I S S U E 6 2 0 2 5 | | T H E V O I C E O F T H E I N D U S T R Y | | W W W. I R I S H P R I N T E R . I E
TALKING TO... DIARMUID DAWSON on the
THE POWER OF HOPE Fresh perspectives
power of education and ambitions for 2026
at the National Print Museum
INK
in his veins
JOHN PURCELL on a lifetime in print
CUTTINGEDGE TECH
Xtreme Signs & Graphics invests in a Veloblade Nexus 3032
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1 ISSUE 6 2025 04 News A look at what’s happening in the print industry
11 Investment
11
Xtreme Signs & Graphics is the first Irish print firm to invest in a Veloblade Nexus 3032
12 National Print Museum Anthony Burrill collaborated with The National Print Museum to create a new letterpress print
12 15 Opinion Andy Clarke gives his take on the trends shaping the future of the print industry
16
21 Interview
Cover Story
24 Careers
John Purcell on a lifetime in print
Diarmuid Dawson talks about innovation within the industry
At just 12 years of age, Killian Kierans learned that every detail matters on the production floor
ISSUE 6 2025 IRISH PRINTER
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2
ED’S LETTER Editor: Denise Maguire Email: editor@irishprinter.ie Creative Director: Jane Matthews Designer: Lenny Rooney Production: Nicole Ennis Contact:
Welcome to issue 6 of Irish Printer for 2025.
Irish Printer,
For the last issue of Irish Printer for 2025, we chat to John Purcell about his impressive career in the print industry. John’s print journey began in 1964 with an apprenticeship at The Sign of the Three Candles print firm, just off Aston Quay in Dublin. He went on to work at Wood Printing Works, which became Wood Printcraft and altogether, he stayed there for 35 years. After a move to Colorman and another 12 years, John was ready to retire. Throughout those decades, he experienced huge shifts in the industry, from copper plate and letterpress to litho and digital. His career off the production floor was just as impressive; for over 20 years, he refereed international football matches with FIFA and UEFA. The more his career in print advanced, the more successful his refereeing career became. One fed off the other, he says. “The more confidence I got from refereeing something like a big Champions League match, the more confidence I got at work.” John’s son, also named John, has followed in his father’s footsteps. He works at Anglo Printers in Drogheda and shares his father’s love for the industry. For more on John’s career, go to page 16. Also in this issue, we take a look at Xtreme Signs & Graphics’ investment in a Veloblade Nexus 3032. Xtreme is the first Irish print firm to invest in the cutting machine which has, says the firm, streamlined workflow and boosted productivity. To read about the investment, turn to page 11. On page 21, Diarmuid Dawson chats about the year that was and his hopes that in 2026, more print firms will engage with the Print Media Technician Programme. From all of us here at Irish Printer, we’d like to wish our readers a very Happy Christmas and a peaceful New Year. See you in 2026!
Unit 55, Park West Road,
Ashville Media Group, Park West, Dublin 12, D12 X9F Tel: (01) 432 2200 Web: www.irishprinter.ie Printed by:
McGowans Print
Printed on: HP Indigo 10000 using Novatech paper supplied by Antalis. All rights reserved. Every care has been taken to ensure that the information contained in this magazine is accurate. The publishers cannot, however, accept responsibility for errors or omissions. Reproduction by any means in whole or in part without the permission of the publisher is prohibited. © Ashville Media Group 2025. All discounts, promotions and competitions contained in this magazine are run independently of Irish Printer. The promoter/advertiser is
As always, we’d love to hear from you. If you have any thoughts on this issue, please drop us a line at editor@irishprinter.ie. Enjoy!
responsible for honouring the prize. ISSN 0790-2026
IRISH PRINTER ISSUE 6 2025
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4
4
U P D A T E S
NEWS
SPOTLIGHT ON…
DURST P5 SMP
Key Features Durst Group has launched the P5 SMP, a hybrid LED
» Max. productivity – up to 1,940 sqm/h (20.882 sqft/h)
multi-pass inkjet system with a printing width of
» Resolution – 700 x 1,200 dpi, 900 x 1,200 dpi
3.5m, designed for both board and roll printing. The
» Drop size – 7 pl
system targets the Sign & Display, POP/POS,
» Colour channels – up to 10 channels
corrugated packaging and display sectors, as well as
» Max. board printing width – 3,500 mm (11.48 ft)
industrial décor printing markets. The P5 SMP handles both roll and board materials up to 70mm
sided printing, ensuring perfect front-to-back
thick. Currently, two formats can be loaded
alignment and accurate registration for guillotine
simultaneously; in its final stage, up to four formats
and die-cut processes. Additionally, the “Automated
will be possible. Another highlight is the DSA – Digital
Corrugated System” ensures high production safety,
Substrate Alignment system – providing precise
especially in corrugated printing. The material is
digital image registration with an accuracy of ±0.25
continuously and automatically kept flat, preventing
mm. This feature is particularly valuable for double-
edge lifting and reliably avoiding material collisions.
IRISH PRINTER ISSUE 6 2025
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SMURFIT WESTROCK
5 We know that what we do here makes a difference Smurfit Westrock invests €40m in packaging facility Smurfit Westrock has opened the doors of the world’s first packaging facility designed exclusively for pharmaceutical
Pictured (l to r): Brian Sheridan, Debbie McFadden, Chris Richardson, Gerry O’Dwyer, Tony Smurfit, Liz Proctor and Sharyn Gaffney
patient medication adherence, regulated pharma packaging and clinical trials. Located close to Dublin Airport, over €40
focus and client collaboration to explore potential partnerships
million has been invested in the brand new facility, which will
than can advance the future of healthcare. Brian Sheridan,
reflect the design and operational processes of a
VP Sales Global for Smurfit Westrock Adherence & Clinicals,
pharmaceutical manufacturing environment. The facility will
said: “Our extensive investment in leading-edge technology,
be operated under the Smurfit Westrock Adherence & Clinicals
including cold chain testing and electronics assembly testing,
(SWA&C) division with a 170-person team of designers,
combined with the experience, expertise and passion of our
operators and support functions. The facility also has an
team, will deliver speed to market for clients and patients alike.
Experience Centre which brings to life its capabilities for
We know that what we do here makes a difference – we are
visitors’ individual requirements and promotes both patient
passionate about what we do.”
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MIMAKI
Mimaki launches aqueous pigment ink Mimaki Europe has launched a new aqueous pigment ink – AP50 – designed for use with the company’s Tiger600-1800TS. The company says the new AP50 aqueous pigment ink delivers vivid colour reproduction and sharp, smudge-resistant images thanks to its excellent drying properties. With enhanced red saturation, Mimaki says it ensures superior visibility and impact, making it ideal for campaign visuals, retail displays and food advertising.
P+D
“With the AP50 ink, we are
P+D wins gold at POPAI
combining Mimaki’s colour
At the 2025 POPAI Awards, P+D took home gold
expertise with water-based
in the ‘Grocery - Theatrical Display’ category
innovation to support sustainable,
for its Moretti Wow Display. Commenting on
high-speed poster production,”
the win, Sales Director
said Arjen Evertse, Sales Director
Ciaran Bowe said: “Working closely with the
at Mimaki Europe. “This new
talented Indica Worldwide team, we developed
solution gives printers a
a functional but premium suite. Clever graphics deliver an authentic Italian
competitive advantage – lowering
look, while our structural team added props to the FSDU header and Wow
costs and environmental impact
display to really make it stand out. The traditional open Italian wooden
while delivering the high-impact
shutters give a window into an authentic Italian taste.”
graphics Mimaki is known for.”
HEIDELBERG UK partners with Celessence HEIDELBERG UK has announced a new collaboration with microencapsulation technology company, Celessence. HEIDELBERG UK says the partnership will revolutionise the way brands and marketers engage consumers through print by adding an unexpected sensory dimension – scent. Using Celessence’s encapsulated fragrance technology, scent can be embedded directly into printed materials and when touched, microcapsules release fragrance. The technology is suitable for versatile print applications and is compatible with a range of printing methods including lithographic presses (for inline application via coaters), screen printing (available in air-dry or UV formats) and flexographic printing (ideal for packaging and labels).
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JR LABELS
8
Your hard work, loyalty and commitment have left a lasting impact on colleagues and clients throughout the industry 30 years and counting JR Labels had cause for celebration recently as two of its team members marked 30 years of dedication, excellence and commitment to the company. Over the past three decades, Jane Clarke and David Duffy have not only witnessed the evolution of the company, but have played a vital role in shaping its success. “Your hard work, loyalty and commitment have left a lasting impact on colleagues and clients throughout the industry. Here's to many more milestones ahead,” said Andrew Carson, Managing Director at JR Labels.
Canon World Unseen photography exhibition arrives in Dublin
Marking milestones at Northside Northside Graphics had another opportunity to celebrate its staff recently. Three long-standing members of the team, with a
Canon UK & Ireland has
combined 55 years of service, were
announced the next
commended for their commitment,
chapter of its ‘World
dedication and contribution to the print
Unseen’ photography
firm’s success over the years. Richard
exhibition, coming to
Campbell, Managing Director, marked 15
Dublin in partnership with Photo Museum Ireland. Described as an
years of service, Jonny Boyd, Senior
immersive and accessible exhibition, visitors are invited to
Technology Manager, marked 30 years of
experience photography in a completely new way, showcasing the
service and Glenn Nelson, Production
power of Canon’s elevated prints technology. “World Unseen” will
Manager, marked 10 years of service.
be hosted in Dublin from Wednesday 11th to Sunday 15th February 2026, offering a tactile and sensory experience through elevated prints, audio descriptions and braille. Visitors will encounter a series of images that showcase how imagery can be experienced through touch, to tell stories, communicate and evoke emotion. The adaptations not only raise awareness of accessibility in the arts, but also highlight how inclusive design can enhance experiences for all audiences. Guido Jacobs, Managing Director, Canon UK & Ireland said: “‘World Unseen’ is a testament to how technology can break down barriers and create meaningful, inclusive experiences for all.” Admission is free and further information will be available via the Photo Museum Ireland’s website - www.photomuseumireland.ie
IRISH PRINTER ISSUE 6 2025
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Packaging entrepreneur given Freedom of London In recognition of his contribution to Northern Ireland’s business landscape, Dr Terry Cross OBE was presented with the Freedom of the City of London in December. At the event, the man behind Biopax and Delta Print & Packaging reflected on his career. “Receiving the Freedom of the City of London is both a privilege and a reminder of the responsibilities we share. This honour stands within
China, India, Poland and France. When he sold
a long tradition of service, generosity and civic duty.
Delta in 2016, he ensured the continued
I have always believed that business and community should work hand in hand and I accept this award as part of a continuing commitment to support others, to build meaningful partnerships and to contribute positively wherever I can. I am deeply grateful to my family, colleagues and all who have encouraged me throughout my life and work.” Raised on the Antrim Road in north Belfast, Terry launched Delta Print & Packaging in 1979 above a corner shop. It would go on to grow into a major international supplier,
This honour stands within a long tradition of service, generosity and civic duty
employing thousands across Northern Ireland,
employment and future security of his workforce. As Chairman of Biopax, he is guiding the company through an expansion phase focused on sustainable packaging innovation. Dr Cross is also President of the British Red Cross (Northern Ireland) and through the David Cross Foundation for Peace and Reconciliation, established in memory of his late son David, he has supported melanoma research at Ulster University, youth projects, cross-community initiatives and vital health interventions across Northern Ireland.
New faces at Zeus Group Zeus Group has appointed Brian O’Kelly
member with more than 30 years’
and Paul Hogan as Non-Executive
experience in global packaging, corporate
Directors of its Board. Brian brings
development, M&A and financial
extensive experience in investment
leadership. He began his career at Price
banking, corporate finance and company
Waterhouse and spent 24 years at
strategy, having advised many of Ireland’s
Clondalkin Group, rising to Chief Financial
public and private companies on major
Officer and leading global corporate
M&A and capital markets transactions
development and M&A activity across
throughout his career. He worked at
flexible, specialty and healthcare
“We are delighted to welcome Brian
Goodbody Stockbrokers for 24 years
packaging. In 2014 he became CFO of
O’Kelly and Paul Hogan to the Zeus
where he was Co-Head of Investment
Nelipak Healthcare Packaging
Board. Their combined strengths in
Banking, having previously been
Corporation, overseeing North American
strategic governance, corporate finance
Managing Director of Goodbody
finance across multi site healthcare
and the packaging sector will be
Corporate Finance. He is currently
operations in a private equity backed
instrumental as we scale our business,
Chairman of private equity firm
environment. In 2020, he was appointed
execute on M&A opportunities and
Bellingham Capital. Paul Hogan is a
CFO of Brook & Whittle Holdings. Brian
continue to build sustainable value for our
seasoned finance executive and board
O’Sullivan, Zeus Founder and Owner, said:
customers and shareholders.”
Brian O’Sullivan
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11 INVESTMENT
Laminating Technologies. The Soyang team installed the machine at Xtreme’s Dublin facility in late summer. “Our rapid growth in fabric printing created a new challenge – manual cutting
CUTTING-EDGE
SOLUTION Xtreme Signs & Graphics is the first Irish print firm to invest in a Veloblade Nexus 3032
Roisin Hennessy, Co-Owner, Xtreme Signs & Graphics
It made perfect sense as the next step in our growth process to keep up with increasing demand for large-format print
couldn’t keep up with demand. To streamline workflow and boost productivity, we decided to automate the cutting process. After reviewing multiple options, we partnered with Soyang and Vivid and selected the Veloblade Nexus as our next cutting solution investment. “It made perfect sense as the next step in our growth process to keep up with
XTREME Signs & Graphics has
increasing demand for large-format
become the first company in Ireland to
end of the summer, which was perfect
purchase a Veloblade Nexus 3032,
timing for us, coming into the busy
taking delivery of the machine from
exhibition season,” said Roisin
Soyang Hardware to expand its
Hennessy, co-owner of Xtreme Signs &
in-house cutting capabilities. The
Graphics.
Veloblade Nexus 3032 is a large-format
While the new machine has only been
digital die cutting machine developed
in place for a few months, Roisin and
by Vivid Laminating Technologies.
the Xtreme team say they have already
With a cutting area of 3,000 x
seen an improvement in production,
3,200mm, the machine allows users to
with the Veloblade Nexus 3032 having
work with stocks up to 25mm thick,
been put to work across a variety of
including materials such as Dibond,
applications. “We’re already seeing the
MDF and acrylic, alongside numerous
results we hoped for,” Roisin said. “The
fabrics.
changes have not only increased our
Offering a top cutting speed of
fabric production but have also helped
1,500mm/s, the device includes other
our team work more smoothly,
features such as automatic cut depth
confidently and investigate many more
setting and an automatic tool changer,
possibilities. It feels great to see our
both of which increase the overall
ideas turning into real progress.
operating speed and make the
Working with Soyang and Vivid has
operator’s job much easier.
been fantastic. Their support has been
Xtreme purchased the new device from
exceptional and we’re eager to continue
Soyang Hardware, an approved
building on our success together in the
distribution partner of Vivid
future.”
print. Our machine was installed at the
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Collaborations with creatives offer fresh perspectives on the National Print Museum’s historic collection and reveal the power it has to connect with people in meaningful ways today
N A T I O N A L PRINT MUSEUM
The Power of
HOPE Graphic artist Anthony Burrill collaborated with The National Print Museum to create a new letterpress print during Irish Design Week Back in 2015, for Irish Year of Design, the National Print Museum featured a powerful work called ‘Oil and Water Do Not Mix’ by Anthony Burrill. An internationally acclaimed graphic artist, Burrill is known for his ability to distill ideas into simple yet striking forms. He frequently collaborates with practitioners across music, architecture, curation and education, extending the possibilities of his chosen medium – letterpress printing – into new and ambitious directions. Ten years after featuring his work, the Museum’s CEO Carla Marrinan Funder seized the opportunity to invite Burrill to collaborate with the Museum for Irish Design Week. In response to the invite, Burril asked “How soon can I get there?!”
He frequently collaborates with practitioners across music, architecture, curation and education, extending the possibilities of his chosen medium
The following month, Burrill visited the Museum to explore its working collection and collaborate with the Museum’s printers to create a new letterpress print. He worked with graphic artist Mary Plunkett on the composition, using large wooden type from the Museum’s collection. He worked with the Museum’s printers Freddie Snowe and John King on the historic Wharfedale Stop Cylinder Press, the type of press used to print the 1916 Proclamation. The resulting artwork, titled HOPE, will be exhibited onsite and made available for sale in both limited and later as an open edition.
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them, I instinctively picked up the H, O, P and E. They fit together so naturally that the design seemed to form itself. In that moment, the idea came together “Collaborations with creatives offer fresh perspectives on the National Print Museum’s historic collection and reveal the power it has to connect with people in meaningful ways today. Recent collaborations have included projects with Irish artist Maser, writer Roddy Doyle and musician and poet Imelda May, and working with Anthony Burrill has been on our wish list for quite some time. This project demonstrates the enduring power of the printed word and reflects the Museum’s vision of a future in which the beauty and impact of printing continue to transform and enrich our world,” said Carla Marrinan Funder.
About the Print
beautifully. I love how the individual letters lock into
Seeing a new print come off the press is always a thrill, but the 80-line type on the Wharfedale was something else!
place – their serifs almost touching – to create a layout that feels both harmonious and slightly abstract. We need to be reminded of the positive power of hope as the world goes through difficult times and this print aims to capture that enduring spirit,” said Anthony Burrill. Speaking about the sheer scale of the print, Plunkett said: “Seeing a new print come off the press is always a thrill, but the 80-line type on the Wharfedale was something else!” The work is printed letterpress on a 200gsm recycled Shiro Echo paper (20 x 30 inches) in a limited edition of 100 signed, numbered and hand embellished by the
“The ‘HOPE’ print was created in direct response to the
artist. An unsigned open edition is anticipated to follow,
collection of wooden letter type at the National Print
printed on a 120gsm Shiro Echo paper.
Museum. During her research for this project, Mary
To mark the launch, Anthony Burrill returned to the
Plunkett uncovered a large 80-line type from the dusty
Museum during Irish Design Week for a Q&A-style
recesses of the Museum’s collection. “As soon as I saw
talk. For the opening night, Dublin-based print firm
the letters, I knew we had to use them to make a print.
Doggett Group very kindly enlarged the prints for
When we began taking out the letters and arranging
display all over the Museum.
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2026
CALL FOR
ENTRIES The Irish Print Awards aim to recognise the country’s best companies in the print and press sector, with over 400 professionals from across the print industry celebrating the best in their industry.
10TH APRIL 2026
VISIT
DATE
www.irishprinter.ie/ awards for more information #PRINTAWARDS26
@PrintAwards
Clontarf Castle Hotel Clontarf, Dublin 3
@IrishPrinterMagazine
For All Enquiries Contact: Jill Thornton, Event Manager Email: jill.thornton@ashvillemediagroup.com Phone: 01 640 1700
@IrishPrinterMagazine
Sponsorship Enquiries Contact: Trish Murphy, Sponsorship & Sales Director Email: trish.murphy@ashvillemediagroup.com Phone: 086 8379246
Irish Printing Federation
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15 O P I N I O N
THE
FUTURE OF PRINT Andy Clarke gives his take on the trends he sees shaping the future of the print industry
LABEL and package printing is defined by innovation and dynamism. This is realised
supporting the industry is best exemplified by our reputation as the world’s largest supplier of tesa plate mounting tapes. For printers diversifying into new markets and using technology to print a variety of packaging types, plate mounting tapes increase in importance. Tapes have a pronounced impact on print quality, with hardness, thickness and adhesives all needing to be considered, alongside the substrate being printed on, whether it’s a label paper, a flexible film or cartonboard. In turn, this impacts print
through investment in the latest and greatest
machinery output and business throughput,
quality, waste generated and production
machinery which is used to convert reels and
resulting in an improvement in performance
optimisation.
sheets into high-value products; the adoption
and an increase in revenue generating
With our in-house expertise, slitting
of future-forward processes and business
potential, as well as cutting excess waste out
capability and express shipping service, we
models, in line with the constantly evolving
of supply chains. This is an important step in
are able to guide and advise printers on the
consumer and regulatory landscape; and
the packaging industry’s sustainability
right tape for the press and/or application,
efforts to engage and attract the next
journey.
then have it with them the next day so that
generation of employees into the sector. At
Sustainability is mission-critical for any
the same time, specific micro trends of
business and must be viewed holistically. Every
convergence, efficiency and sustainability are
part of the supply chain is now under scrutiny
The obvious benefit of this is increased
impacting the immediate future of the
and needs to show how it is contributing to
machine uptime and enhanced productivity,
industry.
sustainability initiatives and the
but when viewed through the
The convergence trend is a longstanding
transformation of end products into
broader lens of efficiency and
background consideration in packaging, with
recyclable packaging solutions
sustainability, the role of
label printers successfully adding flexible
that feed the circular economy.
equipment,
packaging formats to their offer for many
As the leading supplier of
consumables in helping
years, such as shrink sleeves and pouches. Just
equipment, parts and consumables
packaging printers deliver on
as sheet-fed printers have been turning their
to label and packaging printers, we
their sustainability and ESG
hand to any number of jobs that see sheets
are acutely aware of our role in the
goals must not be overlooked.
converted into POS and POP displays,
ecosystem
corrugated trays and folding cartons.
responsibilities very seriously.
and
take
they can continue producing high-quality work without delay.
parts
and
our Andy Clarke is European
Convergence was accelerated by the
Whilst we offer a comprehensive
Operations Director at Mark
Covid-19 global health crisis and facilitated by
portfolio of solutions that help
Andy Print Products (MAPP)
advances in technology that allow handling
printers manage the micro trends
of a wider range of materials and production
shaping their future, from plate
of a broader scope of work. This ties into the
mounting and curing to die-cutting
need for greater efficiency to improve
and anilox roll cleaning, our role in
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COVER STORY
INK in his veins JOHN PURCELL on a lifetime in print
IRISH PRINTER ISSUE 6 2025
17
AT
the 2015 Irish Print Awards, John Purcell was honoured w it h
t he
L i fe t i me
Achievement award. It was a much-deserved accolade for a man that has spent over 50 years in the print industry, honing his craft and providing guidance and mentorship to the generation of printers coming behind him. In a career spanning five decades that saw the decline of letterpress and the advent of litho, John has witnessed transformative changes in the sector. It all started in 1964 when John took up a print apprenticeship at The Sign of the Three Candles print firm, just off Aston Quay in Dublin. He had just finished his Inter Cert and his father, also named John, had arranged an interview for him at the print firm where he worked. “My father, who
I had two choices – I could take the apprenticeship where my dad worked or I could go with the job at The Sign of the Three Candles
was also a printer, had set up an interview at Wood Printing Works on Wolfe Tone Street. I went for
to Wood Printcraft, they had bought some litho
the interview and two days later, I got the job. In
machines so I retrained and became a litho printer.”
the meantime I had registered with the union,
Although he was the youngest in a team of about
which was something you had to do in those days.
12, John was promoted to Print Manager. It was
I was given a list of apprenticeships and decided to
around this time that Wood Printcraft expanded
apply to The Sign of the Three Candles separately.
into the computer manual market. To facilitate the
When I was offered that job as well, I had two
extra workload, a new facility opened, called
choices – take the apprenticeship where my dad
Printcraft Computer Print. “I was asked to take on
worked or go with the job at The Sign of the Three
the General Manager role at the new facility and
Candles.” John opted for the latter. “I was only 15
ended up working there for about 20 years. I then
and at the time, I thought if I went working with
became a director and shareholder of the company
my dad, there would be a perception that he got
and was there for 35 years altogether. It was an
me the job. It probably turned out to be the right
unbelievable experience – I learned a huge amount.
decision in the end and so on the 4th of August,
I thought I’d be there to the end of my days, but
1964, I started my apprenticeship.” When he
then I got a call from Colorman.”
finished, he once again applied for a role at Wood
John knew Derek Geelon, the manager at
Printing Works and again, got the job. “This time,
Colorman. Derek had held the manager role at
I got it on my own. I was on a bigger machine and
Wood Printcraft before moving to Colorman. Now,
earning more money.” In 1972, a fire razed the print
John was taking up Derek’s manager role at
firm to the ground. A merger with Printcraft meant
Colorman. “How often does something like that
a move to Coolock and a name change to Wood
happen? I took the job and worked at Colorman for
Printcraft.
12 years until I retired. I’ve only had three jobs
John learned his craft at the print firm. “I was a
throughout my career – I spent six years in The
letterpress printer for about 10 years. I’m probably
Three Candles, 35 years at Wood Printcraft and 11
one of the very few letterpress printers left that
years at Colorman. They were eventful years –
would have printed four-colour process from copper
I saw huge changes in the trade from the time I went
plates, which was a real art in itself. When I went
into it as a young printer, to when I retired in 2015.
ISSUE 6 2025 IRISH PRINTER
18 In those years, I witnessed lithographic printing absolutely wiping out letterpress printing and later, digital printing had the same effect on litho.” But change must take place and industries must evolve. “They absolutely must. A good example of the change I experienced was at Wood Printcraft. We used to print a book every year called the Shannon Mail Order Catalogue. It was an A5 48page catalogue for the American market and had a run of a quarter of a million. We printed it on letterpress on copper plates, on Heidelberg letterpress machines. Believe it or not, we used to start the job on the 1st of April every year. Delivery was for the following February, 10 months later. It took three letterpress machines and nine months to print it, one colour at a time.” A huge amount of machinery and staff went into producing the
people, you need to be cool, calm and collected.
catalogue, says John. “Then, the company decided
Your management skills have to be good and you
to buy a Honcho colour web press. That same job
must be observant. I learned all that in refereeing
was produced in just four days. That’s probably the
and brought those skills into my print career. I
best example of the change I saw when we moved
don’t think I would have done as well in either
from letterpress to litho.”
without the other.”
The fading out of copper plate heralded the
Two years after being recognised at the Irish
decline of the printing craft, he says. “It was a
Print Awards in 2015, John was awarded the
wonderful skill and I absolutely loved it. Litho was
Lifetime Achievement Award from his referee
a different ballgame, but it also required a high
colleagues in the League of Ireland and FAI. “I
level of skill. When I worked on that big colour web,
don’t think there are many people with two Lifetime
I was running it at 35,000 units per hour, both sides
Achievement Awards in two different areas!” John
together. You had to be quick and clever, otherwise
has two stand-out moments from his days on the
you were losing money. I got the buzz from the
pitch – one was refereeing a World Cup match in
craft of letterpress and then when I moved to litho,
Saarbrücken in Germany between Portugal and
the buzz was all about how quick I could be.”
Luxembourg in 1989. “It was in the Italia 90
John’s success in print was matched by his second
qualifying group and it was the last game in the
career off the production floor – his role as an
group. That was definitely a highlight of my
international football referee with FIFA and UEFA.
international career. In my domestic career, a match
As a side job, it’s an impressive one. “I refereed in
I’ll always remember was when I refereed the FAI
the World Cup and did big matches for over 20
Cup Final in the Aviva Stadium in 1991 between
years. I was also about 17 years with the League of
Galway United and Shamrock Rovers, with Galway
Ireland. I got to travel the world and the more I
Utd winning 1-0.”
progressed as a referee, the more my career in print
On the print side, John says he enjoyed moving
advanced. I think each fed off the other – the more
from one print form to the next. “I loved the
confidence I got from refereeing something like a
transition and the retraining to become as proficient
big Champions League match, the more confidence
as possible. Being made a director and part owner
I got at work. When you’re walking out with the
at Wood Printcraft was another highlight. You get
ball under your arm, in a stadium filled with 50,000
what you put into a career and I worked hard.
IRISH PRINTER ISSUE 6 2025
Copper plate was a wonderful skill and I absolutely loved it. Litho was a different ballgame, but it also required a high level of skill
19 You get what you put into a career and I worked hard. I was able to buy a house at just 21 years of age, something that’s virtually unheard of today. My father always said to me, you get nothing for nothing. Whatever you get out, that’s what you put in
didn’t take it on board and it was to their detriment.” For any aspiring print firms looking to expand, the label sector is a good option, says John. “Every I was able to buy a house at just 21 years of age,
single commodity has a label. It’s a huge segment
something that’s virtually unheard of today. My
and it’s expanding all the time. I would say it’s a
father always said that to me, you get nothing for
sure winner. Cartons also offer print firms an
nothing. Whatever you get out, that’s what you put
excellent revenue stream, although it’s a costly
in.”
market to break into.”
The biggest lesson he learned throughout his
Although he’s happy to be retired, John misses
career was around the importance of moving with
the print world. The legacy lives on in his son, also
the times. “I think a lot of print firm owners failed
called John, who’s following in his father’s footsteps.
to adapt. They were stuck in a kind of time warp
“He’s in Anglo Printers in Drogheda and he loves
and many went by the wayside. When litho overtook
it. He’s the fourth John Purcell to work in the
letterpress, a lot of print firms didn’t see it coming,
industry. I think printing is in our veins.”
ISSUE 6 2025 IRISH PRINTER
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21
21
Diarmuid Dawson, Irish Printing Federation President and MD at Innovation Print Solutions, talks about the future of the industry and why print firms should engage with the Print Media Technician Programme
I N T E R V I E W
“ Print is such a buoyant industry” How is business at Innovation Print Solutions? The business changed somewhat in 2025. One of our main segments dropped away slightly, but we’re pulling in new business across other areas. Like other print firms, we’re evolving to ensure we stay profitable and competitive. We do a lot of security print and our work is about adding value to the paper, like for example barcodes and holograms, alongside names and addresses. So in that way, we’re differentiating ourselves.
Is the Print Media Technician Programme living up to expectations? Absolutely. We launched the course two years ago and so far, 17 students have completed it and got their certification. Each year interest is growing and we’re taking on more and more students. We’re doing it in conjunction with the training arm of the British Printing Federation, but we’ve customised it to our
We do a lot of security print and our work is about adding value to the paper, like for example barcodes and holograms, alongside names and addresses. So in that way, we’re differentiating ourselves
own requirements. Our main trainer, Adam, told me he couldn’t get over the enthusiasm of the class that just qualified. One guy
recruit young people into the industry; there’s a
even dialled in from his holidays in Spain – the interest and the
lot of people exiting through retirement.
commitment has been great. So it’s being well received by the
Printers will often say how difficult it is to find
industry and they’re engaging with it, but we need that interest
staff that are trained to a high level. Thankfully,
to increase. I think more print firms would engage with the
the Design Print & Packaging Skillnet is
course if we had an official apprenticeship body. It’s so hard to
fulfilling that role as much as it can.
ISSUE 6 2025 IRISH PRINTER
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22 Print Media Technician Programme graduate Ciaran Brady Print Media Technician Programme graduate William Ward
Graduates from the Diploma in Packaging Technology
DPP Skillnet has a reason to celebrate in 2026 I always knew the skill and innovation were there, but I don’t think I actually realised the level of intricacy that Irish printers are capable of
Print Media Technician Programme graduate Danny Rowe
Yes, they’re celebrating their 20th year in operation. The late
commented that the print industry is on its
Lorcán Ó hÓbáin was the first Network Manager while myself,
knees. That perception that print is dead still
Joe O’Callaghan and Diarmuid Everard were on the steering
persists, but it’s just not the case. I asked the
committee from the start. We’ve had great success with the
person who made the comment to take a look
Skillnet and it’s really given the print industry a boost. The
around the room we were in – everything was
Diploma in Packaging is still attracting a lot of interest, while
printed, whether it was the walls, the glass, the
the Masters programme is scheduled to continue in 2026. As I
brochures, everything. I even took my 3D printed
mentioned, the Print Media Technician Programme is also
glasses off to show him! Printing has changed,
capturing the attention of the industry, but we think there’s
it’s constantly evolving and adapting and will
scope for it to grow.
continue to do so. Commercial print has definitely suffered and some of those printers
Who is taking up the course? Quite a few younger people, but also people who have been working in the industry for a few years and want to progress their
have sadly closed their doors. But others have reinvented themselves and are thriving.
– this course isn’t just for young people. We’ve had older
It’s an industry defined by innovation isn’t it?
participants in middle management take it up who’ll then maybe
It is. As a judge for the Irish Print Awards, the
move up to the Masters. So really, it’s for anyone interested in
quality of entries was really eye-opening. I
pursuing a career in print. There are so many opportunities in
always knew the skill and innovation were there,
this industry; people that aren’t part of it often don’t seem to be
but I don’t think I actually realised the level of
aware of that fact. I was at a conference recently where someone
intricacy that Irish printers are capable of.
career. I think that’s something that maybe people don’t realise
IRISH PRINTER ISSUE 6 2025
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23 Print Media Technician Programme graduate Stephen Crawley
Diarmuid Dawson, IPF President; Chantelle Lamont, Skillnet Ireland; Mary McCabe, DPP Skillnet; Joe O’Callaghan, DPP Skillnet; Fergus Flanagan, Fineprint
Print Media Technician Programme graduates Carl Porritt and Craig Casey
Print Media Technician Programme graduate Goran Brajkovic
Alison Malone Print Media Technician Programme graduate Alison Malone Print Media Technician Programme graduate Ciara Moore
What are some of the other challenges facing print firms at the moment?
What’s the main message you’d like to get across to print firms? If you can engage with the pathway, then do.
Postage is still very high, as is the cost of materials. Labour costs
Also, try and become a member of the Irish
have also gone up. There’s a lot of greenwashing going on, which
Printing Federation. It’s not huge money and
is having a negative impact on the industry. No-one talks about
the subsidised training is well worth it. We need
all the data centres being built that run on unsustainable power
to get the message out there that this is a
and are so bad for the environment. Everything we use in the
buoyant industry and one where career
print industry is now sustainable – when paper mills knock a tree,
progression is encouraged. It’s such a great
they plant three more, materials are recyclable and the inks we
option for young people – we need to work
use are sustainable. We need to shout about that a bit more.
harder at getting the message out there.
ISSUE 6 2025 IRISH PRINTER
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24
24
C A R E E R S
WHERE IT ALL At just 12 years of age, Killian Kierans learned that every detail matters on the production floor
STARTED MY FIRST JOB in print was on the production floor
was playing commentary from the World Cup and every
in Anglo Printers in 2010. I was on summer break from
few minutes, the lads on the machine would shout for
school and my Mam didn’t want me or my brother
David Villa to score so their bet would land.
hanging around the house! I was just looking to earn
Those summer weeks gave me more than a paycheck.
a bit of money and had no idea how much that experience
They gave me an appreciation for the craft behind every
would shape my career. The production floor seemed
finished product. I saw how folding and stitching weren’t
chaotic to me – all kinds of machines humming and
just mechanical steps – they were the final touches that
stacks of paper everywhere waiting to become
turned print into product. I remember the attention to
something more.
detail from the operators on the stitching lines, as this
My role was assistant print finisher, which meant
was the last process for a lot of the work we did and
spending my time doing what I was told, whether that
no-one wanted to make a mess of the hard work that
be on the end of folding machines, feeding hoppers on
had come before! That experience shaped how I see
a stitching line, banding, shrink wrapping or just
our industry today. In my current role as a sales
sweeping the floors. The
manager, I’m extremely grateful for my time on the
MBO folding machine was
floor which provided me with the knowledge of our
my first real test. It didn’t
product range.
care that I was new – it spat
Looking back, I feel lucky. Lucky to have started around
out folded sections at a pace
people who were patient and supportive. Lucky to have
that felt impossible for my 12-year-old hands to keep
learned that in print, every detail matters, from the
up with. At first I was scrambling, trying to stack
first sheet off the press to the last racecard packed for
sections neatly without causing a jam that would result
delivery.
Looking back, I feel lucky. Lucky to have started around people who were patient and supportive
in a frustrated shake of the operator’s head. One memory that will never leave me is the night we had
Killian Kierans is Account Manager at
two racecards to finish for delivery the next morning.
Anglo Printers Ltd
The clock was ticking and the pressure was on. The radio
IRISH PRINTER ISSUE 6 2025
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17/12/2025 14:49
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