up and

coming comedian Seann Walsh treated

the assembled audience to a range of

wickedly funny observations on

modern life before announcing the

winners of the 10 awards, as follows:

Winner: Allen Signs for its dramatic

sign for the newly independent

Chameleon Print shop premises, which

features an eye-catching Chameleon

projecting sign, that uses LED

illumination to produce a colour

changing eye.

2nd Signs Express (Leeds) for thestriking and elegant illuminated sign it

created for Bristol’s Hush Puppies store

3rd ID Signs & Graphics for its work

on the Baskind Pharmacy.

Winner: Signbox in respect of its

signage for global investment solutions

firm Blackrock, which uses both natural

materials and technological signage to

skillfully represent the two approaches

to investing, the ‘intuitive’ and ‘scientific’.

2nd Piggotts for its GAP Signage

project.

3rd Amber & Green in respect of its

IBM Southbank Refurbishment Project.

Winner: The Grain Sign Companyfor the package of fun signs it created

for Longleat Safari Park, which perfectly

suited the style of the attraction whilst

also harmonising with theoutdoor

environment.

2nd Create Signs for its work at Mshed

Museum, Bristol.

3rd Signs Express (Leeds) for themultiple signage package that it

produced for Bridgewater Place in

Leeds

Sign & Digital UK Awards

Individual Sign Project of the year, 1-9 Employees

Individual Sign Project of the year, 10+ Employees

Multiple Sign Project of the year, 1-9 Employees

Winner: Graffiti Design in respect for

its sign package for the ‘American

Express Community Stadium’, including

external identity and internal and

external wayfinding signs, plus the full

gamut of internal signs and graphics.

2nd Piggotts for its work for the Hong

Kong Asolay

3rd Image Technique in respect of its

signing for the Westfield Stratford City

project.

Multiple Sign Project of the year, 1-9 employees

Winner: John Matthews of SignVision, who against all the odds

has seen his business grow

throughout the recession, to the

extent that he has had to move

into larger premises!

2nd Chris McIntosh of ServiceGraphics.

3rd Gemini Katwa of FusionPrint.

Rising StarAward

Winner: Signbox beat the

economic downturn by investing

in its in-house printing facilities,

which enabled it to successfully

diversify into new markets

leading to a tremendously

successful 2011 with strong

retained profits and a 10 percent

increase in staff numbers.

2nd Graffiti Design.

3rd Sign 2000

Sign Companyof the Yearaward,sponsored byTrade Signs.


Winner: Raccoon’s faultless work for

the prestigious Gumball 3000 event,

which required it to create numerous

unique car wraps, captured the award

for the second year running.

2nd Wrap Kings

3rd Principle ReprographicServices.

Vehicle Wrapping Project of the Year

Winner: Signbox, who combined

the perfect blend of materials,

creativity, expression and precision to

produce knock-out signs and

graphics for Expedia,

2nd Service Graphics for its work at

the National Museum of Scotland.

3rd Hollywood Monster was

honoured for its gigantic banner

display at Westfield Shopping Centre.

Wide Format Print Project of the Year

Winner: Aggregate Industriescombined excellent craftsmanship with

the use of natural stone to produce

classical looking signage.

2nd The Grain Sign Company in

respect of its sandblasted cedarwood

signs.

The Green Award sponsoredby DS Smith Recycling

Winner: Hollywood Monster for itscontinual innovation and its

dedication to providing its customers

with the highest levels of service and

quality.

2nd Service Graphics for the qualityand range of its work.

Wide Format Printing Companyof the Year


cutting, routing and engraving

Launched at Sign & Digital UK, thelatest Pacer-branded high-performance CNC router series isnow available from AXYZInternational.

Supplied in a choice of three sizes,

1524 x 2438, 1524 x 3048 and 2159 x

3048mm, to meet different production

requirements and the most popular

sheet formats, the machines embody

all of the attributes of earlier systems

sold under the Pacer power brand in

terms of strength of build, ease of use,

quality of cut and optimum reliability.

They also represent an ideal upgrade

path for owners of these systems now

requiring a higher performance and

higher productivity

solution but at a very

realistic price.

Key design features

include a heavy-duty

solid steel base and

gantry with a substrate

clearance capability of

150mm (expandable up to 400mm),

helical rack and pinion drive system

with direct-drive servomotors and ball

screw control on the Z-axis for

smoother and backlash-free motion

and the latest seven-segment A2MC

machine controller with Ethernet

connectivity and 4Gb onboard

memory. These are supplemented

with a wide range of optional

additional production tools, including

a seven- or 21-station automatic tool

change system, twin or triple cutting

heads, the latest AXYZ AVS Camera

Registration System and a misting unit.

The routers will effectively cut and

profile, at a feed rate of up to 25m/min,

virtually all materials commonly in use

in the sign industry. These include all

non-ferrous metals, plastics and their

derivatives, solid and particle wood

substrates, aluminium composite

materials and laminates.

For further information visit:www.axyz.co.uk

The return of Pacer

AXYZ International has introduced

a new helical rack and pinion drive

system as an optional production

enhancement for all AXYZ Series

machines. Installation of this

powerful new tooling device will, it

is claimed, greatly reduce wear by

comparison with conventional

rack and pinion drive systems,

significantly increase feed rates

and lead to smoother, quieter and

more accurate cutting in the most

demanding applications likely to

be encountered.

Unlike conventional rack

and pinion drive

systems, the new AXYZ

system operates

through multiple gear

teeth at all times. This

greatly decreases wear

on the system due to

more even distribution

of the load over several

gear teeth and significantly increases

the working life of the system. When

specified as an optional production

feature on AXYZ Series machines, the

helical pinions would normally be

driven by a high-performance

servomotor operating via a precision

planetary gearbox to deliver a rigid and

more powerful drive system with little

or no backlash and enabling much

higher feed rates and more precise

cutting.


www.axyz.co.uk

New AXYZ drivesystem has real bite

Our regular round-up of the latest developments in routing and engraving



software

New inspirationfrom CorelFollowing a high profile London

launch during March, Corel used the

occasion of Sign & Digital UK to

introduce CorelDRAW

Graphics Suite X6, to the

sign industry.

Signmakers who so

enthusiastically attended

the show’s Corel

Workshops, were thus

equally delighted to learn

more about the latest

version of Corel’s flagship

graphics suite, which features a completely

revamped typography engine, inspiring

new colour styles and harmonies, plus

powerful shaping tools.

Designed to open up new creative

possibilities this latest update delivers

improved workflow and performance,

making it even easier for users to work with

leading edge tools and technology to

produce signs and graphics with real verve

and impact, coupled with optimum

productivity.

The new features and numerous

enhancements included in the latest suite,

many of which have been inspired by

customer feedback, include Advanced

OpenType Support, which facilitates the

creation of text with advanced OpenType

typography features, such as contextual

and stylistic alternates, ligatures,

ornaments, swash variants, and more,

while New Custom-built Colour

Harmonies enable users to modify colours

collectively and harmoniously and to

analyse colours and hues to deliver

complementary colour schemes.

New Native 64-bit and Enhanced Multi-

Core Support enable files and images to be

processed up to 50 percent faster than

previously and the New Creative Vector

Shaping tools, Smear, Twirl, Attract and

Repel, facilitate the creation of many

exciting special effects.

Other new features include the New Styles

Engine and Docker, which facilitate simple

yet speedy formatting, the New Corel

Website Creator X6 application that

enables users to build and manage

websites with ease, using the Site Wizard,

templates, drag-and-drop functionality

and seamless integration with XHTML, CSS,

JavaScript, and XML and New Smart

Carver, which can be used to remove

unwanted areas from an image, while

simultaneously maintaining the photo’s

aspect ratio.

Improved Page Layout Capabilities helps

users to create design layouts with ease,

using new and improved Master Layer

functionality, Alignment Guides,

Interactive frames and much more. Finally

the Redesigned Object Properties Docker,

enables designs to be fine tuned and

provides access to the object settings in

one centralised location.

CorelDRAW Graphics X6 comes complete

with Corel PHOTO-PAINT X6, a professional

image-editing application; Corel

PowerTRACE X6, a utility that converts

bitmaps into editable vector graphics amd

Corel CONNECT, a full-screen browser for

searching the suite’s digital content.

It also includes Corel CAPTURE X6, a one-

click screen capture utility and Corel.

Website Creator X6, a new do-it-yourself

website creation software

In addition, users also receive 10,000 high-

quality clipart and images; 1,000 new

professional high-resolution digital photos;

1,000 OpenType fonts, including premium

fonts such as Helvetica; 2,000 vehicle

templates; 350 professionally designed

templates; and 800 frames and patterns.

Corel will continue to enhance the

CorelDRAW Graphics Suite X6 experience

by making more content and functionality

available throughout the lifecycle for X6

users.

All box versions of CorelDRAW Graphics

Suite X6 include a comprehensive full-

colour, hard cover Guidebook to help both

experienced and novice users to get

started quickly. Alternatively it is available

immediately as an electronic download.

Prices range form £399 plus VAT for the full

version and £179.00 plus VAT for the

upgrade.

For a full list of everything included in

CorelDRAW Graphics Suite X6 and to

download a free 30-day fully-

functional trial version, visit

www.corel.com/coreldraw.

Clarity does the business

Our pick of the newest software releases

Another of the biggest crowd-pullers

at this year’s Sign & Digital UK show,

was undoubtedly the Clarity

Professional Deliveries Module,

which saves hours in manual

administration for on-site work, such

as fittings, installations,

maintenance, equipment drop-offs

and surveys.

Working in tandem with the Clarity

Software Proof of Delivery iPhone App,

the Deliveries Module creates and

displays all on-site jobs in an Outlook-

style diary view on the office-based Clarity

system, with their real-time status, such as

‘Work In Progress’, or ‘On Hold’, clearly

highlighted using simple colour codes.

Users can thus view their jobs from the

comfort of their own offices, whilst their

fittings team or third party contractors

complete the installation on-site.

Richard Gamlin, Clarity”s Managing

Director reported: “The response we are

receiving on this module is phenomenal

as the immediate return on investment is

plain to see and there is no doubt that

this new functionality will directly

increase bottom line profitability.”

Site teams often arrive back at the office

with a mountain of accumulated job

paperwork, but by using the Deliveries

Module, job information can be recorded

and sent back to the office via 3G or Wi-Fi,

as soon as it is completed, using the

Clarity Proof of Delivery iPhone App.

They can also take pictures, add notes

and track locations using geo-mapping,

and the module also enables them to

obtain an electronic sign-off from

customers directly onto the device, thus

providing traceable evidence of the

precise time and date of a job’s

satisfactory completion. This enables the

job to be invoiced as soon as it is

completed, thus benefiting cash flow and

optimising business profitability.

Richard Gamlin concluded: “Deliveries is

the final piece of a streamlined, cost

reductive electronic business workflow,

which saves hours in needless paper-

based administration and improves

customer service across the industry.”

The Clarity Proof of Delivery iPhone

App is available now from the App

Store and is free to download. A

demo version is included in the App.

An Android version is currently

being developed.


w w w . c l a r i t y - s o f t w a r e .

com/deliveries



special feature

Pendle Signs & Plastics wasnominated by Lend Lease as thesignage contractor for the ‘BuildingSchools for the Future’ projects inthe Burnley and Pendle area.

Over the last three years it has

proposed, designed and produced

internal and external signage schemes

to suit several individual sites, including

the newly built and prestigious 'Super

Schools', including Pendle Vale, Sir John

Thursby, and Hameldon Community

College.

As Michael Meachin of Pendle Signs

recalls: “On numerous projects we were

given the task of recommending an

ingenious way of displaying the

students’ own artwork in the most

dramatic, eye catching and durable way

possible and accordingly, we proposed

the textured wallpaper from Doro

Tapes’ Dorodigital range. One of the

key reasons for choosing this product

was the brightness of the media, as it

enhanced the vivid colours we were

printing. It also provided an excellent

representation of certain elements of

the students’ artwork, which was

scanned and manipulated. The

wallpaper could be simply applied in

the same way as normal wallpaper, was

hard wearing and gave the longevity

that the client required’.

The Super Schools wallpaper projects

have proved very successful for Pendle

Signs and has since generated more

work of a similar nature through

recommendations and referrals and

due to seeing first hand the huge visual

impact it makes.

For further information visit:www.dorotape.co.uk

Materialmatters

Digital Wallpaperdoes the Business

With digital printing fast becoming thesingle most important aspect of thecontinually changing sign and graphicsindustry, the choice of materials nowavailable has become commensuratelygreater. Mike Connolly reviews some ofthe more innovative new products as wellas established favourites that are nowpart of the modern signmaker’s armoury.


A leading supplier of digitalprinting solutions, Colourgen isnow distributing complementaryspeciality media from KernowCoatings.

The HydroSol range of materials is

distinctly eco-friendly due to its use of

a safer and cleaner water-based

coating and to the absence of any

potentially harmful VOC (volatile

organic compound) content found in

PVC and similar materials. There is,

however, no compromise in

performance, since the media offers

good resistance to the ingress of water

and to abrasion, a high ink absorption

and fast-drying capability and requires

no over-lamination.

The range of media includes a wide

choice of different paper and film

formats, all of which have been tested

extensively for their compatibility with

the market-leading printers supplied

by Colourgen.

For further information visit:www.colourgen.com

The eco-option

Brett Martin’s Foamalux Whitefoam PVC sheet, a bright whitedirect to print substrate that hasbeen specifically developed forthe digital print market, featuredon the Mimaki stand at FESPADigital 2012, where it was shownbeing used in conjunction with theMimaki JFX-1631 flatbed printer.

This demonstration proved so

successful that more than 1,000 visitors

requested a sample of the material to

use on their own machines!

Brett Martin has been innovating the

Foamalux range for over 20 years, and

continues to improve the substrate’s

performance, so that the Foamalux

White version now offers the best

quality reproduction when used in

tandem with digital printers, such as

the Mimaki JFX-1631 plus. Accordingly,

the range of applications that it can be

used for is now as extensive as its

distinctive qualities, which include its

flat, smooth and rigid surface, its

lightweight, high durability and ease of

use.

The quality of print achieved by using

Foamalux White is particularly

impressive, as the substrate minimises

'yellowing' through UV light exposure

and in addition, it can be cut, routed,

scored, folded or bonded, according to

individual requirements.

Foamalux White UV stable foam PVC

sheets are available in a range of

thicknesses from 1-19mm.

For further information visit: visitwww.brettmartin.com.

A white with the wow factor


special feature

Grafityp UK offers acomprehensive range ofsignmaking materials includingpopular choices from itsGrafitack, Graficast, Grafisoftand Grafiprint series of media.

The Grafitack and Graficast vinyl

ranges include the three-year

Promo, five-year 100, seven-year

200/300 and 10-year series of films,

all of which are suitable for a wide

range of signmaking applications.

For more specialist applications

such as window graphics and

illuminated signs, the seven-year

Grafitack Etched Glass series is

available in six colours.

For high-impact signs, the seven-

year Grafitack TL (Translucent) and

Fluorescent (available in four Day-

Glo colours) are ideal solutions,

while the Grafitack Removable,

which is available in black and

white, is ideal for short-term signs

and displays. The five-year Grafitack

GEF series are eco-friendly films that

are PVC- and 100 percent chlorine-

free materials with a Fire Class 1

rating in compliance with BS 476

(Part7). Available in eight colours,

Grafisoft is ideal for the production

of banners and other soft signage

applications.

Completing the Grafityp UK

signmaking materials portfolio is the

Grafiprint range of digital media.

These materials are available in a

wide range of options for both

short- and long-term applications.

For further information visit:www.grafityp.co.uk

A materials extravaganza

Perspex Spectrum LED, the latestcast acrylic material from PerspexDistribution, will enable signmanufacturers to create solutionsthat are more colourful in conceptand more cost-effective and eco-friendly in application.

Perspex Spectrum colours have been

specially formulated to optimise

colour performance through

transmitted and reflected light using

white LED modules. They will enable

illuminated signs to be seen at their

brilliant and uniform best both at night

and during the day.

LED is fast becoming the dominant

source of light for illuminated signs

due to its cost and environmental

benefits, as well as an ability to ensure

bright and intense colour under all

conditions. To complement Perspex

Spectrum LED, Perspex Distribution is

now stocking a full range of the

popular LED modules from SloanLED

in order to provide an integrated

illuminated signs solution that is

available from a single source of

supply.

Also available from Perspex

Distribution are the new Alupanel

aluminium composite sheets. These

include Alupanel Ultrawhite Digital

that features a brilliant white surface

for perfect printing and Alufoam

panels that incorporate a foamed

white polyurethane core to provide a

30 percent lighter alternative solution

to standard aluminium composite

materials.

For further information visit:www.perspex.co.uk

Broadening the colour spectrum



special feature

An extensive range of sign makingmaterials is available from the UK’sleading trade-only supplier WilliamSmith. The range includespremium-grade products from 3M,for which the company is a primarydistributor and the largest UKstockist, as well as materials fromArlon, Ritrama and Contra Vision.

Key products in the range of opaque

films include the 3M Scotchcal 80 and

100 series. Suitable for both indoor and

outdoor applications, Scotchcal 80

comprises economy cast films available

in a choice of 84 colours, including

matte white and black, eight metallic

and 33 Pantone-matched formulations.

Scotchcal 100 is a range of premium-

grade self-coloured films available in

120 standard colours and 50 metallic

formats for application to a wide range

of sign making materials, including

aluminium, GRP, acrylic, glass, steel and

painted substrates. The films are

suitable for applications involving flat

and corrugated surfaces, are water-

resistant and come with a 12-year

durability.

3M Scotchcal IJ8624 Graphic Film for

Textured Surfaces is a unique

conformable cast film specifically

designed to provide clean,

photographic-quality full-colour

imagery for application to moderately

textured flat or curved surfaces as

diverse as brick, breeze-block, tiled and

cement. It has an outdoor durability of

up to six months and an indoor

durability of two years and represents

an inexpensive alternative to painted

signs and graphics.

3M Scotchcal Clear View Graphic Film

8150 has been specifically designed for

architectural, graphic and decorative

applications. It enables a host of special

effects to be achieved and in particular

those involving glass surfaces where

high transparency is required on

unprinted areas.

Also developed for applications

requiring special effects are the 3M

Fasara Glass Decorative, 3M Dusted and

Frosted Crystal, 3M DI-NOC and Ritrama

etched glass-effect films. The range of

special-effect films from William Smith

has also been expanded to include

Contra Vision Performance perforated

films that enable see-through graphics

applied to windows and other glass

surfaces.

For interior wall decoration, the Arlon

DPF 206 and 207 removable films are

ideal solutions, while the Arlon DPF

8000 Engineering Grade film can be

used for a wide range of marking

applications specific to the

transportation, vending and

automotive industries.


Metamark’s new MetaScape Frostproduces superb, cut and appliedetch-effect graphics, which arenow even easier to apply.

MetaScape Frost comprises the

flawless etch effect facefilm for which

Metamark window effect films are

widely admired, combined with an air

evacuation system and a crystal clear,

humidity resisting adhesive, in order

to facilitate perfectly applied window

graphics. And even though

MetaScape Frost can be cut, weeded

and applied in precisely the same way

as coloured self adhesive vinyl, once it

is applied to a window, the final result

could easily be confused with

mechanically or chemically etched

markings which cost considerably

more.

Etch effect films can be effectively

used to screen areas for privacy while

still admitting light and can also be

used to provide ambient markings

and corporate graphics.

Thanks to the material’s new

MetaScape adhesive system,

application is now even easier and less

error-prone, as any air that’s trapped

during application can be easily

squeegeed to the graphic’s edges.

Metamark is making samples of its

new MetaScape Frost etch effect film

available free-of-charge upon request.

For further information visit:www.metamark.co.uk

Window graphics with eye-appeal

A plethora of products


Better known for its high-performance structural bondingsystems used in sign making,Innova Solutions now also suppliesprinted photo-luminescent signagesolutions.

The company has introduced its latest

Glowcoat printed photo-luminescent

aluminium signage used primarily in fire

safety and fire action response

situations in buildings, including

emergency escape signage and fire

extinguisher markings. The signs are

constructed using a Class D the

brightest classification available, photo-

luminescent coating along with the

relevant wording and legends and

printed on aluminium and stainless

steel substrates.

Innova Solutions has vigorously

promoted the use of Safety Way

Guidance Systems (SWGS) based on

photo-luminescence technology in the

aftermath of the 9/11 Twin Towers

incident in New York in 2001. SWGS

were cited as a major factor in the safe

evacuation and survival of many of the

people who made it out of the

buildings following the terrorist attack.

The benefits of SWGS based on photo-

luminescence technology are self-

evident. The material stores energy

from ambient light sources and then re-

emits this energy via signage that glows

brightly in the dark. It requires no power

source and therefore incurs no running

costs. It is also completely reliable and

will provide critical directional signage

even under conditions of total blackout

or a smoke-filled environment.

Apart from contributing to public

safety, SWGS also represent a sound

investment for sign manufacturers by

providing a new source of revenue and

enabling greater diversification from

their core activities to create new

business opportunities.

For further information visit:www.innovasolutionsonline.com

Give it a glow!


special feature

In spite of the proliferation ofelectronic outdoor signage, largepanel poster advertising remains amajor force in this sector of the signand graphics industry. Leadingsupplier to this market, Sihl offersthe TriSolv multi-purpose range ofdigitally printable papers.

The TriSolv range comprises multi-

layered, high-white and water-resistant

papers that have been specially

developed for printing with solvent and

UV-curing inks. The construction of the

papers enables brilliant posters that

reputedly will save up to 30 percent in

ink usage. All of the papers are qualified

for billboard applications, have

effortlessly passed stringent tests

carried out by a major out-of-home

media supplier in accordance with

recognised international standards that

apply to 95 percent of posters used

throughout the world and offer high

scratch resistance and perfect folding

capabilities.

Sihl is a major global producer of high-

performance imaging papers and

specialist media such as photo-quality,

banner-grade, backlit and canvas that

are suitable for use with solvent-based

ink technology. The materials feature a

specially developed coating to enable

their use in a range of outdoor

applications, while for indoor

applications over-lamination is not

required.

For further information e-mail:[email protected]

Brilliant posters

To reflect its continual productdevelopment and innovation,Fujifilm has re-branded thepopular Euromedia range ofmedia to which it has made someimportant new additions.

Especially suited to Fujifilm’s Uvistar

printer, UV Frontlit PE is an eco-

friendly 110gsm polyethylene

product featuring a satin white low-

reflectivity surface to enable brilliant

colour printing. The 510gsm Frontlit

Production FR has a smooth white

and low-reflectivity surface offering

similar benefits, with the B1 Fire

Certification of this product making it

ideal for indoor applications.

For banner applications, the range

now includes Project Banner White, a

laminated banner-grade material for

short-term applications and Frontlit

Plus FR, a high-quality PVC-coated

material for long-term indoor and

shorter-term outdoor applications.

Completing the new additions are

BigMesh Backing FR, which is suitable

for wind-load applications and

offering a B1 Fire Certification,

Caramba Mesh Backing FR, a

premium-grade mesh product with

outstanding dimensional stability

and tear resistance and a range of 25

specially selected products from the

expanded Euromedia range for use

with Fujifilm’s new Acuity LED 1600

printer.

For further information visit:www.fujifilm.eu/uk

All change!


Five different formulations of the latestPERMAfun range of special effect filmsfrom MACtac are available from AmariDigital Supplies. All of the materials havebeen designed for application to flat orgently curved surfaces.

Crystal Gloss is a premium cast vinyl with a high-

gloss surface and a large concentration of light-

refracting additives to enable special effects. It

incorporates a high-performance permanent

clear solvent-based adhesive and white Kraft

liner to ensure stability and to impart a lay flat

quality. The film can be used for both outdoor

and indoor applications.

Brushed Metal is a premium-grade polymeric

vinyl with a fine brushed satin texture. It

incorporates a high-tack permanent clear

solvent-based adhesive and clay coated white

paper liner and can be used for indoor and

outdoor applications. When used as an over-

laminate for the MACtac MACal 9800 Pro series

of films, it will create the appearance of brushed

metal. It can also be used on digital prints to give

them a special texture.

Coarse Grain Wood is of a similar construction

and shares the same application capabilities as

Brushed Metal. It can also be used with MACtac

MACal 9800 Pro films as an over-laminate to give

the appearance of plain wood. Fine Grain Wood

shares the same construction and application

capabilities, as does the Leather option that can

be used to impart the appearance of simulated

leather.

For further information, visitwww.amaridigitalsupplies.com

Add an effect

A new range of FSC-accredited papermedia has been introduced by PaperlinXand is available from its three subsidiarycompanies, Robert Horne Group,Howard Smith Paper Group andPaperCo.

Called Fabriano, the range has been

developed in response to feedback from

designers and printers requesting a product

that effectively addresses the three

most important specification criteria:

choice, availability and competitive pricing.

The products are grouped in four distinct

categories (White, Metallic, Colour and

Translucent) to enable easier identification for

specific printing applications.

Available in weights ranging from 90 to

480gsm, the papers include a choice of 13

primary colours, five of which have

Indigo certification and all of which

(including the White, Translucent

and Metallic formats) have Sapphire

treatment. All of the papers are currently

held in stock.

For further information visit:www.paperlinxeu.co.uk

Greater creativity


special feature

Avery Dennison has respondedto the dynamic market inapplications for durable,medium-life self-adhesivegraphics with enhancements toits inkjet-printable polymericcalendered vinyl ranges, AveryMPI 2000 and Avery MPI 2800.

New products for popular

applications have been introduced,

and the printed durability of both

ranges is now additionally

warranted for significantly longer

when the films are protected with

their partner Avery DOL

overlaminates.

Newly added to the Avery MPI 2000

series range is a product specially

formulated for apolar, low-surface-

energy substrates like HDPE: Avery

MPI 2600 AP. Its combination of a

flexible, conformable face film and a

high-tack speciality adhesive makes

it an appropriate choice for

application to many of today’s

plastic substrates; and it is available

with Avery Easy Apply and Avery

Easy Apply RS features for speedy,

accurate, bubble-free application.

Avery MPI 2800 series films now

feature two new economical

solutions for shorter-life

applications, Avery MPI 2802

permanent and 2803 removable,

both of which feature a grey

adhesive primer coat for added

opacity, making them suitable for

application over pre-decorated

surfaces.

For further information visit:w w w . e u r o p e . a v e r ygraphics.com.

Durability to the fore

Under a single brand, 74 newproducts have been introduced byAntalis McNaughton toaccommodate more eco-friendlylarge-format printing applications.

The new Coala range of media includes

20 products for water-based and 54 for

solvent-, UV-based and latex printing

applications. The range includes

substrates for both indoor and outdoor

applications embracing a broad

selection of papers, self-adhesive and

banner-grade materials, textiles,

wallpapers and speciality media. In

particular, products have been

developed for the growing latex ink

printing market.

The Coala collection has been sourced

from leading Continental Europe

suppliers and in particular from

Germany and is said to have undergone

a rigorous selection process prior to

inclusion. An important consideration

was the environmental credentials of

these products, resulting in the

adoption of a number of PVC-free films

and textiles and FSC/PEFC-certified

papers.

Other products supplied by this

company for signmaking applications

include: Antacote Lite, a PEFC-

accredited and PIRA-tested alternative

to foamed board materials, Correx, a

fluted polypropylene board material,

SMART-X, a lightweight all-plastic sheet

product offering high UV resistance and

FoamaLite Xpress, a lightweight

foamed PVC material with an ultra-

white finish.

For further information visit:www.antalis-mcnaughton.co.uk

Cute but not cuddly!


GRAPHICS STUDIO MANAGER. PRINTED & CUT VINYL GRAPHICS. SOUTH.PACKAGE: £25 – 35K.

BUSINESS DEVELOPMENT MANAGER. CORPORATE SIGNAGE. SOUTH PACKAGE: BASIC £35 - 45K, BONUS & CAR/CAR ALLOWANCE.

BUSINESS DEVELOPMENT MANAGER. DIGITAL PRINT/GRAPHICS. MIDLANDS/NORTH.PACKAGE: £30 - 35K, COMMISSION & CAR/CAR ALLOWANCE.

BUSINESS DEVELOPMENT MANAGER. ENVIRONMENTAL GRAPHICS. SOUTH PACKAGE: 30 - 40K, COMMISSION & CAR/CAR ALLOWANCE.

PROJECT MANAGER. SIGNAGE & DIGITAL PRINT NORTH WESTPACKAGE: BASIC £25 - 30K

MARKETING EXECUTIVE. SIGNAGE & DIGITAL PRINT .NORTH WEST.PACKAGE: BASIC £20 – 30K.

PROJECT MANAGER. CORPORATE SIGNAGE. SOUTH WEST.PACKAGE: BASIC £30 – 35K

SENIOR PROJECT MANAGER .CORPORATE SIGNAGE .SOUTH EAST.PACKAGE: BASIC: £35 – 40K.

ACCOUNT MANAGER. EXHIBITION DESIGN & BUILD. SOUTH. PACKAGE: BASIC £40, COMMISSION & CAR/CAR ALLOWANCE

ESTIMATOR. CORPORATE SIGNAGE. NORTHPACKAGE: £25 – 30K

To find out more about any of these, or the numerous other vacancies we are currentlyhandling, contact us now on 01275 855 105 or forward us a copy of your C.V. to:

[email protected]

Amari Plastics, one of the UK’sleading suppliers of materials tothe sign trade for over 30 years, hasseen significant growth in its salesof cast acrylic over the last twoyears, following the introduction ofthe Acrycast cast acrylic range.

First introduced in 2010, Acrycast’s sales

have surpassed all expectations, largely

due to the fact that signmakers enjoy

working with this high quality material,

which is available in a wide selection of

colours and a range of different sheet

sizes. To celebrate this success Amari

Plastics is holding a race day promotion

for customers who purchase Acrycast

cast acrylic during the months of May

and June, when any customer who

spends £500 or more in each month,

will automatically be entered into a free

prize draw for a Ferrari race day at

Silverstone in Northamptonshire.

Acrycast is the own brand of the Amari

Plastics Group and is being used to

develop new grades ,such as Acrycast

Super Clear, an optical clear grade of

acylic that is suitable for use as picture

frames, museum casings and in all areas

where a totally clear cast acrylic is

required.

As well as Acrycast, Amari also offers a

full range of products for the signmaker,

such as MACtac marking films, MACtac

IMAGin digitally printable vinyls, foam

PVC, which is available in sheets from

1mm to 30mm thick, sign extrusions,

gear trays, and light boxes, as well as

Dibond aluminium composite sheet,

which is now available in a new range

of two

metre wide gloss colours. In

addition, signmakers can also choose

from products from the Dibond Mirror

range, which includes the newly

launched Anthracite Mirror and the

Dibond Décor range of Woodgrain

finishes, all of which are available from

Amari Plastics’ local branches, which are

strategically located at 14 key urban

areas around the UK.

For further information visit:www.amariplastics.com

Multiplechoices

Sign Directions March 2012 | 60

sign directory

SIGN MAKING SUPPLIERS

MATERIAL SUPPLIERS

FLEXIBLE FACE SIGNS

FLAT CUT LETTERS MANUFACTURERS OFMAGNETIC MATERIALS

LED SPECIALISTSDIGITAL PRINT SYSTEMS

PERSPEX DISTRIBUTION LTD• Perspex® cast & extruded acrylic• Bencore® Composite• Polycarbonate • APET & PETG• Alupanel® Aluminium Composite• Foamed PVC• Rigid PVC • Polystyrene• Rod & Tube • AdhesivesFull stock holding capability, bespoke colour matching and a cut-to-size service available plusstandard next day delivery.For immediate response pleasecontact your regional sales andservice centre.North - BlackburnT. 01254 272800Midlands - TamworthT. 01827 263900South - ChelmsfordT. 01245 232800www.perspex.co.uk

Sign Directions March 2012 | 61

signdirectoryThe Sign Industry's Who's Who

BUTTERFIELD SIGNS LTD.

174 Sunbridge Road, BradfordWest Yorkshire BD1 2RZ

Tel: 01274 722244Fax: 01274 848998Email: [email protected]: www.butterfieldsigns.co.uk

General signmaker offering ProjectManagement and Sign Design.Specialist in Neon, Illuminated Signs and Maintenance.

HUMPHREYS SIGNS LTD.

Unit 6, Spencer Trading EstateDenbigh, N. Wales LL16 5TQ

Tel: 01745 814066Fax: 01745 815374Email: [email protected]: www.humphreys-signs.co.uk

Trade Printers for over 30 years.Estate Agents board specialists.Printing on Correx, PVC Vinyl,Magnetics, as well as digitalprinting.Large or small runs.

SCREEN PRINTING

CNC ROUTERS & CUTTERS SIGNMAKERS

MOULDED/FLAT-CUTLETTERS

SIGN SYSTEMS

ATA Engineering Processes

Complete Routing Solutions

CNC Routers

Router Cutters

Router Cutters

Tel 01442 264411 • Fax 01442 231383

Email [email protected]

PROLICHT UK LIMITED

14, Spire Green Centre

Flex Meadow, Pinnacles West

Harlow, Essex CM19 5TR

Tel: 0844 412 2230

Fax: 0844 412 2231

Email: [email protected]

Web: www.prolicht.com

Europe’s leading Corporate Identity

Sign Designers and Manufacturers.

At ProLicht corporate design is

turned into reality. Our commitment

starts at the design and

development stage and continues

through prototyping, production,

project management & installation

throughout Europe. Contact our UK

office for advice and assistance.

BENSON SIGNS

96 - 98 Great Howard StreetLiverpool L3 7AX

Tel: 0151 298 1567Fax: 0151 298 1568

Email: [email protected]: www.benson-signs.co.uk

Design and manufacture of all typesof signs, combining traditional skillswith the latest technology,providing pub, hotel and retailsectors with a full installation andmaintenance service, nowincorporating wide format fullcolour printing on banners andsigns as well as electronic digitaldisplays and directory systems.Nationwide Service.


the last word

The presentation fairly summarised its

author’s view of how big the established

sign and display market was and the

extent to which it was penetrated. The

thing that got my attention though, was

the view it promoted regarding the size

of the market for decorative output

and the extent to which it had been

realised. The view there was that the

market was a big one, and that it was

barely touched. We’ll be having some of

that, then.

As we all know, unless there’s something

particular that drives a business in the

direction of deep specialisation, there’s

nothing in a sign and display producer’s

charter that says he can’t wander into

adjacent markets. Many already do of

course. Are those who don’t missing a

trick? Probably, is the only sensible

conclusion that I can draw.

So, decorative output, what is it? Let’s

start with something simple - mural-like

applications. Think, for example, of a

restaurant, let’s make it an Indian. There

was a time when all that was available to

the enterprising Indian restaurant owner

to cover his walls was, paint or wallpaper.

If the Indian restaurants I’ve visited are

any indication, it was only one design of

wallpaper and I’m sure you know it in all

of its maroon flocked motif glory.

Today, things are different. Paint and

wallpaper still figure in the range of

possibilities, but now the wallpaper can

be digitally printed. Sadly, I don’t think

any of the industry’s commonly used

hardware is capable of spitting out

maroon flock yet, and, mercifully, it

probably never will be. Beyond that

though, anything is possible. So, with

some digitally printed wallpaper

cladding the premises, diners can be

treated to a view of something

evocative of the Indian continent’s many

charms, something a lot more

atmospheric than flock wallpaper.

The choke point when it comes to

satisfying this apparently latent demand

is, the restaurant owner doesn’t know it’s

possible, and you the signmaker never

get asked for anything like it. Someone

has to make the first move. Increasingly,

the people making the moves seem to

be the printer manufactures and those

who make it all happen for them, the

media producers.

You may have noticed that it’s

becoming increasingly difficult to buy a

printer these days. I’m not thinking so

much about the availability of credit and

funding, more that the manufacturers

have shifted away from marketing

hardware 0 to 60 style. Hardware is

promoted less these days behind a raw

distillation of its performance and more

for the depth of its ability. The word that

everyone is using is “application.”

What the hardware and media

producers are betting on is that the

markets for the stuff they sell can be

grown if the range of applications it

addresses gets bigger too. They hope to

inspire you to get out and sell the output

you can now produce into new markets.

New markets just don’t spring up of

course. They can take years and years to

develop and they tend to belong to a

handful of evangelists in the early stages

of their gestation.

Some of the hardware manufactures are

a little late to the table with this

approach, others having paved the way.

The evidence is there though. Exhibition

stands that would have once been

dripping with pictures of the very

printers that produced them, are now,

instead, bent double under the

examples of all the good and great

things you can actually do with the

hardware beyond what you’d normally

expect to see. So was born the coffin-

wrap, the dinner tray advertisement, and

the printed window manifestation

display.

Application development is now as

legitimate a career as product

development and it represents

manufacturers’ investment in

developing new application possibilities

that, who knows, may just become

the next big thing. This is going to

be pretty exciting.

Printed and applied vinyl can be a useful

and practical proxy for all kinds of long

established conventional materials.

Substituting printed materials for

wallpaper and paint is just a beginning.

Who says radiators have to be plain

white? Garage doors and wheelie bins

have been done, but there’s stacks of

room to grow yet. What about a wall in a

kid’s room with a computer game

theme and some flexible magnetic

parts that can be moved around within

the design?

I’ve always maintained, and always will,

that the fountainhead of demand in the

sign and display industry is creativity.

With that in mind, I’d like to see

hardware manufacturers who’re now

focussing on application expansion, to

also get their shoulders behind

educating and inspiring designers as to

the possibilities that will otherwise

remain latent and unexplored. It’s a fact

that designers, by and large, are only

minimally acquainted with what

today’s hardware and media are capable

of delivering.

Out there somewhere is another

application, which will return to the

industry that pioneers its practices, a

payday as big as the ones we are

currently reaping from window

graphics, wraps or banners. The

technology and science is pretty much

sorted at this point. What’s needed is

focus on market development and it’s

heartening to see investment being

directed in precisely this direction.

We opened this conversation with mural

like applications. Murals put a market at

your disposal that’s as big as all the

boringly papered or blandly painted

walls in the world. That is a lot of square

metres. That is a lot of ink. That is a lot of

media and a lot of printers to handle it

all. Photomurals are starting to appear.

Materials supporting their production

are also available. What’s needed next is

an effort to sell them into the very spaces

they were made to grace.

With the exception of all the bits that

nature has filled in, everything we see

around us has been sold by somebody

and bought by somebody else. As a

species we have a natural appetite for

things that are new, so an audience for

new ideas exists wherever you look for it.

It may not feel like it at times, but the

technology and materials we have

today is not, figuratively, being stretched

at all. It has given a lot, but there’s a lot

there to give still.

Next time you’re contacted by

somebody trying to sell you a printer,

listen carefully. Yes, some of the

conversation will centre on getting

more done in less time and for less

money, but a part of it will also be

concerned with how much more you

can do if you have the right printer,

media and ink working in concert.

The opportunity that’s wrapped up in

growing applications is a big one. How

big a slice of it do you think you could

make your own?

Mark Godden

[email protected]

I very recently got to sit through a presentation by one of the industry’s leading lights in hardware, and they did a very good job ofsummarising the market potential for digital output. The very same digital output that any of you reading could produce if you happento have a wide-format inkjet printer somewhere on the premises.

Application, Application, Application!

This month, Mark Godden explains why the signmaker’s new mantra should be:

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