Outstanding Success at the PrintWeek Awards 2017

18th October 2017

We are very proud to announce that we have won 4 awards at the PrintWeek Awards this year.

The 4 awards were won for Bespoke Digital Printer of the Year, Bespoke Magazine Printer of the Year, Report & Accounts Printer of the Year and Fine Art Printer of the Year. We were also highly commended in Book Printer of the Year and Point-of-Purchase Printer of the Year.

PrintWeek commented on our digital entry “Three words from the judges summed up the work of Pureprint: “Quality, quality, quality” Fantastically vivid artwork and photography defined print for Boodles’ Poetry of Landscape jewellery brochure. The judges also said “Perfection. There is nothing else you can say about this entry.”

Comments on the magazine entry included “Pureprint turned the page this year and were “a natural winner” according to judges. They were particularly won over by the variety of techniques, which were “impressive and showed incredible innovation”.

Comments on the fine art entry included “Of all the categories the Sussex printer is shortlisted in, this shows it at its consistent best, producing breath-taking quality across print and finishing for clients that demand the utmost in reproduction.” "beyond excellent".

Find out more about the awards we have won

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9 Shortlistings at the PrintWeek Awards 2017

11th September 2017

We are delighted that we have been shortlisted in all 9 categories we have entered for this year’s PrintWeek Awards. We have been shortlisted in Direct Mail, Luxury Packaging, Point of Purchase, Bespoke Magazine, Bespoke Digital, Brochure, Book, Report & Accounts and Fine Art showing the high quality we produce across such a diverse range of projects and sectors.

The winners are announced in October so fingers crossed we have more good news to tell you.

Find out about the awards we have won 

 

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Pureprint Group Invest in Screen Printing at Imprint

12th September 2017

We continue to invest in our large format point-of-sale division Imprint based in Newcastle Upon Tyne.

The installation of a Sias 2 colour large format multi formula screen print machine with a maximum print area of 1500 x 2350mm compliments an existing screen print operation and digital suite of large format Inca flatbeds, including a S50, R40 and Acuity with the additional purchase of a 3.2mtr Hybrid Vutek HS125 and extensive finishing equipment completed during 2016.

The screen print machine now completes a move to upgrade existing screen machinery to a larger format to complete compatibility across all machinery to further enhance its product offering to provide special ink colours, metallic, fluorescents, rub removals, glow in the dark inks, glitters and varnishes.

Dave Bullivant, Imprint Managing Director commented “Screen printing is an integral part of creative visual communication, despite the fact that many foresaw its demise or its more limited use with the arrival of digital printing. When it came down to it, however, screen printing proved to be an irreplaceable printing method, which continues to develop, producing better and cheaper products, using ever-more environmentally friendly methods and with a broader scope of materials that cannot currently be printed with the digital process.

There are many advantages to using screen printing however, the main advantage is the unique visual result it creates. The inks used are very durable, the colours are extremely vivid, particularly for outdoor uses, making this a unique reproduction technique and when combining this with digital technology and the creative opportunities the only limits are imagination."

Imprint continues to grow since the acquisition by Pureprint Group in 2014 being driven by its unique online promotional management tool Additions, developed in house specifically for retailers to control and improve the efficiency of point of sale which is soon to see the release of the module Store Smart in Q4 2017.

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Eye 94 comes out with 8000 unique covers

4th September 2017

Eye magazine is known for its striking covers, but the cover design for this issue is unprecedented. Each of the edition’s 8000-strong print run is bound with a unique, individually numbered cover, designed by Paul McNeil and Hamish Muir, and based on their typefaces TwoPoint and TwoPlus.

For this issue 94, the 26th edition printed here at Pureprint, each unique cover was generated using software called HP SmartStream Mosaic and printed on one of our HP Indigo 10000 digital presses. The remainder of the magazine was printed litho. The Mosaic software supplies a different image file for each pass of the press, each derived in this case from a number of ‘seed’ files supplied by MuirMcNeil that repeat the letters of the word ‘eye’. Mosaic makes it possible to resize, rotate and change the colour of the artwork, cropping it to make each cover unique.

John L Walters, Eye editor commented “All Eye’s covers are based on the content of the issue, and they have to communicate purely visually – other than the Eye logo and the issue number there are no cover lines. And Eye’s art director Simon Esterson has long been interested in the possibilities of variable data printing. So my feature about MuirMcNeil’s typefaces, made using ‘parametric design systems’, seemed entirely appropriate for the cover design and print possibilities opened up through using Mosaic software for the HP Indigo 10000.

Printing took place at Pureprint, where we have printed every issue of Eye since becoming independent in 2008. Because (as I wrote in Eye 94), ‘McNeil and Muir … revel in the beauty of type derived from maths’, this seemed a golden opportunity for our readers to share in the pleasure of their processes, by receiving one of 8000 unique numbered copies of Eye 94.”

Adrian Harrison’s short video of the cover being printed and bound here at Pureprint can be seen on Vimeo


See the latest ‘Eye Before You Buy’ a brief flick through the entire issue

Contact us to find out how you can use the software for your next project

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Pure Mosaic – the art of personalisation

21st August 2017

Our award winning marketing publication Pureprint Works has an exciting cover design this year – each one unique and created using Mosaic software.

We have created 5,000 unique covers from just 2 seed artworks using software which allows you to generate hundreds, thousands and even millions of unique graphics for a memorable experience. From a base pattern, by using scaling, transposition, rotation and colour shuffle you can now use the art of personalisation to deliver the most original communications.

The software is an HP SmartStream Mosaic application using vector PDF files as input which then generates a large number of variations by randomly transforming the file. Great for packaging (as used by Coca Cola with their 2 million unique bottles), unique covers for magazines (as Eye Magazine Issue 94 have just done) and of course direct mail. These are only some of the applications of this exciting software, the opportunities are limitless for you to communicate with a unique design for your customers.

Contact us to find out more about Mosaic and our digital print capabilities and to order your copy of Pureprint Works 5.


Watch this video to see how Eye Magazine Issue 94 created their unique covers

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Pureprint Achieve Cyber Essentials Plus Accreditation

10th August 2017

We have recently been awarded the certificate of assurance for Cyber Essentials Plus. This accreditation requires organisations to have a number of technical and procedural controls in place to improve their information security in order to mitigate common internet-borne cyber-attacks. Cyber Essentials Plus is a series of tests that provide a further level of assurance that these technical controls have been successfully implemented within an organisation.

This level of security along with the Group already holding ISO 27001 and DMA DataSeal accreditations means that we can offer our client base the reassurance that the most stringent procedures are being put in place for their data and information. This is of particular significance to governmental and financial organisations where the sensitivity of their information means security and confidentially accreditations such as these are a requirement of their suppliers.

Graeme Wilkie, Group IT Director, Pureprint Group commented:

“Adding Cyber Essentials Plus to our suite of security credentials gives our clients assurance that we take handling their data seriously and do everything we can to ensure that we are a safe pair of hands when dealing with confidential information. “

He continued “With the continuing growth of our in house developed software products, our portfolio of services has grown to make the interaction of data and print an important part of our customer offering. Achieving Cyber Essentials Plus has added a new level to this and with some of the best print processes in the industry aligned with sophisticated data handling we give our clients the assurance that we will effectively manage their cross media marketing projects successfully and securely.”

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Pureprint Open Pure Creative Packaging Office

3rd August 2017

We are delighted to announce that Pureprint’s creative packaging department is expanding with the addition of new office and client space in Hemel Hempstead.

This new facility will increase Pureprint’s expert focus on packaging, providing excellent customer-friendly facilities including an inspiration and library area to showcase a huge variety of materials and samples. The new site will also house CAD table and machinery, cardboard engineering design, and a customer service team.

Alan Ball, Sales Director at Pureprint Group, and heading up the move and expansion, commented: "Luxury and creative packaging is becoming a crucial part of our Group business, and many of our clients require our packaging skills on a wide range of projects, from presentation boxes for books, to intricate packaging for direct mail, and even point of purchase offerings. This exciting new Hemel Hempstead base will allow us to offer a completely holistic creative service to our clients, from inspiration to design and production, all under one roof.”

Pureprint Group CEO Mark Handford added: "Personal service and face to face meetings have always been a key feature of Pureprint’s relationship with the customer, and our growing regional bases really do help us support that across the UK. With the addition of this new site in Hemel Hempstead we can now offer that level of support to the rapidly expanding packaging side of our business too."

See our packaging case studies

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Pureprint Win Direct Mail Award

21st June 2017

We are thrilled to announce we have won the Direct Mail Award at the Print, Design and Marketing Awards 2017. The winning project was the Royal Mail MarketReach Life Stages mailing.

This direct mail communication was sent to a carefully selected database of 100 of the UK’s most influential marketeers. Pureprint’s hybrid print and direct mail solution enabled the creation and delivery of this truly unique communication, featuring litho print and HP Indigo digital techniques, highly personalised pages with variable hand-matched sections, and an embedded video.

After successful mailing from Pureprint’s own fulfilment centre, the customer confirmed superb responses from the big brand movers and shakers, thanks to the highest levels of hand finishing and attention to every detail.

The judges’ comments were “An excellent understanding of the brief, this was a complex piece of direct marketing with multiple components that created huge success for the brand and far exceeded its objectives.”

Find out more about the awards we have won - http://www.pureprint.com/awards/

Find out about our digital printing services - http://www.pureprint.com/services/digital/

Find out more about the marketing services we offer - http://www.pureprint.com/services/marketing/

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Creative Printing Studio in Bermondsey

20th February 2017

Print, paper and process make inspiring communications.

So we have set up a creative printing studio in our Bermondsey Street offices to provide London’s marketing and design community with additional resources to help them create and produce inspiring campaigns and publications that make a difference.

This growing resource is open to any marketing and design professionals to help them to develop a project or just to expand their knowledge.  There are samples of over 12,000 papers and binding materials from around the world, samples of a wide range of finishing and binding processes and colour proof viewing facilities for accurate proof checking, swatch matching and colour mark ups.

The team based in this office are experienced in working with designers and brand owners to create truly engaging and creative print projects and there is always someone on hand to discuss and cost ideas and options.

There are also regular round the table gatherings held at the studio. The events are called Pureprint Talks and leading figures in the world of creative print come along to discuss projects and techniques that have produced some of the most stand out printed communications.

The studio is based in Bermondsey Street just 5 minutes walk from London Bridge station in a stylish warehouse building. As well as the materials library and colour viewing facilities there are a wide range of finished products to view from books to boxes, from brochures to retail displays, from personalised products to creative packaging.

The colour viewing room is well used and enables customers to confidently view proofs in the correct colour controlled conditions which is imperative on colour critical work.

Many creatives have already visited this creative print resource and Ana Rachel Estrougo, Designer at Pentagram, a multi-disciplinary design firm with offices worldwide commented “I came to see Alan at Pureprint’s Bermondsey space about a book project. The format we wanted to have was clear, but I was keen on getting some inspiration for finishes and materials. The Pureprint library has a wide selection of very high end materials, techniques and stock which helped me to create the look and feel I was hoping for. The Pureprint team also produced very professional mock ups which helped the client to sign off the project. Overall an excellent experience.”

Alan Ball, Sales Director at Pureprint commented “The creative printing studio is proving really popular. The location is great and we are delighted that the library, viewing room and meeting rooms are being well used. Our specialists in packaging, direct mail and personalised products also come in regularly to run workshops for customers. Young creatives who are discovering the full potential of printed communications are particularly welcome.”

Contact us if you want to book a visit

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Pureprint’s favourite moments from 2016

31st January 2017

Last year was a hugely successful year for Pureprint. Over the 12 month period we continued our working relationships with many brands and agencies, and welcomed new ones too. On top of completing a diverse variety of projects, many with challenging and complex briefs, we also won big at the Print Week Awards! Enormous thanks to everyone we had the pleasure of working with. To celebrate the fantastic year we’ve put together a small selection of our favourite moments from it.

Dior by Avedon

This was a Print Week Awards 2016 Book Printer of the Year winner. It’s a beautiful book with stunning photography which required a lot of skilled colour work from our PureColourHD pre-press team, litho printing and many different intricate finishes including French folding, a lovely cover, foiling and multiple materials, including Japanese papers.

Benefit Cosmetics Brow Box

This luxury packaging PR piece was created to present the brow collection. Using our cardboard engineering expertise we worked closely with the client’s agency to come up with a clever and dramatic solution to present these products, which included a trunk design, Mirri board mirror and internal fitment structure to bring the products to life!

WWF I Protect Tigers Book

An inspiring personalised children’s picture book that forms a major part of the Tiger Protector membership pack. Digitally printed on our HP Indigo presses, it incorporates the child’s name and other variable options to create a personalised story. Bespoke software solutions, print, binding, fulfilment and mailing are all handled in-house at our state of the art digital facility.

Senator Brochures

We won Print Week Awards 2016 Brochure Printer of the Year thanks in part to this project. The lovely tactile set of brochures incorporates litho and HP Indigo digital print with white ink and striking materials and finishes to bring life to the final products.

Chairs are for People

Combining the old with the new this brochure is digitally printed with Indichrome orange on an HP Indigo 10000 digital press, thread sewn with a stunning Winters orange Brillianta cloth case bound cover. The finishing touches included a personalised fluro-orange letterpress printed deckle-edged jacket created using handmade paper.

Momot Paper Toys

Momot is an acronym for “Nemo Nemo Robot”. In Korean, “nemo” means “rectangular”. The paper toy culture is coming to the UK after massive success in Korea. We printed these fabulous products on our HP Indigo digital presses for the Brand Licensing Conference in 2016 and it’s set to be massive for 2017. One to watch out for!

White Stuff Windows and Doors

Our Print Week Awards 2016 Point of Purchase of the Year Winner is a replica of reclaimed doors and windows our large format print experts Imprint in Newcastle created for a window campaign for White Stuff. The client was really impressed with how realistic the replicas were and it, included the fitting of hinges and door handles to finish off the final product. The materials used are 100% recyclable making this a better environmental choice.

Pureprint Opened a Creative Printing Studio

In February we opened our London office on Bermondsey Street and launched our paper and finishes library. This growing resource is open to any marketing and design professionals to help them to develop a project, to expand their knowledge or to just provide inspiration. There are samples of over 12000 papers and binding materials from around the world as well as colour viewing facilities and a wide range of finished products to view from books to boxes, from personalised products to creative packaging.

Punk in Print

Publishing giant Phaidon turned to us for a new book celebrating the visual culture of punk. Oh So Pretty: Punk in Print 1976-80 presents more than 500 artefacts from punk culture and we worked closely with Phaidon to create a book that will be treasured for years to come. We printed the 512 page publication’s cover on Elliott Baxter Invercote G 350gsm with the pages printed on Denmaur’s Stora Creamy High Bulk 53gsm.

Phaidon and the new Design Museum

Continuing our work with Phaidon, we printed three beautiful books for the new Design Museum. We were thrilled to be involved in the incredible new space and it really topped off our year to see them there.

Find out more about our digital print services

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BIG opportunities with HP Indigo innovations expand creativity

13th December 2016

With the installation of the newest HP Indigo press in the summer and outstanding in house finishing facilities our digital printing facility is leading the way in the digital print offering with the best innovative technology and solutions available.  Our facility has three HP Indigo 7800s, an HP Indigo 10000 and the new HP Indigo 12000 digital press which is the widest commercial application range in the series at 75 cm format.

Large and standard format sizes 

Our two large format presses (B2 size of 500mm x 707mm) the HP Indigo 10000 and the 12000 open up countless opportunities for marketing literature, packaging, DM and particularly point-of-sale.

Largest range of media available

The new press features One Shot technology enabling us to print on a larger variety of substrates, including photo canvas, plastic cards, synthetics and metallic based materials covering a range of weights from 70 gsm to 400 gsm and 75 to 450 microns in thickness – including coated, uncoated, coloured and dark papers, and paperboard for folding cartons.

Creative, photo and offset colour

Available with a broad range of ink and print settings including white ink, fluorescent pink, LcLmCMYK, indichrome, spot colours and standardised colour. Special effects can also be used in combination with this wide range of colour printing capabilities.

Integration and empowering ecommerce

Through close integration to Pureprint’s software platforms developed by our in house technology team we enable true print on demand and fulfilment of a wide range of personalised products.

Special effect options

On our HP Indigo 7800 press special effects printing is available with raised print, watermarks and embossing which can be overlaid to enhance and create tactile and lasting results, for your marketing literature, packaging materials, direct mail communications and more.

To find out more about what you can achieve with our innovative digital printing and to receive a set of samples contact us at contact@pureprint.com or call 01825 768 811.

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Oh So Pretty: Punk in Print

8th November 2016

Publishing giant Phaidon turns to us for new book celebrating the visual culture of punk.

Publishing powerhouse Phaidon is celebrating one of Britain’s most definitive subcultures with the launch of a new book Oh So Pretty: Punk in Print 1976-80. Presenting 500 artefacts - such as zines, gig posters, flyers and badges - from the iconic and obscure personalities that defined a generation of political activism and social change, the new book will inspire nostalgia in anyone who witnessed the movement in progress.

Capturing the DIY spirit of an era that saw people turn their mutually agreed frustrations and beliefs into an instantly recognisable aesthetic that quickly became known as punk, the book immortalises objects recognised for narrating the story a subculture that changed fashion, art and music landscapes forever, but were often deemed disposable and of little value.

This compelling ode to anarchy is a visual masterpiece, and its production value a far cry from the battered objects showcased between its covers. Working closely with Phaidon to create a book that will be treasured for years to come, we have printed the 512 page publication’s cover on 350GSM Elliott Baxter Invercote G with the pages printed on Denmaur’s 53GSM Stora Creamy High Bulk 2.4 vol.

Pick up a copy of Oh So Pretty: Punk in Print 1976-1980

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A Hatrick of PrintWeek Awards

18th October 2016

Last night at the 2016 PrintWeek Awards we scooped 3 awards along with 5 highly commended.

The three included Brochure Printer of the Year with the judges commenting “Every sample “ticked all the boxes”, Book Printer of the Year -the 5th year running with judges saying “a strong set of entries, with the Dior book in particular stunning” and Imprint our large format printing facility in Newcastle winning the Point of Purchase Printer of the Year with judges saying “Loved the adventurous way they executed the process – peerless”.

We were highly commended for all other shortlisted categories covering luxury packaging, report and accounts, fine art, bespoke digital and magazine showing the breadth of our work which has all been acknowledged as some of the best in the industry.

Without our inspiring customers and the work we do with them this wouldn't be possible of course. Thanks to all the team at Pureprint and Imprint and our great customers who give us the opportunity to push the boundaries.

Find out more about the PrintWeek Awards

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Pureprint to open New York office

17th October 2016

We have announced that as part of our on-going strategy to open local offices to service the needs of our client base we will open our first office in the USA.

The office will be in New York and will service existing and new clients throughout the USA.

‘The new office is something we have been looking to open for a number of years and it became a definite part of our strategy when the BGF made their investment in Pureprint’, said Pureprint Group CEO Mark Handford.

‘Richard Osborne, Pureprint Managing Director will build and manage the New York based team from the UK’ he added. ‘The USA is a market I have personally worked in for many years as have a number of the team at Pureprint, so it is an obvious choice for our first oversees office to be in New York.

We expect around 10% of this years’ Pureprint sales to come from outside the UK and for this to increase in 2017.’

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Inside The Fine Collection with G . F Smith’s Jo Pitts

3rd October 2016

G . F Smith, the UK’s leading specialist supplier of specialist papers, can always be relied on for bringing a creative approach to the making of designer tools. Last year, there was their leviathan paper selector, The Collection, which won a place in pretty much every design studio in the UK; this year, the company released The Fine Collection, a 128-page selection of its finest uncoated papers for digital and litho printing. Sequenced by colour, it includes 66 crowd-sourced photographs (selected from more than 10,000 entries) in order to demonstrate each paper’s print performance in practice. It’s a beautiful and extremely useful object (and we’re not just saying that because we printed it).

We caught up with G . F Smith’s Marketing Production Manager Jo Pitts to find out more about the process of selecting the images, and to chat about the pleasures of paper… 

What are you hoping The Fine Collection will achieve for G . F Smith?

I hope it will show designers who love our papers how all of these fine uncoated white sheets actually look and behave when they’ve been printed with four-colour ­– whether that might be with a digital or litho process. The Collection is an incredible tool but The Fine Collection actually demonstrates how our white papers perform – which I hope will influence decision making and become indispensable in selecting the right paper for a print project.

How did you go about selecting the images for inclusion in The Fine Collection?

We knew we wanted to design it with a beautiful sequenced colour story that went from light to dark, so this made the huge amount of entries slightly easier to edit down as we were working with eight sections, essentially. It was also important to select images that would demonstrate a broad variety of strong vibrant colours and blacks, through to light pastels with very delicate details.

Ben Parker also selected the majority of the images based on what he thought would work well visually and felt right for this G . F Smith promotion. Some of the entrants were amateurs and some were very established photographers and Ben picked the imagery without knowing who had submitted them, which was really interesting. Pureprint’s Lloyd Bromhead and Mark Croucher also lent their enormous expertise when we began the extensive proofing process and their technical advice really helped us to reach a final edit when it came to pairing the perfect image with each paper. I learned so much more about print through the making of this book, which took about one and a half years from beginning to end.

Do you have a favourite image in The Fine Collection?

It would have to be ‘Jellyfish’ by Richard Foster as I actually met the jellyfish in his studio on a shoot a few years ago! I first saw them on a large A2 sized print on his studio wall and when I was invited upstairs to see them in their tank I was so surprised to see how incredibly tiny they really were! Richard is a really talented photographer and it was a real pleasure spending time with him on shoots ­– I learned a lot from him and his team. I was so delighted when he said we could use one of his images in the Fine Collection and, bizarrely, the jellyfish brought back some lovely memories!

The Fine Collection combines both litho and digital print, are you excited by the possibilities that digital printing can offer?

Yes ­– some people think digital is still sub-standard compared to litho, but that’s no longer true. I think many would be hard pushed to tell the difference these days, which I hope we’ve shown in The Fine Collection. Also, being able to use print techniques such as white ink or hot pink on top of coloured stocks is really exciting and can make things far more experimental, with a much smaller price tag.

Could you pick a favourite G . F Smith paper? 

I’d have to break this down into three answers if I may! My favourite fine uncoated sheet is Zen – not just because the name is so inspiring but also because the surface treatment on the paper is like no other I’ve ever seen or used; it’s a hybrid in many ways and I love the effect of four-colour printed onto it. My next would be Colorplan, simply because it’s the best range of coloured paper in the world and is made by G . F Smith in the Lake District, which is an amazing British manufacturing story. It is luxury paper at its best, loved by designers all over the globe and used by the best brands in the world. It is truly iconic and (unbelievably) 80 years old and still going from strength to strength. My third would be Gmund Action because it’s so unique and it really captures my imagination. The Gmund mill keep how they make it a secret, and with colours named ‘Pastel Heart Attack’ and ‘Vibrant Arsenic’ how could you not love it? The Gmund team are also really special people – we held three parties with them across the country earlier this year and we had the best Bavarian knees-up ever!

How important is it to you that all your papers have a low environmental impact?

It’s massively important. Everything we throw away in life (not just paper) doesn’t ever leave the planet – so it’s our responsibility to behave with a conscience and take care of the earth. There is hugely important meaning behind the FSC accreditations all of our papers have. Most of the papers we make at G . F Smith are made with pulp from sustainable forests in Sweden. It’s a precious and long process that begins with planting a tiny sapling to finally ending its journey with a designer making something very beautiful with paper that has real meaning, and in many cases is kept and cherished by the recipient. I simply couldn’t work for a company that didn’t care for the environment.

Which is your favourite Pureprint x G . F Smith project?

It has to be The Collection. I think as far as paper selector tools go, this one is utterly iconic. We won a D&AD pencil for it, after all!

Are there any exciting G . F Smith projects in the pipeline that you can tell us about?

I can’t give too much away but there may be a rather exciting A3-sized Colorplan promotion on its way – and we are working on it with Pureprint!

Find out more about our digital printing

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Colour Queen: One to One with Camille Walala

Thursday 15th September

Her buildings often stop you in your tracks. Among the dull greys of the urban landscape, Walala’s explosively colourful geometric murals stand out like a hoot of unbridled joy. Originally a textile designer, Walala has transformed walls in New York, Sydney, London and more, turning bland buildings into beloved landmarks with her Memphis-inspired, tribal-influenced murals.

It was while she was working on an office block in East London that she caught the attention of Eye magazine’s John L Waters, who featured her one-woman urban-regeneration campaign in the latest issue, fresh from the Pureprint presses.

We took a moment with Camille to find out about the processes behind working at such scale…

Is it important to you to bring the values of graphic design into the public domain?

YES! When I started doing street art, most of the things I was seeing were quite dark images, very figurative illustrations (of faces mostly). I wanted to bring graphic shapes and bright colours in the street. In my opinion, graphic arts work best on large surfaces such as walls or buildings. When I design the mock-up on my computer and the design looks pretty simple (almost boring), I know now that it will please me very much when I will see it on that big wall!

What’s the first thing you do when you’re presented with a space or surface to transform?

I look at it for ages, leave it alone for a while, then come back to it and I usually start doing a collage in my sketchbook or make a few notes. Then I will do the proper design on the computer.

How long do you spend planning your designs? Are there any specialist tools involved in this part of the process?

It varies, depending on the complexity of the design. If I’m painting a wall, I will make a plan with all the measurements accurate to the size of the wall.

What is your favourite part of the process behind each project?

I love the different steps. It’s very satisfying to work and design on the computer, then to go and paint for a few days up and down ladders or on a cherry picker. Then when my body can’t take it any more that's usually the time the painting is done, then I am happy again to go and work on my desk with paper or in front of my computer until the next project.

Have you got any exciting projects coming up that you can tell us about?

September is really busy with London Design Festival, where I am working on three great projects. I have done a design for a zebra crossing for Better Bankside that I can't wait to see on the road. I am collaborating with the Italian brand Natuzzi, and will be customising one of their emblematic chairs, and I will also create a Walalalounge for Clerkenwell London by customising walls, floor and ceiling.

We’ve seen your work all over London and further afield, but where is your dream location for a project?

I would love to paint the De Beauvoir estate in Hackney – I’m keeping it local for now.

You feature in the Colouring in the City piece in the latest issue of Eye Magazine, how did your relationship with Editor John L Walters develop?

I met John last year when we were painting the building. I think he was just passing by and we started talking. We saw him a few times that week (as it was his way to work) and had some nice chitchat. At the end of the 10 days, when the painting was done and the building was in its full glory he said he wanted to do a feature about it. Whoop! I was very chuffed about it.

Do you have a favourite piece of print?

Eye Magazine!

Find out more about the London Design Festival

Find out more about Camille Walala

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Great news in the PrintWeek Awards

6th September 2016

This week we received the great news that we have been shortlisted in all 8 categories we entered into the PrintWeek Awards 2016. The shortlistings highlight the high quality work we produce for a range of great creative brands and customers as well as the skills and expertise available throughout the Pureprint Group, from our litho and digital factories to our packaging and large format teams. This year we have been shortlisted for our Point-of-Purchase, Luxury Packaging, Bespoke Digital, Magazine, Brochure, Book, Fine Art and Report & Accounts printing.

The awards night is on 17th October so we will update you after that on how we get on.

Find out about the awards we have won

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Pureprint People: Aaron Archer

5th September 2016

Aaron Archer is Business Development Director for the Digital side of Pureprint. He is Chairman of Dscoop UK & Ireland and a frequent speaker at industry events.  DScoop is short for Digital Solutions Cooperative, and is an independent community of HP Graphic Arts business owners and technical professionals from around the world. This summer Aaron, along with other Dscoop colleagues ran the first Dscoop local event for the UK & Ireland.

How did your first Dscoop local event go on the 4th July?

It was a really successful day with a great turnout and the venue, Dorney Lake in Windsor worked really well which was helped by the stunning weather. The speakers were really informative and covered some of the hot topics for Digital printing in 2016 and it was a great chance for members to catch up with partners and industry colleagues socially.

For anyone who isn’t already a member of Dscoop, why should they join?

Dscoop offer a range of benefits to a business utilising digital printing equipment. These include education materials, marketing tools, online discussion forums, a print directory and an annual conference. 

How does membership of Dscoop benefit Pureprint?

Along with all the benefits above, Pureprint enjoys a close working relationship with Dscoop members in the UK and across the World, for collaborative working with clients.

What were your highlights from Dscoop EMEA5, in Tel Aviv?

The conference and education sessions were world class, along with an amazing partner and HP equipment showcasing a broad range of integrated solutions and innovations. 

Do you have any (digital) trends we should be looking out that came out of Drupa 2016?

Cloud based computing is now coming of age, giving opportunities for new sales channels, along with operational excellence through automated print production.

What’s the most exciting innovation in digital printing you see on the horizon?

Innovations come from technology and its application in new ways….. So I’m always excited to combine a whole raft of different components that can be disruptive in established markets. Print being the centre piece is again being recognised as a respected and powerful channel in the marketing mix.

What’s your favourite recent project, printed on HP Indigo?

Really enjoy the children’s book market, which is now being disrupted with new vertically integrated publishers, creating personalised stories to excite and engage children, through wonderfully printed books.

Find out more about our digital print facilities

Find out more about Dscoop

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Pureprint People: Natalie Cole

25th August 2016

Natalie Cole joined Pureprint in Feb 2016. She started out as a digital apprentice but soon proved herself as an integral part of the team and offered the opportunity of Digital Production Assistant.

You started out as an apprentice, what attracted you to an apprenticeship in print? What did you hope to get out of it?

I was looking for a completely new start in something that I was interested in, and that I would be able to build a career in. An apprenticeship in print fitted what I was looking for, and I guess everything happened at the right time. I hoped to learn and I’m certainly doing that.

Talk us through your average day – if there is such a thing….

I work as part of the digital production team and honestly every day is different depending on the work that comes in.. The first thing I normally do is take a look at our technology workflow portal which we use for a lot of our SLA (service level agreement) work, I work out where we are for the day and deal with any reprints we need. I then continue to do this throughout the day.

I deal with putting jobs onto press, checking the files and making sure everything is ready to print and finish so it can all run smoothly through all areas. This can include liaising with account managers, finding paper, checking files, and generally trying to be helpful where I can be. Because I started in finishing, one way I can help is to support the finishing team, being an extra pair of hands where needed to make it a little easier for them, and trying to ensure work goes out on time.

Has anything surprised you about the role so far? Apart from being offered the Digital Production Assistant role soon after starting your apprenticeship!

That was definitely unexpected, but really what I think surprises me most is the sheer volume and variety of work that comes through digital production, and that we actually get it done! I don’t think I ever realised just how much is involved in print or possibly how much I would enjoy it.

What sort of skills have you been learning?

I started in finishing so I’ve learnt the basics of the equipment out there and how different types of print are finished. I’ve then moved to the production side of working, which is more computer based but I’ve learnt all about how jobs are created and put on press, taken through the printing and finishing stages to the final product.

What are the most (and least) enjoyable parts of your job?

I love the accomplishment of getting a job done and out on time, and especially getting feedback that a client is really happy with the product. I guess the least enjoyable is the opposite of this, sometimes things do go wrong, and that is inevitable, - it’s certainly not enjoyable.

Does print still feel like a male dominated industry to you? Is it more challenging being a woman?

I think its fact that it’s still male dominated, you can’t really argue against that, but saying that I’ve not felt in any way that being female has made a difference to my experience within the company. Male or female coming into an industry you know little about is a daunting task and everyone has been incredibly supportive - I’d like to think that gender doesn’t come into that.

What would you most like to print?

Part of me loves the complicated jobs that come in, - which are often a complete pain to print and finish but I love the finished article. I like creative things with different substrates and colours. I studied design so I think it’s that side of me that is interested in the way something like that looks aesthetically and comes together.

What do you think the future of print has in store?

With the way technology rapidly develops it’s so hard to say. It’s clear from the volumes of work that come in print is still incredibly relevant. Technology enables us to push the boundaries and that surely means there can only be more work and even more developments.

Where will we find you in 5 years?

I have no idea! Even a year ago I would never have imagined myself here, so in 5 years who knows. I’m learning so much here that I’d like to think I’d still be here, hopefully asking a few less questions. 

If other young people are looking for an exciting career in print, get in touch.

Read about our Digital Apprentice Zack

Find out more about our investment

Find out more about our digital printing

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Pureprint leading the way with big litho and digital investment

25th July 2016

We have recently completed a £5million upgrade of our litho printing facilities in Uckfield and are due to complete work on our dedicated digital printing factory in the next few weeks.  We have upgraded our manufacturing and customer service platforms in terms of equipment, workflow and physical environment.

Pureprint Group CEO Mark Handford commented “We are delighted with the new facilities and equipment. It puts us in the best possible position to give our customers an exceptional printing service. The impressive litho factory, with large press hall, plate making, colour labs and customer rooms means that we have excellent press passing facilities and for some customers who stay with us for a couple of days that means all difference. Over the coming months we will be welcoming many visitors to the site so they can see what we have to offer and the changes that have been made.”

The Group now has a new 80,000 square foot dedicated litho factory with 4 Heidelberg XL presses and a dedicated digital factory with HP Indigo printing technology. Each of these operations has experienced customer service teams and great customer facilities as part of the impressive re-organisation and investment for the Group.

Two new XL 106 litho machines, a 6 colour plus coat and a 4 colour plus coat, have joined a 10 colour and 5 colour with coater.  Both the new machines are equipped with the highest specifications, including the industry leading inline colour measurement Inpress Control 2 and full Autoplate systems, to guarantee the highest quality and maximum operational throughput.

The 30,000 square foot dedicated digital operation houses the existing 3 HP Indigo 7800 presses and 2 HP Indigo 10000 digital presses and these will be joined by a new HP Indigo 12000 press at the end of July.

These latest investments mean that we now offer one of the most modern and efficient print production facilities in the UK. The HP Indigo 12000 digital press installation is part of HP’s global beta testing programme for the 12000 and will be one of only 6 in Europe and 12 globally until the beta testing finishes.  Once completed our two existing HP Indigo 10000s will be upgraded to 12000s.

Find out more about our litho printing

Find out more about our digital printing

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Forest Guardian: Q&A with WWF’s Julia Young

12th July 2016

Julia Young is the manager of the UK arm of the Global Forest & Trade Newtork (GFTN), the WWF’s ongoing initiative dedicated to helping businesses adjust their supply-chain strategies to protect and preserve the world’s forest resources. That, of course, means she spends a lot of time thinking about paper. After she visited Pureprint HQ to talk about the role of the print industry in ensuring sustainability, we caught up with her to find out whether awareness campaigns work and how optimistic she was about the future of paper in the UK…

The print and paper industries didn’t historically have the best reputation for sustainability, how valuable do you think campaigns such as Two Sides are in changing people’s preconceptions?

I think if campaigns don’t get too defensive, and they communicate precise and verifiable information, they are very valuable in showing how a sustainable industry can be beneficial to people and nature. WWF has extensive campaign experience in this area – including our Forest Campaign. People need to think about what kind of paper they use; is it sustainable, and are they wasting paper or not? These are the key issues for a paper-industry campaign to address. There have been things to improve – so it’s no good pretending there haven’t, or that the whole industry is doing better. The trick is to enable the public to understand the issues and make a better decision – using accurate information. Going forward, the Two Sides campaign can help people to think about the forest source of their paper – and why choosing papers that are recycled and from credibly certified forest sources, like FSC, is the way to make sure that paper use is positive in terms of sustainability.

You visited Pureprint in Uckfield earlier in the year, what was the highlight of your visit?

For me, it was exploring how commitment to innovation, and new, more efficient solutions, can get the job people want done, but in a sustainable way. Pureprint are great at that. We wanted to see what could be done with print and print management, get a feel for where things are at – after all, it’s by keeping in touch and finding out what can done and is being tried out that you get new ideas of what is possible, so from that perspective, it was a great visit for our team, with people from many different kinds of roles, like managing what we send out to our supporters, and designing our materials so they look great but are effective when it comes to paper use and cutting waste on print runs.

Your role is with the Global Forest & Trade Network, could you help explain what this partnership does?

We know the business community can play a vital role in ensuring forest resources are well managed. Sustainable forest management can help address some of the most severe problems affecting forests, such as deforestation. WWF’s Global Forest & Trade Network (GFTN) can help by translating what is happening on the ground in global forests into how businesses can make better decisions in their sourcing. We work to improve the management of global production forests by using the influence and purchasing power of UK businesses to bring about market change. Our goal is to create a thriving, mainstream market for environmentally and socially responsible forest products. Businesses participating in GFTN commit to looking at their supply chains and progressively moving to better sources which support forests. They are transparent about their policies and performance – which is what we encourage all businesses with a material footprint on forest resources to be doing.

In the time you’ve been with WWF, what changes have you seen in the print and paper industries?

There has obviously been a huge focus on understanding and developing carbon accounting – understanding the life-cycle impacts of paper from forest to end of life – as well as a good move towards how paper can be used to add maximum value. This is all very positive – and those businesses that have invested meaningfully in this should be proud of that work – then differentiate themselves more from others who aren’t following the same, better practices.

What else would you like to see the print and paper industries doing to help safeguard and improve the environment?

I think there is a steady realisation on the importance of sustainable forest management in the first place – although I would like to see more advocacy for the increased use of recycled fibre, to make recycled paper more accessible – as this has a major role to play in tackling the pressures on global forest resources, and meeting growing future demand for fibre for paper worldwide. There are probably a lot of paper people who would like to see more recycled paper taken up too!

What are you and WWF working towards in 2016, and beyond?

We’re carrying on our Forest Campaign – to try to make sure that we have a comprehensive and properly implemented European Timber Regulation, and asking businesses that trade forest products in some shape or form – like paper – to be transparent about their policies on sustainable sourcing, and how well they are doing in meeting them. WWF has a really wide spectrum of work on forests, from helping producers understand and get into sustainable forest management, right the way through to things like our Environmental Paper Company Index work, to appraise environmental performance for pulp and paper production. Then of course there is work on climate, oceans, freshwater, the illegal wildlife trade – and many other subjects, in more than 100 countries. You can find out more on the breadth of our work at www.panda.org. Personally, I will be working to keep our GFTN programme relevant and impactful, engaging with industry associations on the forest agenda, and releasing work on the business case for sustainable sourcing, before preparing for next year’s Timber Scorecard check-in on UK companies and sustainable sourcing of forest goods.

Do you have a favourite paper stock, recycled or otherwise?

Number one has to be recycled paper. WWF is a signatory to the Environmental Paper Network Paper Vision, and our sourcing policy puts recycled paper as first choice. Personally, I love looking for beautiful notebooks but am often disappointed to find ones I like then don’t carry any credentials as coming from recycled paper sources, or from a mix of recycled and or FSC sources – I simply can’t overlook it, no matter how good-looking it is!

Are you optimistic for the future of a sustainable paper industry?

Yes, I am. Fundamentally, the paper industry has to invest in sustainability for its own future. If there is increasing demand for fibre, but increasing pressure on global forests, how will this demand be met? Customers also increasingly want to know that the goods they buy haven’t damaged the environment or other people’s livelihoods – let alone the increasing tension over environmental degradation, and failure to share the benefits from resources, in producer countries. There have been a lot of positive developments – I only see this as continuing, and those who can’t demonstrate good sustainability will eventually be excluded by the market. Sooner, I hope, rather than later.

Find out more about the Global Trade & Forest Network (GFTN)

Find out more about Pureprint's environmental credentials

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Beautiful books win awards

30th June 2016

What a good year at the Print, Design and Marketing Awards this year with 3 stunning projects Dior by Avedon, Garry Fabian Miller’s Bliss and Waterloo 1815 - A Commemorative Anthology winning 4 categories.

Dior by Avedon won the Finishing category with its beautiful French folding, specialist Japanese Takeo papers and with a flexi bound and silver foiled cover. The judges commented “Simplicity at its best, using high quality print finish and fantastic binding technique. This winner showcases the product in a very smart and stylish way”. Garry Fabian Miller’s Bliss won the Books and Booklet category, digitally printed on an HP Indigo press with layflat binding and an exposed spine made this book a stunning production. The judges commented “Visually stunning. Very simple but effective use of techniques. Consistent use of colours, very well presented.”

Waterloo 1815 - A Commemorative Anthology won the Short Run Printing category but also what an accolade for it to win the Supreme Award too. Again digitally printed on an HP Indigo 10000 press with full size maps, gilt edged, bound in leather and enclosed in a wooden box. The judges commented “A unique item of print that would not be out of place in a museum. High end print, finishing, binding and packing, a product that is a truly stunning piece of high end art.” And “An all encompassing showcase for print - a showstopper. A unique, one off in its own class. A rare and beautiful product.”

Earlier in the year another fabulous book we have printed won a DRUM Design Award for Print Design. Baddeley Brothers is for anyone with a serious interest in print, design, publishing and typography, and tells the story of this printer over the last four centuries. The book was litho printed on Munken Polar Smooth from G F Smith and covered with a Duck Egg Brillianta Cloth from Winters and has fine tipped-in samples

Find out more about the awards we have won

Find out more about Waterloo 1815 - A Commemorative Anthology

Find out more about Bliss

Find out more about Dior by Avedon

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Bliss to the Judges at the HP Inkspiration Awards

16th May 2016

In April the second HP Inkspiration Awards were held in Tel Aviv following the opening of the Dscoop Open Conference and Pureprint were awarded the People’s Choice Award for Artistic Value for Bliss by Garry Fabian Miller a limited edition fine art publication produced for Hackelbury Press.

The HP Inkspiration Awards program was created to recognise excellence in the use of the innovative HP Indigo printing technology and this year it generated 250 entries spanning the USA, Asia and Europe in just five weeks.

The judges loved the Bliss publication with one of the judges commenting “I could not take my eyes away from the piece. It is attractive, vivid …a piece of art to admire”.

Bliss is the culmination of almost 40 years of dye-destruction printing by Garry Fabian Miller. This richly illustrated book features over 50 unique dye-destruction prints – an art form that will cease to exist by 2016. In fact, each of the 600 copies includes a signed and numbered Lambda c-print, chosen from a selection of 49 different 20” x 24” images. The 164 pages of Bliss were digitally printed on our HP Indigo 10000 digital presses on Munken Lynx paper and feature layflat binding and exposed spine.

We were also finalists in Direct Mail, Catalogue and Publishing categories.

Find out more about Bliss

Find out more about the awards we have won

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The magCultured man: Jeremy Leslie

1st March 2016

If you were looking for an authority on the state of the magazine industry, a recommendation for eye-opening reading material, advice on art direction or just a nice chat with a smart man, you wouldn’t have to look further than Jeremy Leslie. Over the course of his three-decade career, Jeremy has gone from being one of the most sought-after art directors in the UK to the champion of independent magazine culture across Europe, and one of the biggest players in the print renaissance.

Through magCulture, the blog, journal, editorial design consultancy and now real-world shop, Jeremy is behind some of the most exciting publications on today’s shelves – some of them printed by Pureprint. We caught up with him for a coffee…

How long have you been interested in magazines?

Since I discovered the NME as a teenager. It was my weekly update on albums, gigs, bands – a vital part of the week. It was the content not the design at that stage. Later on David Kings’s City Limits front covers sucked me into the design side too.

How did you originally get into the world of the print?

I studied graphic design and was busy printing from Foundation Course onwards. I stumbled into my first magazine job when I left university and got some summer cover work in the studio at City Limits magazine in the mid-80s From there I got the job of designer at Blitz magazine.

You’re the Creative Director of Fiera magazine – how do you find working with Katie Treggiden – and why Fiera when you must have many opportunities to work in new magazines?

Katie and I work well together. We both have multiple roles/jobs beyond the magazine and have learned from each other. Why Fiera? I was intrigued by Katie’s desire to move from blog to print.

What can we expect from the next instalment?

The magazine hasn’t fundamentally changed since launch, but it improves each issue and I hope to shift things on a little further for no4.

You’ve recently opened the MagCulture shop – why now?

I’ve always thought London deserved a dedicated magazine shop. Just mags, displayed properly – you see this in other big cities but not in the UK. I realised early in 2015 that if I didn’t do it someone would and I’d be disappointed. So I decided to give it a go.

It was hard finding the right location, but I’m happy with the final choice. We’re in the heart of London’s traditional print district, a few hundred yards from where the first magazine was published. Near lots of design and architects’ studios, next to a university full of journalism students. And in the centre of a triangle created by Angel, Old Street and Farringdon Tube stations.

How do you think the tangible quality of print influences the reading experience?

Reading from paper and screen are entirely different experiences. Paper is more flexible, variable and engages multiple senses in a way the glossy screen can’t. Think: smell, noise, different touch sensations. And just as importantly, bound paper is the perfect navigation system – you can easily find your way around, understand how deep into a magazine or book you are and can backtrack to check things. When you go back things haven’t shifted or re-flowed. You lose yourself in paper in a way you don’t in the screen – it lacks interruption from third parties.

You stock magazines printed by Pureprint at the MagCulture shop. If you could only read one, what would it be?

I’d select People of Print’s Print isn’t Dead as a beautiful piece of print about print.

We’ve seen big changes in the world of publishing over the past few years, what’s on the horizon in 2016 and beyond?

No idea! But the big changes aren’t going to slow down.

Find out about some of the issues of Print Isn't Dead that Pureprint have printed

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Marcroy Smith: Person of Print

9th February 2016

Reports of print’s death have been greatly exaggerated. That, in essence, is the founding belief of People of Print, the website and London creative community set up by Marcroy Smith in 2008. Dedicated to championing printmaking in all its forms, People of Print – and its self-published magazine Print Isn’t Dead – exists to celebrate the artists, illustrators and designers bringing new life to an old industry, and to help brands and businesses harness the possibilities of print to inspire and excite.

We grabbed five minutes with Marcroy to talk about the state of the print sector, the kind of creatives he likes to work with and People of Print’s plans for the year ahead…

The future of print is dependent on so many factors; do you think the current revival is a flash in the pan or here to stay?

Nothing is permanent, however I don’t think that the revival that we’re seeing is a flash in the pan. There are lots of exciting things happening in the vast and varied world of print. It’s actually quite insane what we can achieve these days, superbly high quality digital printing thanks to HP Indigo technology, mind-blowing things are happening in 3D printing and we are also developing new ways of using traditional printing equipment.

Your magazine Print Isn’t Dead was Kickstarter funded, do you think crowdfunding has played a part in revitalising the print/magazine sector?

I definitely think that crowdfunding has played a huge role in revitalising many sectors, or at least allowing the small guy to achieve something big without taking out a huge loan. It allows the general community to decide what happens rather than a well-established publishing house and as Felix Dennis would have said… we like to “swim with the fishes.”

Element003 had a personalised cover, from all the ones ordered, could you pick a favourite?

We had a few questionable entries because we didn’t censor anything, I bet you can guess what kind of words some people chose to have on their mags. I particularly liked Andrew Losowsky’s entry “THE INTERNET IS DEAD.”

People of Print’s Department Store stocks products from established and up-and-coming designers, how important is it to you to support creatives rising through the ranks?

We like to do what we can for the print community, we generally like to talk about anyone who is showing exceptional skills, effort and enthusiasm for design, illustration, print or printmaking. Our Graduate Print Awards have some incredible entries and the winners get tonnes of amazing awards that are beneficial to them — it is free to enter too.

Apart from things you’ve made, what’s your favourite recent piece of print?

The new book by Silas Amos ‘A Bigger Spectrum’, supported by HP and GFSmith is absolutely stunning — designed by none other than award-winning James Lunn. He just has an extraordinary eye for editorial layout and beyond.

If you could work with any creative on the planet, who would it be and why?

I have a huge list of creatives that I would like to work with who I am slowly ticking off month by month. I also like finding hidden gems, people who are under the radar creating outstanding work, people who have a love for a subject so deep, who think about it every day; there’s something special and magical about these obsessional, extremely talented types.

What’s coming up for People of Print in 2016?

We have some exciting things coming up for 2016, our website and online marketplace is being developed as we speak. We will also be running more live events, workshops and talks. Oh and some stuff that we don’t want to mention in case we jinx it.

 

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Pureprint Recruit Apprentices in their Digital Printing Department

5th February 2016

We are offering more apprenticeships in our digital printing department as the Group grows. Zack Sutherland, 19 joined the Group in September 2015 on a BPIF level 2 NVQ Apprenticeship in Digital Printing, Digital Pre-Press and Digital Artwork and recruitment is continuing for other enthusiastic apprentices to join our expanding business.

Ian Godden, Digital Production Director commented “Zack has taken well to the digital printing department starting in finishing where he has worked alongside our experienced operators on our new case binding machinery and on our digital despatch desk. He has had the advantage of working in a very busy department particularly on personalised books with the run up to Christmas 2015. Zack will start working in the digital print area in the coming months. After the training and obtaining his level 2 NVQ, which takes about 18 months, he will then have the opportunity to go to the HP Indigo training academy in Barcelona.”

Zack said “I’m enjoying being part of the Pureprint digital team where there is a great atmosphere. I’m looking forward to learning how to operate the digital presses and attending the BPIF technical training in London as well as meeting other apprentices.”

Two young people have already progressed through the Pureprint digital printing apprenticeship scheme with Dean and Josh Tapp completing their NVQs. Dean is now fully HP trained and running a 7800 at Pureprint and Josh has moved onto operating an HP Indigo 10000 press in New Zealand, showing how an apprenticeship and working for a company like Pureprint can open doors.

Anthony Thirlby, Chief Operating Officer commented “The combination of technology, innovation, creativity and enterprise make the printing industry of today an exciting career opportunity for young, talented people. We will be extending our apprenticeship programme over the next few years and we see this as crucial to Pureprint’s future.”

Andrew Bracey Foundation & Advanced Apprenticeship Manager at the BPIF commented “It is fantastic to see Pureprint expanding their apprenticeship offering as their business grows. Apprenticeships provide an excellent opportunity for young people to grow and develop within a work environment and offer businesses the chance to access new talent. We look forward to working with Pureprint again and helping develop the next generation of their workforce.”

Ian commented “The BPIF have been a great support in the recruitment of apprentices and they provide a good opportunity for the apprentice to meet other apprentices in the industry. As an employer we get highly motivated and skilled staff and the training provided in customer service and industry best practice is second to none.”

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Pureprint Continues UK Regional Growth

25th January 2016

We have opened up a new sales office in Swindon.  The new office currently has seven staff including the existing team who have operated for the last year from the Bristol office and four new starters who have joined from ESP Colour.

The new starters are Jenny Eagle, Cheryl Corbett, Wayne Giles and David Bulfield who bring a blend of commercial specialism, technology insight and customer service excellence that will further increase the product offering for our growing client base.

Jenny and Wayne join as Account Directors, Cheryl as Technology Project Manager and David as Commercial Manager, all integral positions for the Group’s continued sales development, MIS integration, increased W2P offering, enhanced technology deployment and commercial positioning.

Coming from a strong consultative sales and technology background the team are enthusiastic to be working with the diverse offering from Pureprint Group and join as part of the Group’s focus on enhancing the client experience and service offering.

In conjunction with the successful Frome and Leeds offices, the three regional sales offices will deliver over £7m of business for us in 2016.

The new office is next to Junction 16 of the M4 and there are plans to increase staff numbers as the business grows in the commercial and technology space.

“Our regional offices are working well and the Swindon office will be the biggest so far. Regardless of how automated work flows are, the relationships we have with our customers need to be personal and consultative and our regional offices are helping us to deliver this across the UK.” commented Anthony Thirlby, Chief Operations Officer at Pureprint Group.

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Book Awards Success

3rd December 2015

On Thursday 26th November the 2015 British Book Design and Production Awards were held at the Jumeirah Carlton Tower Hotel in Knightsbridge. Work printed by Pureprint included 9 shortlisted entries across 7 different books including 3 of the books shortlisted in the Best British Book category. Great news following our success winning the PrintWeek 2015 Book Printer of the Year Award in October.

Three of the 9 shortlisting’s won with Lost My Name winning the Self-Published category, Jenny Saville: Oxyrhyncus winning Exhibition Catalogues and Best British Book going to John Bannenberg – A Life of Design. The stunning Battle of Waterloo masterpiece by Extraordinary Editions was also highly commended in Best British Book.

The other shortlistings included Battle of Waterloo for Best British Book, Limited Edition & Fine Binding and Digitally Printed Book, Lloyd’s Bank Book – Best British Book, Le Theatre Graphique by Hurtwood for Digitally Printed Book and The Dashboard Volume 1 by Hurtwood also for Digitally Printed Book.

See the Best British Book – John Bannenberg – A Life of Design

See the winner of Exhibition Catalogues – Jenny Saville

See the winner of Self Published Books – Lost My Name

Find out about the other awards we have won

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How Lost My Name found their muse - an interview with David-Cadji Newby

30th November 2015

The advent of digital printing and the opportunities it brings publishers for small-batch, rapid-turnover production and personalisation have opened a lot of doors. They’ve even helped one Pureprint client oust the seemingly immovable Julia Donaldson from the top spot on the kid’s picture-book bestseller charts.

Personalised kids books have been around for years, but The Little Boy/Girl Who Lost Their Name is the first to have offer children a story that is truly personalised to them – an adventure determined entirely by the letters of their own name. The four founders of Lost my Name never expected their why-not? side project to seize so many imaginations – first the fire-breathers on Dragon’s Den (where a chunk of the funding came from) and then tens of thousands of kids all over Europe. Their second book, this time driven by satellite-mapping technology, is out now.

We caught up with co-founder and author David Cadji-Newby to talk about the role played by digital-print innovation, the challenges of overnight success, and what it feels like to have your work sent into space…

What was the inspiration behind Lost My Name?

It all started as a fun thing to do – Asi [Sharabi – cofounder and CEO] had been given a personalised book for his daughter, and was underwhelmed by it. Coming from a technology and creative background, we all recognised that here was an interesting area that was being hugely underexploited. A proper, well-conceived, beautifully written and illustrated personalised book just didn’t exist on the market – it was dominated by tacky, inferior products. So we decided to do something about it.

Was there a particular point when you realised it was going to be a hit?

Yes, Christmas 2013. In November we went from selling 40 a day to near a thousand. It was a surprise, and also a huge challenge – needing to scale so much, so fast, was incredibly hard to manage. People were buying our book as Christmas presents and we desperately didn’t want to let them down, but the pace of growth was extraordinary, and fulfilling orders was… tricky.

What are the advances in technology that make it possible?

Digital print is the innovation that made it all possible. But along the way, we encountered many more challenges in making customers happy. Digital print has allowed us to supply our print partners with unique graphics files, each corresponding to a specific order. Digital printing machines means there are no up-front costs for printing an order per customer (as opposed to litho printing), however, the complexity then moves to fulfilment process. How do you know which printed book would then find itself in a specific customer's’ mailbox?

Did any of you have any experience of large-scale print projects before Lost My Name?

No. Fortunately we’re quick learners. We’ve invested heavily in data systems that enable us to connect with our print partners and provide them with information about orders so they can use their digital print at the scale we needed to provide. .

What were the paper and print requirements for the project?

First of all we know that lots (like, hundreds of thousands) of little hands will be enjoying our books. This means lots of pulling, tugging, turning all of the pages, maybe a bit of chewing… So we want to use a paper that’s going to last. The Mohawk paper (from GFSmith) that we use is thicker and more durable than the paper you’ll find in most children’s books – and that’s important to us, as we want to create books that will be enjoyed for many years no matter how many times they are read (or pulled, or tugged).

How does the process of printing work for customised books?

At the end of the day, making unique books for unique customers is a totally different business model than producing in bulk. It has many complexities, some that are easy to solve, and some that are super-hard problems (to make it work at scale). We’re proud to be making our books in many local geographical areas, as close to our customers as possible, providing work in local counties and supporting the print industry to make it all work. We feel it’s an important value to keep as we expand.

Was it hard following up ‘The Little Boy/Girl Who Lost His/Her Name’? Or did you know straight away what you wanted to do with The Incredible Intergalactic Journey Home?

It’s always hard to follow a smash hit, so the important thing was to create something that we wanted to make, without having too many expectations. Using more technology – satellite mapping, for example – reflected our company mission to combine storytelling and tech, so it just felt right. And it seems to be going well, so far…

Is it true that your books are going into space? How did that come about?

It’s true! We can’t quite believe it either. A copy of The Incredible Intergalactic Journey Home will blast off from

Cape Canaveral on 3 December, bound for the International Space Station (ISS), where it’s going to be read by an astronaut.

We came across an organisation called Story Time From Space, and their exciting programme, which uses the

ISS and other space platforms to promote and improve STEM-focused educational activities aimed toward schools, science centres and home education.

Getting children to see that anything is possible is one of the most important things in the whole world and what we're all about as a company. We were hugely excited and humbled when they chose our book to be a part of their next launch.

What’s next in the pipeline?

We’ve had huge success with our first two titles. The Little Boy/Girl who lost Their Name was the best-selling children’s picture book in the UK last year), and the reception to Journey Home has blown us away.

But we’re just getting started. We see our super-high-quality personalised books as an entirely new type of narrative product. They’re like books. But they’re also like games. And episodic media. And software. And they’re co-created. And co-consumed. It’s fascinating, and we’ve only just scratched the surface. We’re now looking for brilliant writers and illustrators, with experience of children’s entertainment projects, to join our Story Studio and help develop our next round of incredibly personalised children’s books.

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Pureprint increases printing capacity with multi million pound spend

30th November 2015

We placed a multi-million pound order for two new Heidelberg 106 XLs as part of a major 2016 investment programme. The two machines are a 6 colour plus coat and a 4 colour plus coat. Both machines will be equipped with the highest specifications, including the industry leading inline colour measurement device Inpress Control 2 and full Autoplate systems, to guarantee the highest quality and maximum operational throughput.

The new machines will be going into the our main production site in East Sussex in the first half of 2016. They will support our continued growth in the bespoke printing market and will also integrate fully with the new operational workflows now deployed at Pureprint in the litho commercial markets. This unique Purity JDF platform has been developed to give greater operational effectiveness and market leading products.

The investments also form an important part of Pureprint’s EMAS and ISO14001 programme of sustainability initiatives and will ensure that we continues year on year environmental improvements. It is expected that in Year 1 paper waste will be reduced by at least a further 20% due to the enhanced make-ready performance provided by Inpress Control 2. The 4 colour and coat press will also feature a market first with sequential blanket wash and Autoplate systems, allowing super-fast make-readies and job changes.

We are also planning to produce reduced run lengths through the Speedmaster XL 106 platform. Anthony Thirlby, Pureprint Group chief operating officer commented “The cost cross over point between digital and litho will come down to 200 sheets and the move to the fully automated XL106’s will increase our sheet fed capacity by over 35%. Our HP Indigo platform is superb for high quality personalised products and together with the new Heidelberg XL combination we will continue to offer the most modern and efficient bespoke printing facility in the UK.”

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