Named to reflect the company’s Japanese heritage (‘senshi’ means warrior), the new machine operates from the flat sheets typically produced by digital presses, rather than the folded signatures found in offset-based production. Duplo says that removing the requirement for this folding step reduces the requirement for skilled folder operators in favour of simpler guillotining processes, while still offering high quality flat bound products.

Quick make-ready is supported by multiple tower configurations that allow subsequent jobs to be loaded and prepped while the machine is running, plus quick switching to allow short run high priority work to be sandwiched in between longer-run or less urgent work. Automation-driven setup for new jobs is achieved in 45 seconds, with the calibration run completed in under two minutes.

Duplo’s Peter Dawson also told Digital Printer that, ‘An unexpected benefit we found from the pilot site was that unlike a regular C-shape where the loading and unloading compete for space, the different layout allows for much better access. Our pilot site will be running a job of 220,000  and when dealing with such large numbers, you need to be able to efficiently bring in and remove pallets of work and take away the finished books. All of these operator tasks add up to affect the true ‘books on the floor’ at the end of a shift’.

The Senshi’s automation is largely based on that of the existing iSaddle 5. Mr Dawson noted that maintaining the same easy job programming, automated set-up and fine adjustment were ‘crucial’, and confirmed that the new machine provide Industry 4.0 compliant reports in XML at the end of each run, suitable for ingestion to MIS or other production management systems.

He also explained, ‘Retaining the same level of features is not entirely necessary for the Senshi; for example options such as stacking flat sheets are unlikely to be a requirement for a conventional saddle stitcher. There are some features such as programming intelligent sheet feeding that are more relevant to lower volumes of digitally printed pre-collated work.’

Marine Kerivel-Brown, marketing manager at Duplo, added, ‘At Duplo, we understand that winning in any battle requires a combination of strength, intelligence and skill. With the iSaddle Senshi, we’ve created the perfect union between agility, accuracy and automation, encased in a robust frame engineered for heavy-duty production.’

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With the UK technically in recession after two successive quarters of falling GDP, including a worse-than expected fourth quarter of 2023 as household reined in Christmas expenditure in response to rising retail prices and borrowing costs, it doesn’t seem like the most optimistic time for commercial print, often seen as a bellwether of the economy.

But doom and gloom is very much not on the cards for the UK’s trade print sector, where investment continues and ambitious growth targets are still being set. The positive attitude is perhaps

best exemplified by Where The Trade Buys’ (WTTB) Gary Peeling, who says, ‘Fear can be paralysing for businesses and being afraid can have a knock-on effect on demand and growth.

‘Reacting less and acting more will be our watchwords, going forward; you can’t wait around for bad – or good – fortune, both come and go.’

Richard Campbell, the new MD at Northside Graphics, which runs the TradeDigitalPrint websites for UK and Ireland, sees it as more of the same. ‘The biggest challenge to our business is the same one as it’s always been, the macro environment, which is challenging in both of the markets in which we operate, UK and Ireland,’ he says.

‘Costs are going up and customer expectations also continue to grow. So we are doing what we have always done; keeping a keen eye on pricing to make sure our customers are getting really good value.’

A focus on value and competitive pricing is arguably business as usual for the competitive trade sector, but Tradeprint’s Anthony Rowell alludes to ‘pivotal issues’ affecting both printer and their customers:

‘The rapid development in both automation and digital printing methods demands that companies remain well-informed about technological progress to maintain their market edge. Additionally, ongoing disruptions in supply chains are impacting the availability and cost of essential materials.

‘This is further intensified by increasing environmental issues. The demand for sustainable and eco-credible printing solutions is escalating, driven by both regulatory bodies and consumer preferences. Moreover, there is a shift in customer expectations, with an emphasis on quicker delivery times, bespoke products, and superior quality at competitive rates.’

It’s also the case that the political maxim ‘never waste a good crisis’ applies here. Steve Wenlock at Flexpress notes that ‘every situation presents opportunities, as well as threats, so we just work harder to exploit whatever opportunities may be present’, while Mr Peeling agrees and summarises his call to action thus: ‘Don’t wait for the environment to be perfect, it never is’.

Why go trade?

That sounds like a pretty comprehensive description of the issues facing all printers, so what is the trade printers’ pitch? Do current circumstances merit altering the proposition, or merely strengthen existing reasons for looking outside your own factory to get things printed?

Mr Wenlock feels it bolsters the existing rationale, arguing, ‘Financial pressures and political uncertainty are making a lot of smaller printers ever more cautious about investing in expensive equipment to fulfil occasional orders. It makes far more sense, particularly now, to outsource to a capable and trustworthy trade printer that can produce what you need reliably and cost-effectively.’

Mr Campbell concurs, suggesting that this is already happening: ‘Our sales continue to grow on our trade sites, which indicates where the industry is going in terms of buying habits and the move to online. We see a growing number of printers choosing to use us rather than continue trying to produce the work themselves or get someone locally to produce it.’

An automated Müller Martini binding and trimming line supports book-of-one production at WTTB.

Macauley Hardeman of Route 1 adds, ‘We don’t believe these reasons for using a trade supplier will fundamentally change, although we are seeing an increasing number of partners focusing more on customer-facing aspects of their operations,’ suggesting that at least some printers are prioritising winning business over the act of producing it.

Mr Peeling backs that view too, saying, ‘Trade printers have always provided capabilities, solutions and expertise that would necessitate several years of internal development and significant capital investment for companies to establish [themselves].’ ‘The invaluable expertise we collectively bring to the table is pivotal. Through outsourcing, trade resellers can focus their time and effort on cultivating closer relationships with key customers and identifying project streams that yield optimal margins or demonstrate strong demand,’ he adds.

For Mr Rowell, it’s about understanding customers’ needs and motivations. ‘We recognise that print projects aren’t ‘widgets’– they have meaning and applications and are often an important driver to support our customers growth with a human touch,’ he says.

To back up their arguments and deliver what they promise, our trade printers are continuing to invest in a variety of directions. At Tradeprint this means technology – advanced printing techniques, automation and using AI to boost efficiency and quality – as well as expanding the range of services and product catalogue to include more customised products, self-serve design tools, an ‘amazing’ range of prepress and design options, plus a Resource Hub and sustainable solutions, according to Mr Rowell, who also points to the company’s buying strength as part of the Cimpress group. Direct connection with clients’ e-commerce via API is also offered, something that Solopress has also done, reducing transactional costs and admin overhead.

At WTTB, a 2024 goal is to overhaul the online pricing engine for ‘core’ categories, in order to enable customers to get an immediate price on most specifications of most key products. ‘First often secures the order, this new pricing engine will mean fewer delays waiting for a bespoke estimate,’ explains Mr Peeling.

Improving the user experience is also central to Northside’s plans, with both the UK and Ireland trade websites having recently been re-launched with a ‘completely different look and feel’, according to Mr Campbell. Further products recently added include labels on a roll, a bespoke products service and 13 same-day delivery products, with a ‘large pipeline’ of further new products to come in 2024.

The focus at Route 1 is very much on books, following the acquisition and integration of Kingsbury Press into the Wath-Upon-Dearne production site. ‘We’ve recently rolled out a significant expansion to our perfect bound book range, with new stock options and hardcover variants. Books will continue to be our main focus, so you can expect to see the introduction of additional binding types, innovative embellishment options, and much more throughout the year,’ confirms Mr Hardeman.

The South Yorkshire production capability will no doubt be bolstered by the addition of the company’s second Landa S10P B1 digital press, scheduled for the spring of 2024. Route 1 probably outscores just about everyone in terms of spend, too, with the Landa being part of a £5 million planned investment; further details of this are expected to be announced later in 2024.

Mr Wenlock says, ‘For us, it’s less about introducing new products and more about improving what we already do,’ but that still requires investment. He says £500,000 has already been spent this year, with a highlight being the purchase of a Duplo DuSense DDC8000 B2 digital embellishment press, which will enable ‘sensory spot UV and metallic foils to be applied to a greater range of products, ‘more cost-effectively and faster than ever’.

No drupa delay

It looks like the imminent drupa isn’t causing any delay to investment plans, though its influence on the market is undeniable. ‘We are always looking three to four years down the line, so drupa 2024 will probably not change our plans but may help to inform us better,’ opines Mr Campbell. Mr Rowell is enthusiastic about the return of the event, noting, ‘I think the anticipation of new technology announcements presented at the event will significantly shape future investment strategies in our amazing sector’.

At WTTB there’s no hanging around for possible announcements, it’s a case of buying available kit as and when it’s justified. Mr Peeling gives the example of Müller Martini PUR and case-binding equipment installed in September 2023, which he says supports one-book publication through to offset runs and operates with zero makeready thanks to the use of job barcodes in the trim area of the books.

Summarising the outlook, Route 1’s Mr Hardeman says, ‘We have entered 2024 with cautious optimism. No doubt there will be some big challenge that hits us all this year but the one thing we’re confident in is the amazing ability of UK businesses to adapt and make it work!’.

Tradeprint sees opportunities across the board, from direct mail to promotional and gift offerings to exhibition graphics, plus work that should arise from the expected general election, whenever it comes. ‘We think there’s some great opportunities for growth out there and we are super-determined to grow in a sustainable, profitable way,’ enthuses Mr Rowell.

Mr Campbell at Northside perhaps puts it most succinctly for everyone: ‘2024 is about continuing to do what we have always done while offering an even bigger range of products and services to our customers.’

If you’re not already using trade services to benefit from their equipment and expertise, it’s surely worth taking a look – there’s nothing to lose and potentially a lot to gain.

This article was first published in the February/March 2024 issue of Digital Printer, which you can read online here. 

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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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IFS managing director Eric Keane

In 2024 there will be a continuation of the pressures felt during 2023 – high interest rates, high inflation, labour and skill shortages, and some disrupted supply chains. There will likely be an accelerated trend in mergers and acquisitions for ambitious print companies to make either strategic acquisitions of their competitors, or in order to secure diversity in their product offering, do this through acquisition of other companies.

The sector will continue with consolidation and this will drive more investment in more technology and automation. The latter, in particular, was an accelerating trend in 2023. Most leading print companies have been looking to increase investment in more automated print finishing systems. This in turn has enabled IFS, in collaboration with our partners Horizon and Tecnau, to be at the forefront in supplying innovative, automated print finishing systems, that meet this demand to reduce operator touch points, improve output speeds and utilise less labour.

With the world around us so uncertain, trade fairs like drupa really do bring the business communities together. Business people do mix, and with that entrepreneurship and enterprise flourishes.

Phil McMullin, head of sales for Commercial & Industrial, Epson UK

Continuous improvements with sustainability considerations at their core will remain a significant focus for print production environments and suppliers in the short-to-medium term. Epson strives to build technologies that last and support responsible and efficient production. As we develop our own printheads, print hardware, and print software, we’re able to deliver a very customer-focused portfolio that responds to increased demand for product longevity and reduced energy and waste. We can also help operations explore the most effective options as well as offer support, advice, and guidance when it is needed. 

Ease of use is crucial for both operational efficiency and the ability to move into new markets. Simple and fast setup via user-friendly touchscreen ensures operator confidence and quick throughput to maintain agile and responsive production. These are key persuaders for businesses considering their next steps towards successful growth, and  empower operations to expand their offerings. This is important to help them capitalise on the growth opportunities of markets such as personalisation, where production needs to be right the first time, and every time.

Martyn Train, managing director, Duplo UK

With a steady 2023 under our belt we turn our sights to 2024 and the future of print, which appears to be thriving with resilience and innovation. Despite digital communication’s prevalence, our industry is undergoing a renaissance, embracing cutting-edge technologies to enhance its relevance to add value to the consumer, especially in sectors such as education, greetings cards and the recovery of in-plants.

This resurgence is fuelled by a growing appreciation for tangible, tactile experiences as well as the enduring appeal of high-quality printed products. As we have always said, print in its various forms continues to play a pivotal role in communication and the purchasing experience, offering a unique and timeless way to engage audiences.

At Duplo we are really excited about drupa and some of the new products we’ve been itching to show the industry. This includes upgrades to our range, brand new products that will take Duplo into new areas, as well as some innovations that will show how we are preparing for the future of our industry.

Yale Goldis, director strategy, commercial products and solutions at HP PageWide Industrial

As traditional print volumes decline, digital print will continue to grow. Commercial printers adopting the latest high volume production printing capabilities find better economics for themselves and their clients. They will also redefine their offerings and reimagine applications that bridge digital online and physical media.

Publishers are moving towards sustainable, targeted production. Shorter, frequent runs in the market are replacing large, centrally produced orders to mitigate supply chain risks and reduce book miles. Publishers are also adopting ‘gap’ printing, using POD production from the onset of a book’s life cycle, to meet unpredicted demand. 

Direct mail will continue its renaissance in 2024 as marketers rediscover the performance and value of print in the overall marketing mix. While postal and paper costs pressure overall mail volume, digitally printed, personalised, impactful and relevant mail will see healthy growth. 

Business models such as web-to-print meet growing consumer demands for convenient online ordering, customisation and improved customer experience. Closer integration with large data warehouses and powerful marketing engines enable true multi-channel campaigns executed across online and print media.

Will Mansfield, director, solutions marketing, Kodak

In 2023, the pursuit of production efficiencies was paramount. Advances such as higher quality faster inkjet presses, smarter workflow platforms and more automated CtP systems have significantly streamlined production. These innovations have reduced labour requirements and also improved the accuracy and consistency of printing, thus reducing waste. The economic landscape was again characterised by uncertainties and inflationary pressures. To adapt to these challenges for our plate customers, Kodak continued to invest in regional manufacturing as well as technology innovations.

Kodak is anticipating drupa 2024 as a unique opportunity to connect with printers from around the globe and debut new solutions. The show provides a valuable platform for Kodak to engage with customers and prospects and gain deeper insights into their evolving needs. We are excited to showcase our latest innovations in high-speed inkjet, workflow and offset solutions, demonstrating our commitment to advancing the industry. We are committed to being a strategic partner to our customers, helping them navigate the challenges and seize the opportunities that lie ahead.

Duncan Smith, country director, production, Canon UK & Ireland

As customers are expecting faster turnaround times and higher quality products than ever before, we at Canon have seen an increasing demand for cutting-edge inkjet technology in 2023.

Alongside quality and productivity, businesses are starting to realise that inkjet also delivers many economic and environmental benefits. With reliable equipment that harnesses automation, businesses can save on total cost of ownership with reduced power consumption and streamlined workflows. Additionally, inkjet enables print solution providers to broaden their media capabilities and branch out to a variety of markets, such as retail, manufacturing and interior décor.

We’re excited to return to drupa next year alongside some of the key players in the industry. We see this as a huge opportunity to not only showcase new technology, but also celebrate our achievements over the last few years. We expect to see a lot of conversation around the advancement of inkjet technology when it comes to production and wide-format print and are excited to share our developments in this space.

Andy Kent, general manager, Fujifilm UK

Sustainable and energy-efficient machinery and practices were key factors in 2023 when printers were looking at suppliers for equipment or consumables. The market has also seen many mergers and acquisitions as companies join forces to reduce fixed costs.

Energy costs remain a problem but other costs are stabilising, or even going down in some cases. With interest rates moving upwards, we initially saw some reluctance to invest in new equipment in 2023. I think this was because people felt it might be a temporary situation, but are now accepting that the higher rates appear to be here to stay for some time.

Analogue processes are increasingly transforming to digital, particularly in the packaging space where the market is still growing. I expect this to be one of the main trends and biggest opportunities in 2024.

I see AI as another trend with complimentary technology for making quick decisions in time-limited situations. I expect drupa to be well-attended because we will see new sustainable products and services that will inspire print businesses looking for an extra edge.

Charlotte Tueckmantel, GM Enterprise Print & eCommerce, eProductivity Software

2023 in many ways was the reset of the new normal. Coming out of Covid we saw a huge resurgence in our customers’ businesses, and record numbers in many areas. While 2023 took a slight step back it was still well above the Covid years, despite increasing costs across the board. This included the rising cost of people/talent; difficulty attracting new talent is a challenge that the industry has seen for a few years now and we will continue to see in 2024.

The rising costs of people, materials and energy will continue to drive higher levels of automation, supported by the emergence of actionable insights and AI starting to appear in the industry.

For 2024, we see a trend towards more remote or hybrid work in the front office driven by the need for greater flexibility and the challenges to hire skilled people. This shift, enabled by technology and coupled with the arrival or more automation, actionable insight, API integrations and AI will continue to change the landscape.

The post Past and future appeared first on Digital Printer.

Described by Duplo as ‘the most automated and versatile booklet system yet’, the DBM-700 is designed to accommodate print input from multiple presses, in order to streamline workflows, reduce production time and manual touch points while maintaining ‘exceptional’ quality. The ability to produce square spine booklets for a perfect-bound ‘look and feel’ in addition to more conventional folded spines is said to expand creative possibilities without requiring additional equipment.

Thicker booklets of up to 60 sheets can be handled at a range of finished sizes, with the system able to produce up to 2000 bound copies per hour of an A5 booklet, for example, subject to suitable feeding equipment. The DBM-700 can be fitted with collator towers, digital feeders or a combination of both, to suit the press type and application.

Martyn Train, managing director of Duplo UK said, ‘The DBM-700 exemplifies Duplo’s commitment to innovation and meeting the evolving needs of the print industry. This system represents a significant leap forward, for offering our customers the means to achieve much more, and faster, expanding their capabilities, all whilst achieving exceptional results. This innovative system is a testament to Duplo’s dedication to providing solutions that cater to the ever changing requirements of our market.’

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What’s now called embellishment or special effects used to be a group of purely post-press operations. These included lamination, spot or flood varnishing and foiling (hot or cold). Other eye-catching things have always had to be done in or on the press – if you wanted metallic colours you had to use a special ink or print on a metallised substrate; the same applied for fluorescent or other special colours.

Digital print has blurred those boundaries, bringing a number of ways of achieving the same or ‘close enough’ effects, combined with the flexibility and minimal set-up requirements characteristic of digital print. These also split into in-press effects and subsequently-applied effects.

Before looking at these in detail, it’s also worth noting that a sustainability argument is emerging for digital embellishment as an alternative to more conventional processes. This comes from Scodix, which makes stand-alone ‘embellishment presses’ (distributed in the UK by Friedheim) that can apply a wide range of decorative effects to printed sheets, with full digital flexibility in each.

Scodix carried out a lifecycle assessment of its digital foiling options which found that compared to conventional hot stamp foiling, its version reduces CO2e (CO2 equivalent) by 85%, fossil fuel usage by nearly 85%, and water consumption by 80% per B1 sheet. The study, carried out by EcamRicert, and Mérieux NutriSciences Companies, compared the enhancement of a single B1 sheet through to 100,000 B1 sheets using Scodix foil (175g) versus traditional foiling methods.

That’s only one of the options that Scodix offers and there’s no indication given that any of the other supported techniques offer comparable advantages. However, like any other form of digital printing, it seems likely that overall wastage of materials and energy is likely to be lower simply through the ability to only print or finish the number required.

The main argument in favour of these types of effects though is that they add impact to printed products and therefore margin to your work. Some you can only do if you bought the right press, though they could also be a factor in choosing a new one. There’s an increasing number of toner presses that offer additional colours which may include clear ‘varnish’, white, fluorescent and metallic colours, though usually only one or sometimes two at a time.

Plus-one – or more

Machines that offer a fifth colour include Xerox’s iGen line and Ricoh’s Pro C7200, also sold by Heidelberg as the Versafire EV (and about to be replaced by the Pro C7500, though we’ve not seen any specification for this yet). Kodak’s Nexpress and Nexfinity models could do this too, with options over where in the laydown sequence the fifth colour went, though both are now discontinued. Moving up to six colours brings in the popular Xerox Iridesse, and the more recent Fujifilm Revoria, while most HP Indigos can handle up to seven colours, though of course click charges go up in proportion with all extra colour presses. Xerox also offers a conversion kit for two-pass printing on its entry-level PrimeLink C9065/C9070, which potentially allows the use of up to eight colours, albeit with a complete change of toner cartridges between passes.

The exact choice of extra colours varies by manufacturer, but in addition to white – for use on coloured or transparent substrates – and clear – used to create flood or spot varnish effects – fluorescent or ‘neon’ colours are offered, particularly pink and sometimes yellow. These can replace or be mixed with their standard CMYK equivalents to expand the colour gamut for more eye-catching effects. A few offer metallic toners too, which again can be printed solid or mixed to provide novel colours and finishes.

After the event

Post-press options are more about foiling, spot varnish and various creative lamination processes, often in combination. A good entry-level choice here is foil-over-toner, a two-pass method that uses ‘real’ foil in a laminator like Vivid’s Matrix models or those from Caslon, Foliant (sold via IFS), Komfi (from Friedheim) or Autobond. Similar options also come from GMP and Intec, now part of the Plockmatic group.

An entry-level option for foil-over-toner is Vivid’s Matrix, seen here at a trade show

In these, the initial colour print is first laminated with a clear film, then printed again with the foil pattern in black toner on top of the film, before a second pass through the laminator transfers the foil to the partially melted black toner. It’s a more labour-intensive process but it works with a very wide range of foil types and doesn’t require special consumables.

Then there are the fully ‘digital’ embellishment devices that offer spot UV and/or foiling in a single operation. This category includes devices like Duplo’s B2 DuSense 8000, which is offered in various configurations providing spot UV, digital foiling or both, including a pre-treatment option for expanding the types of print that can be handled. It’s also possible to build up textured ‘3D’ effects with multiple passes, which the smaller B3 DuSense 810 also supports. An alternative is the B3+ Konica Minolta AccurioShine 3600, which uses technology from MGI, in which Konica Minolta holds a significant stake. It too can produce ‘dimensional’ effects.

At the top end of the digital embellishment market are the ranges from Konica Minolta/MGI and Scodix. These are dedicated industrial production devices that offer UV varnish and foiling, with Scodix offering a particularly wide range of foils and finished effects, while MGI’s line goes up to B1 sheet size in the form of the print-and-embellish AlphaJet that was formally launched in October 2022. Kurz is another player at the industrial end of the scale, having bought Steinemann, whose inkjet varnish and foiling systems it was already marketing as Digital Metal. These include the sheet-fed B2 DM-Smartliner for 2D flat varnishing and foiling and the DM-Maxliner for raised and textured effects.

Whether you’re just ready to dip a toe into digital embellishment and cautious with the investment, or know that you’ve got a ready market for it but need to be sure it’s good enough and fast enough to meet your customers’ needs, there should be something to suit and help your work shine.

Preparing files for embellishment

All digital embellishment processes require ‘artwork’ to control where the effects are applied. Usually this means creating additional layers in the originating applications and/or print PDFs, though some vendors offer DFE-based tools to create embellishment guides or colour substitutions from standard PDFs on-the-fly.

Andrew Bailes-Collins of Ultimate Technographics, which makes imposition, nesting and ganging software, has written a handy guide to preparing generic PDFs that should process correctly through most embellishment vendors’ DFEs and thus avoid some of the common pitfalls that require manual reworking in the prepress studio.

Called PDF Creation for Digital Embellishment, it covers the use of spot colours, layers, knock-out and overprint and choice of correct versions of PDF for hand-off. It’s available free from Ultimate Technographics’ website.

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The company has been a Canon customer since the 1990s and more recently installed two ImagePress C10000VP presses. Canon has continued to be the supplier of choice due to speed, output quality and eco-friendly certifications, according to the Group.

Keith Cooper, managing director at The Printroom Group commented, ‘We’re already seeing major business benefits from these new devices, including reduced costs and more efficient productivity. The efficient turnaround we’re now seeing has freed up the devices to take on more, thus ensuring we’re maximising the immense potential of these devices. We’ve seen jobs that might have previously taken two and a half hours now turnaround in half an hour. Those sums alone prove we’ve made the right investment.

‘Our long-standing partnership with Canon is testament to the relationship we have with the team we work with. We visited the Birmingham Customer Experience Centre on a number of occasions during the process to experience the devices for ourselves. The team allowed us to run print jobs and really push the devices to their limits while we were there, giving us peace of mind that we knew what we were going to be getting once it arrived on site. We truly believe this investment demonstrates our commitment to both growth and innovation in the print industry, and most importantly ensures we’re providing our customers with the best solutions possible.’

The deal also includes the integration of finishing equipment  from Duplo and Plockmatic. The 135ppm ImagePress V1350 boosts productivity and efficiency levels, leading to a 30% increase in print speed, with staff reporting they can complete tasks five times quicker than before.

Duncan Smith, country director, production at Canon UK & Ireland added, ‘We’re delighted to continue working with The Printroom Group in their drive to grow and evolve their business. As a valued customer in the production print space, we understand their business needs and are thrilled to see they’re getting the most out of our latest technology with all important faster turnaround times for customers, whilst delivering the highest quality prints that have set the benchmark for the industry.’

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The Leatherhead, Surrey-based family business has been in existence for over a century and is currently run by the great grandson of the founder, with tow of his sons active in the firm too.The company produces a wide range of commercial print products from flyers and letterhead to booklets, banners and mounted boards. Increasing pressure for rapid turnaround of work meant that a more automated booklet-making solution was needed.

The Duplo 350 Digital Booklet System was selected as it suits digital print well, allowing collated work from multiple printers to be processed to produce high quality booklets consistently. Make-ready times are shortened as the PC control allows jobs to be set up and recalled instantly with little or no manual intervention. Two paper feed trays in the DSF-2200 digital sheet feeder allows the combination of main content pages with covers that have been offset printed, printed on a separate digital press, UV coated or laminated, for example.

Chris Dyer senior commented, ‘We feel that with the Dupo 350 Digital System we will be able to produce our booklets about four times quicker. There was a need to upgrade the speed and quality of our booklet-making. We like the automation of the DBM-350 – it will most certainly save our operator’s back from all the manual feeding. We are a big fan of the machine’s ability to crush each booklet before delivery. This means that the booklets come out much flatter and don’t spring open. It gives our work a much more professional look and I just know our customers are going to appreciate it.

‘Installation was done in a couple of hours and the training was top class and informative. Ben, our operator, has very quickly picked up the new machine. It is easier to use compared to our previous model because the controls are digital using Duplo’s PC control,’ he added.

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The delegates met with a senior special advisor to the Prime Minister, who heard from participants on a range of areas where progress could be made to encourage growth in the print, paper and packaging industries, and how they in turn could assist UK economic expansion. These included energy costs and infrastructure development, material costs, recycling and the circular economy, technology innovation, export opportunities, the perception of print and paper, and the promotion of print’s positive contribution to culture and society.

The event follows on from an initial meeting at No 10 in April 2023 at which IPIA chair Charles Rogers made an initial case for the industry and his subsequent attendance at a business leaders’ reception at the beginning of June, hosted by the deputy prime minister Oliver Dowden. Both meetings were also attended by Puneet Gupta, joint CEO of PG Paper Company, who also formed part of the most recent delegation, along with commercial director Lyndsey James-Williams.

Mr Rogers commented on the most recent meeting, ‘Our presentation was clear, we are a huge part of the UK economy, and play a key role in every other industry and the health of our society – assist us and we will remain resilient and a key manufacturing asset for UK PLC.

‘This was an important day for our collective industries. The input was simply remarkable, and there was consistent messaging from both global corporations and SMEs.’

In addition to Mr Rogers, the delegation included of Brendan Perring of the IPIA, Lance Hill of Eight Days a Week Print Solutions, Anthony Rowell, managing director of Tradeprint, Jane Rixon of HP, Marine Kerivel-Brown of Duplo International, Sarah Kilcoyne-Guilliam of Kingsbury Press/Bluetree Group, Simon Cooper, managing director of Solopress, and Mike Hughes managing director at Latcham.

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‘The level of investment that the management has allowed, shows the confidence they have in the new direction and strategy that the University is going through,’ commented Ollie Renshaw, business and systems manager, print and mail service, University of Leeds. ‘Underneath every decision that they make, the University has always put the experience of the students at the very top. With the new digital strategy taking hold, we are bringing our print production facilities in line with all the multi-functional devices (MFDs) in each department. We at print and mail want to be the best at what we can do, the University has a three-year plan for us, and the director of campus innovation is excited to see all our new developments.’

Mr Renshaw continued, ‘From Konica Minolta, we purchased the AccurioPress C12000 – the first in our sector in the UK – the AccurioPress C7100 and two AccurioPress 6120s. All are powered by Konica Minolta’s print controllers with AccurioPro Flux Ultimate workflow. The setup gives us flexibility as well as the capacity to keep up with extremely heavy periods of work.’

Jon Hiscock, head of production and industrial print at Konica Minolta UK said, ‘The package provided to the print and mail centre at the University of Leeds represents the latest in Konica Minolta production print technology, automation tools and workflow integration. We are pleased to work in partnership with Duplo UK to deliver the University a future proof solution that once optimised will enable it to meet its strategic goals and deliver a best-in-class student experience.’

For Duplo, this includes the UK’s first installation of the DC-648 multi-finisher, the flagship iSaddle 5.0, the PFi Blade B2 and the DuBinder DPB-500 binder.

‘The Duplo machines are just fabulous. My operators think the automation and ease of use on the DC-648 is second to none. Normal jobs are all set up and the print is just fed through, taking the stress and hours upon hours of manual work away. We have so many different jobs coming through that this machine is a lifesaver. The iSaddle 5.0 was a much more in-depth learning experience, it gives us so much more options to give to the students and staff, and it’s easy to set up and run. Students can buy a coffee and the job is usually ready before they’re finished!’ Mr Renshaw continued, ‘I’m really excited about the PFi Blade though. That is definitely something we want to expand upon. It allows us to make print sexy again when Covid decimated our volumes. Duplo has sent us their sample jobs and we’ve been playing around with the machine. It allows our event products to be much more exciting.’

Wendy Hogg, regional sales manager for Duplo UK said, ‘The combination of Konica Minolta’s high-speed presses along with Duplo’s offline finishing means that print and mail can produce more jobs, much faster, more sustainably with minimal waste, and much cheaper than ever before. The University has a very strong corporate strategy and it’s amazing to see that the student experience is still 100% at the core of everything they do. It allows print and mail to make coming to the University of Leeds as special as it can be. When you look at the production facility, it’s clean, it’s hi-tech and there are screens everywhere. It really impresses students when they see it, and it challenges their expectations of what print can be.’

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