This being a drupa year we’re expecting all sorts of new technologies to be presented in Düsseldorf in May. And not to be outdone, Fespa in Amsterdam is the site of a bevy of new technologies this month. Ricoh will introduce a new flatbed roll-to-roll printer and there will be many more new products to explore. There is certainly no lack of innovation, but we aren’t seeing enough being done when it comes to sustainability developments.

The problem isn’t so much with commercial print waste, since most of this is still paper based. Paper recycling is well-established in developed economies and although the paper industry is slacking when it comes to digital print deinking and recycling investments, the model is at least there. At some point the necessary upgrades will be made.

Press technologies are also readily recycled and here too a model is in place. Ricoh, Canon, HP and Xerox have long since reused skins and other components from devices they have reclaimed for reuse. And printing presses have very long lifespans, assuming parts and consumables are still available. But more seriously we have new inks and substrates that cannot always be easily parted. This compromises paper recycling and will undermine the considerable advances made in the industry’s environmental sustainability in the last few years. That said, in the commercial print sector we have an established foundation and supply chains for improved sustainability. The same cannot truly be said for the packaging sector where innovation, particularly in materials science may be spurring more problems than it solves.

In the last few years we have seen some gorgeous innovations in shapes and sizes of packaging, thanks to innovation in substrates, inks and packaging systems. There has been a trend towards smaller packages and multipacks, packages within packages which suits the market but drives excess packaging consumption. This inevitably generates waste, much of which gets burned rather than being put into established recycling streams.

According to data from the European Union (EU), each European generated an average of over 188kg of packaging waste, ranging from 73.8kg per person in Croatia to more than 246kg per person in Ireland. The EU’s goal is to recycle 70% of packaging waste by 2030, from all sources but perhaps we shouldn’t be generating so much of it in the first place. That is much easier said than done, but as with judicious use of print which is now a commonplace, we can all think more carefully about the packaging waste we generate. 

Laurel Brunner

This article was produced by the Verdigris Project, an industry initiative intended to raise awareness of print’s positive environmental impact. This weekly commentary helps printing companies keep up to date with environmental standards, and how environmentally friendly business management can help improve their bottom lines. Verdigris is supported by the following companies: Agfa Graphics, EFI, Fespa, Fujifilm, HP, Kodak, Miraclon, Ricoh, Unity Publishing and Xeikon.

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Through this initiative, Clean Agency also developed an LCA tool that EFI customers can use to analyse their CO2 equivalent (CO2e) emissions as part of overall packaging extended producer responsibility (EPR).

According to the LCA, printing corrugated materials on an EFI Nozomi digital press reduces global warming potential (GWP) by approximately 50% when compared to analogue printing technologies.

Seri McClendon, CEO of Clean Agency, said, ‘No printing plates, less energy, less waste, and just-in-time (JIT) manufacturing all contribute to CO2e reductions for corrugated printing on EFI’s Nozomi digital press.

‘Packaging is a major contributor to Scope 3 emissions, so we not only partnered with EFI to conduct the LCA but also to build a calculator that enables users to quantify related kilograms of CO2e for specific packaging printing volumes and applications.’

Evandro Matteucci, EFI’s vice president and general manager of building materials and packaging, stated, ‘The insights substantiate digital print’s positive impact on sustainability as well as our overall commitment to our own and our customers’ sustainability goals.

‘The LCA tool is a key value proposition for all users, as the ability to demonstrate clear footprint reductions not only aligns with ethical values but also enhances brand reputation and competitiveness in the market.’

In 2023, UK converter Caps Cases has claimed to have saved 300,000kg of CO2e when compared to analogue production methods, following its investment in the world’s first EFI Nozomi 14000 LED single-pass UV LED inkjet press.

Trevor Bissett, CEO of Caps Cases, commented, ‘According to our calculations, our largest customer avoided 60,000kg of CO2e by switching to Nozomi digitally printed packaging in 2023. To have the ability to communicate this calculation and its impact provides a strong testimonial for our digital print solutions and indicates our commitment to being a sustainable manufacturer.’

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Ms Bryne, a former beauty therapist also known as Misha in the gaming world, shifted her focus into the realm of digital artistry following the closure of her salon due to the Covid-19 pandemic.

Established in 2020, Me Myself and Misha evolved from a business offering design services for streamers and gaming conventions to providing an array of products, ranging from stickers and tumblers to custom packaging and apparel.

As the demand for her designs continued to increase, Ms Bryne has installed a Roland DG VersaStudio BN2-20 to meet printing needs while also alleviating the burden of running a one-person operation.

The BN2-20 integrates printing and contour-cutting capabilities. The desktop printer/cutter is described as a ‘versatile’ solution to meet Ms Bryne’s printing needs, whilst removing the need for multiple machines for printing and cutting.

The BN2-20’s versatility means Ms Bryne has been able to print high-quality stickers, apparel transfers, packaging materials, all with colour accuracy and vibrancy.

Unlike her previous setup, which she said to demanded ‘constant supervision,’ the Roland DG BN2-20, equipped with VersaWorks 6 output software, has allowed proactive planning and organisation of print production with its five print queues, five hot folders, and queue settings.

The VersaWorks 6’s media set functions and new sheet cut function, streamlines job setup and execution, while automatic sensor adjustments provide aid in creating the best results in every print.

This has allowed Ms Bryne to save and recall preferences, capture specific print settings, and streamline production into a process which increases overall efficiency.

Ms Bryne explained, ‘Thanks to the BN2-20 Roland DG machine and its integrated VersaWorks 6 software, I’ve unlocked precious time in my day while gaining a virtual extra pair of hands.’

For Me Myself and Misha, closely monitoring the printing process is ‘vital’ to run shorter bursts of personalised orders. Roland DG Connect has provided real-time access to crucial data on print jobs and overall business operations. This on-demand information has allowed the business to adjust its structure, as needed, to maximise efficiency.

Ms Bryne said Roland DG Connect has ‘revolutionised’ its operations stating, ‘We can now schedule runs, track efficiency, and analyse our cycles on the go. This software has enabled me to focus on business expansion and identify areas where I can enhance my design process.’

The relationship with Roland looks to continue as Ms Bryne plans to investment and upgrade to the latest Roland DG UV-LED printer, the VersaStudio BD-8, to help diversify product offerings and ‘expand into new areas’ with direct-to-object printing capabilities.

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The table can handle media up to 580 x 800mm (effective contour cutting area 480 x 660mm) and features an active tangential creasing wheel capable of exerting 2.5kg force, and a passive contour cutting tool. Described as ‘powerful and accurate’, its cutting and creasing applications include a range of products from sample and prototype packaging and protective cartons, to synthetic point-of-sale items and kiss-cut adhesive labels/stickers.

Like the larger B1+ FB1180-T launched in late 2023, the FB780-T offers direct (via ColorCut Pro software) or ‘held’ standalone modes. While the cutter can also read QR codes to access job instructions, the FB870-T also includes page edge detection, which allows for processing referenced from the rear of the sheet if there are no QR codes or other page marks printed.

Intec sales director Kerry Button stated, ‘The FB780-T is another important addition to the market leading ColorCut range. Again, we bring to the market a feature rich product at a very affordable price, allowing our customers to offer the highest quality service and a fast return on their investment.’

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The agreement will see Ricoh add Albyco’s workforce to its business, complementing existing expertise and capabilities. Albyco’s managing director Jos van Uum will remain in his current role. Albyco customers may expect continued support and an expanded range of solutions as Ricoh integrates Albyco’s capabilities into its portfolio.

Eef de Ridder, vice president graphic communications group, commented, ‘We are seeing growing demand for top-tier finishing capabilities in wide-format and inkjet/toner printing at a commercial scale, and rising interest from clients seeking end-to-end integrated solutions. Albyco’s strong reputation and proven track record in the graphic communications business makes it an excellent addition to the Ricoh family, further strengthening our collective capabilities.’

Jos van Uum, managing director at Albyco, added, ‘We are delighted to join forces with Ricoh and contribute our expertise to a company with a rich tradition of technological advancements and customer-centric solutions. This collaboration presents a tremendous opportunity to leverage synergies, drive innovation and deliver even greater value to our customers. I am pleased that we found in Ricoh the best possible home to support our customers and talented teams in the next phase of their journey.’

Founded in 1994, Albyco has expanded its offering to include its own brand of supplies and machines, including binding, laminating and signage-related equipment. It has a strong presence in the Dutch market for print finishing products, and exports print finishing solutions, machines, and consumables to customers in France, Belgium, Germany, and Sweden. Additionally, it  is the exclusive importer of brands Duplo and GMP for the Netherlands.

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Compatible with both dry toner and inkjet print technologies (though not guaranteed for HP Indigo), the papers are manufactured by Lessebo Paper at its mill located in a densely forested area of Småland, Sweden, and is described as ‘one of the most climate-friendly papers in the world’. Lessebo has over 300 years of experience in the paper industry and a track record in sustainability:  timber has been harvested from the same forest and water used from the same lake since 1693.

All production site energy is generated solely from biomass fuel, with excess renewable energy used to supply district heating to local homes. Lessebo Paper claims to have one of the lowest CO2 emissions in the paper industry at 25kg of CO2 per tonne of paper.

EBB is stocking 40 colours plus a Design White, with the option to order the remaining eight shades from mill stock. The range is available from 80 to 350gsm in a variety of sizes. There is also the option to have stock embossed with one of 18 different textures.

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The new machine is said to offer ‘unprecedented’ levels of productivity, precision and safety. It features a new drive technology and carbon fibre beam design that enable acceleration of up to 2.74G and cutting speeds up to 168m/min in order to address the challenges of continuous high volume multi-batch production.

The carbon fibre beam also provided ‘unparalleled’ stiffness and consistency in applying 50kg downforce. Complemented by a toolhead camera, this is claimed to bring accuracy and repeatability to the highest industry standards.

Safety features include Kongsberg Smartzone, a proximity-driven dual-zone system designed to achieve safety and efficiency. This is supported by LED lighting to convey  machine status in a highly visible manner. Uptime is helped via new self-diagnostics and remote operator alerts, while a productive operator experience is delivered via a touchscreen running the IPC 3.0 interface.

‘Engineered with our deep understanding of corrugated and display converters’ needs for precision, the Kongsberg Ultimate promises to redefine standards and usher in a new era of productivity and innovation, delivering a fast return on investment for convertors of corrugated board,’ said Kongsberg PCS president and CEO Stuart Fox. ‘Enhancing operations and providing a significant competitive advantage, the platform sets a new industry benchmark and is set to drive the future of corrugated production for years to come.

‘With corrugated converters around the world under increasing pressure to produce better, faster, safer and more efficiently to meet the demands of the global market, we have underlined our commitment to deliver a solution that has been engineered for precision and built for productivity,’ he added.

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After opening remarks by Two Sides UK managing director Jonathan Tame, the BPIF’s Charles Jarrold provided an update on the industry’s progress, noting that its net worth had increased from £11.7 billion in 2021 to £13.7 billion at the start of 2023, reflecting a bounce-back from the pandemic period. However, confidence going into the third quarter of 2023 is ‘fragile’ after Q2 failed to meet expectations.

As supply chain issues have improved and confidence is growing that inflation has peaked, top concerns are now around skills shortages and competitor pricing, though energy costs remain high on the list. Packaging and books have held steady as sectors, but the focus for commercial print must now be on data, targeting and analytics, said Mr Jarrold.

The latter point was  fleshed out by Mark Davies of Whistl, who suggested that the digital advertising duopoly of Meta (Facebook) and Google is ‘facing its own disruption’ as a result of falling consumer confidence in the veracity of digitally delivered messages, questionable claims about reach and advertising fraud, estimated to be worth some US $100 billion in 2023. Changing privacy regulations and technical implementations will further erode its advantages, he added.

By comparison, Mr Davies said that print is able to provide a ‘pretty decent response’ in terms of transparency and verifiable results, and cited examples of brands that were moving from digital-dominated campaigns to using print, with direct mail seeing its biggest growth in Q2 of 2023 since 2006. ‘Money is moving out of digital and into print,’ he confirmed.

Canon’s wide-format specialist Matthew Faulkner provided an insight into how emotional states play into purchasing decisions and how brands might use a ‘wheel of emotions’ to understand how and when to best tap into this. From this he explored how graphic imagery can affect emotional states and be used positively to enhance indoor environments, building on humans’ evolutionarily hard-wired responses to certain types of landscapes, and connecting this to opportunities for bold design to feature is social media promotion of retail businesses.

More direct mail ammunition followed from Ian Gibbs of Jicmail and the DMA who warned against setting short-term targets at the expense of long-term growth. Speaking about the price sensitivity brought in by cost-of-living worries, he noted that a campaign of continuous discounting and price comparison sensitivity only produces a customer base that expect further discounts, evidenced by a large drop in brand loyalty in 2023.

Mr Gibbs provided some persuasive figures for print’s value as a high attention channel, and demonstrated that when viewed in terms of cost per minute for the attention of an ABC1 consumer, it is competitive with TV and OOH and cheaper than digital channels.

A strong sustainability theme came from Maya Kjellberg of Ikea, who explained how packaging was integral to the Swedish company’s success. She explained how successive rounds of revision and process redesign are driving down materials usage, increasing recycling rates and reducing the amount of single-use plastic, with a figure of 70,000 tonnes across the 468 stores reduced to 41,000 tonnes in 2023 with the aim of being plastic-free by 2028. Innovations such as paper-based pallets instead of the conventional wooden ones have alone saved the company €50 million a year.

Packaging, or forthcoming EU regulations that affect it, was also the topic of the presentation from Anna Papagrigoraki of the Confederation of European Paper Industries, who explained the current and impending legislation that has originated from EU Commission president Ursula von der Leyen’s ‘European Green Deal’ announced in December 2019. Ms Papagrigoraki explained the various current and forthcoming EU Directives that affect packaging, some of which are still being debated, particularly in terms of the use of plastics, with the overarching aim that all packaging should be reusable or recyclable by 2030. Her advice was, ‘This will be coming to the UK in form, so keep your sustainability reporting clear and up-to-date’

Sustainability was also central to the message delivered by Simon Heppner of Net Zero Now, who argued that the initiative is helpful to business’s long term success, including their ability to attract younger workers who value environmental credentials. He explained how mandatory carbon reporting will be extended progressively to smaller businesses and that finance availability and terms are increasingly tied to ESG performance.

Mr Heppner advocated an approach that involves calculating greenhouse gas equivalent for all parts of a business’s operations, including ‘Scope 3’ emissions, which relate to suppliers, then setting targets using the Science Based Targets initiative (SBTi) model. Once actioned, reporting and continuous iteration of the process should follow. Mr Heppner is aiming for industry collaboration to develop print-specific data and advice, having tackled eight other industry sectors.

Mark Shayler of innovation and environmental consultancy Ape presented a musically-oriented take on the enduring tactile and other physical properties of print, interspersing analysis of seminal album sleeves with print campaigns from the 1950s onwards. Espousing print as the ‘quiet’ against the ‘noise’ of digital channels, he contrasted the development and packaging (in both senses) of popular music over the decades with other commercial campaigns, and summarised creativity as the ability to ‘imagine a world that is not here yet’.

One of the most topical presentations was from Henry Coutinho-Mason, consultant and author The Future Normal, who outlined the breakneck pace of development in AI, noting that ChatGPT is less than a year old but has already diversified into several ‘custom’ variants to suit different applications, while Amazon and Microsoft have introduced AI-based tools this year. He suggested that this summer’s call for regulation by the big players was actually a means of shutting down their prospective competitors.

Mr Coutinho-Mason noted that basic human needs and desires do not change, but described a shift towards an ‘expectation economy’, with expectations usually defined by customers’ experiences in other sectors. He gave various examples of AI applications, ranging from programming aids and medical report writing to automated dating site review and setting-up of recommended prospective partners, plus insights into how AI can support a range of roles and tasks, as well as enabling entirely new business possibilities such as a recording artist making a synthesised version of her voice available to fans to produce – and monetise – their own songs.

Wrapping up the proceedings, Two Sides’ Mr Tame updated on the organisation’s membership, now at 600 around the world, and presented highlights from its most recent study, from June 2023. This showed rising concerns over data privacy online and desire for a right to choose between paper-based or online communications. Awareness among consumers of the increasing area of European forests is still very low, however, though improved on previous years. Two Sides’ anti-greenwashing campaigns have reached millions of consumers around the world and the organisation is encouraging retailers and brands to adopt its ‘Love Paper’ branding.

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Mercury has been a user of Kodak’s Prosper inkjet printing technology since 2011, producing up to 10 million pages per day. The firm will use the new 7000 Turbo Press for wide range of print jobs, including educational, trade and children’s books, personalised direct mail, marketing collateral and transactional documents, as well as short- to medium-run packaging requiring variable print.

John Place, CEO of Mercury Print Productions, commented, ‘Our primary goal with this investment is to enhance our production capabilities, improve efficiency and offer our customers a broader range of printing options. We aim to provide faster turnaround times, greater substrate flexibility and capabilities, and consistent print quality across various substrates. We needed another press as we have experienced a significant increase in demand for digitally-printed products as our customers continue to look for solutions that offer offset quality while allowing for the flexibility that inkjet provides. It enables our customers to order what they need, when they need it.’

Christian Schamberger, president, explained Mercury’s renewed decision in favour of Kodak: ‘The Prosper 7000 Turbo Press stood out for its exceptional speed, high-resolution capabilities and versatile substrate compatibility. It aligns perfectly with our commitment to providing our customers with the best possible print quality and options. What’s more, Kodak’s commitment to continuous improvement and investment in inkjet technology aligns with our long-term growth strategy.’

Capable of 410m/min in ‘Turbo mode (600 x 450dpi), equivalent to 5523 US Letter pages per minute, the Prosper 7000 Turbo will increase Mercury’s inkjet capacity by approximately 40-50%.

‘We thank our long-standing customer Mercury Print Productions for their continued confidence in Kodak’s technology and our commitment to innovation. With this latest investment, Mercury takes a major leap forward in digital capacity, production versatility and business opportunities,’ said Jim Continenza, executive chairman and CEO, Kodak. ‘The Prosper 7000 Turbo Press, with its unmatched speed and incredible application range, enables users in wide areas of the commercial and publishing printing markets to print a wide variety of jobs more productively and profitably than ever before.’

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The schedule is confirmed as :

Henry Coutinho-Mason, global lecturer and publisher on AI (artificial intelligence) on the opportunities and challenges AI will bring for the industry. A copy of his latest book given to all attendees;

Maja Kjellberg, Ikea packaging development leader on Ikea’s sustainable packaging strategy;

Simon Heppner, CEO Net Zero Now – What is Net Zero, and what effective actions can your business take?

Mark Shayler, global lecturer, author and brand consultant, on sustainability;

Anna Papagrigoraki, sustainability director CEPI (Confederation of Paper Industries) on changing EU packaging legislation and impact for producers;

Mathew Faulkner, marketing director Canon – Targeted digital print for maximum brand impact;

Mark Davies, managing director Whistl on changing data and digital regulations with new opportunities for print;

Ian Gibbs, insight director DMA and Jicmail – The value and ROI print delivers;

Charles Jarrold, CEO, BPIF will speak on the state of the market and the outlook for print.

The audience will be 150 leaders from the print, paper, publishing, packaging and media industries, providing opportunities for networking during the day and at a subsequent drinks reception in  Stationers’ Hall.

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