I S S U E 4 2 0 2 6 | | 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
Performance without Compromise CANON COLORADO XL – A 3.4M HYBRID PRODUCTION PRINTER
30
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BOLD YEARS
THE NATIONAL PRINT MUSEUM celebrates its 30th anniversary with THE BIG TYPE FESTIVAL
THE REAL DEAL
iSupply is the first Irish print and signage firm to achieve B Corp certification
FINE PRINT DAVID McGINN at Black Church Print Studio on the art of printmaking
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1 ISSUE 4 2026 04
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News A look at what’s happening in the print industry
National Print Museum The National Print Museum is celebrating its 30th anniversary with The BIG Type Festival
14 Sustainability
14 12
iSupply’s Louis Donnellan and Dylan Kelly McDonagh chat about being the first Irish print and signage firm to achieve B Corp certification
Cover Story Canon has extended its UVgel innovation into the 3.2m category with the new Colorado XL Series
18 Interview David McGinn at Black Church Print Studio on building a community of fine art printmakers
24 Careers Louise Quinlan at Esmark Finch on where it all started
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ED’S LETTER Editor: Denise Maguire Email: editor@irishprinter.ie Creative Director: Jane Matthews Designer: Lenny Rooney Production: Nicole Ennis Contact:
Welcome to issue 4 of Irish Printer for 2026.
Irish Printer,
The Colorado XL series from Canon has been designed for ambitious PSPs who are after high performance without compromise. Featuring an extended width and Canon’s UVgel technology, it enables print firms to produce work normally reserved for more specialised or higher cost production methods. It’s ideal for expansive retail backdrops, seamless wall coverings and visually striking graphics. For more on how the Colorado XL can enhance productivity and improve output quality, go to page 10. Elsewhere in this issue, we catch up with Louis Donnellan and Dylan Kelly McDonagh at iSupply to find out how they achieved B Corp certification. The standard will, says Dylan, allow the firm to attract more corporate clients and demonstrates what responsible manufacturing on a wider scale can look like. The whole process took about a year and while it proved onerous at times it was, says Dylan, well worth it. Turn to page 14 for more. On page 18, David McGinn at Black Church Print Studio chats about the joy of creating a community for fine art printmakers. The not-for-profit print studio in Temple Bar provides a host of traditional printmaking facilities for both studio members and non-members alike. Finally in this issue, we take a look at how the National Print Museum is celebrating 30 years in operation. The BIG Type Festival, set to take place in September, will include talks, workshops, demonstrations, music and family-friendly events, reflecting the Museum’s commitment to connecting traditional craft with contemporary culture and creativity.
Unit 55, Park West Road,
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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 2026. All discounts, promotions and competitions contained in this magazine are
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!
run independently of Irish Printer. The promoter/advertiser is responsible for honouring the prize. ISSN 0790-2026
IRISH PRINTER ISSUE 4 2026
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PRODUCTION PRINT
READY TO ROLL
The New AccurioLabel 231 The Perfect Steppingstone to Label Production A high-quality, easy-to-use and cost-effective digital label press ideal for short-to-medium runs and in-house production Reliable Digital Label Production
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Take a look at MJ Flood Production Print
To schedule a live demonstration, please contact Mark Lynam
Mark Lynam T. + 353 1 466 3500 E. info@mjflood.ie W. mjflood.ie
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4
4
U P D A T E S
NEWS Key Features » Delivers exceptional print quality and broad substrate adhesion
SPOTLIGHT ON…
» Reduces or eliminates the need for analogue primers
NAUTILUS
» Fully integrated digital varnish solution for single-pass UV printing, boasting a satin finish » Delivers more than 1,400 highquality 2050 x 1600mm sheets per hour, with every sheet capable of carrying unique content » Combined with Barberan’s alignment conveyor technology, duplex printing can be achieved with registration accuracy of ±0.1mm.
driving the need for flexible, high-productivity print solutions, will benefit from the new Barberan and Fujifilm have unveiled
existing single-pass platforms can
technology. The Nautilus single-pass
a fully digital print solution for the
currently achieve. The system also
platform can deliver more than
Nautilus system, complete with an
boasts a fully integrated digital
1,400 high-quality 2050 x 1600mm
integrated digital varnish capability.
varnish solution for single-pass UV
sheets per hour, with every sheet
The solution encompasses a new
printing, including a satin finish.
capable of carrying unique content.
suite of UV inks that reduce or
The two companies say the
Combined with Barberan’s
eliminate the need for analogue
out-of-home advertising market,
alignment conveyor technology,
primers. They also enable printing
where increasing demand for
duplex printing can be achieved with
onto thinner papers than many
localised and targeted campaigns is
registration accuracy of ±0.1mm.
Consumers prioritising sustainable packaging A report from Pro Carton, the European
surveyed 5,000 consumers across the UK,
become more worried about it over the past 12
association of carton and cartonboard
France, Germany, Italy and Spain, asking for
months, inflation, warfare and climate change
manufacturers, has found that 73% of
their opinions on a range of packaging and
remain significant concerns. Despite this,
consumers choose cartonboard over plastic for
environmental issues. The research shows that
sustainability remains a key consumer priority,
the same product while 82% consider climate
consumers are balancing environmental
with more than half stating it has become more
impact when making a purchase. Titled ‘The
priorities alongside financial pressures. While
important to them over the past year.
Power of Packaging: What makes European
the cost of living remains the biggest concern
To view the report, go to https://www.procarton.
Consumers Trust, Stay or Switch?’ the report
for UK consumers, with 76% saying they have
com/media-section/publications/
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EYE ON DISPLAY
5 We’re really excited to be launching The Guide. It combines our established news service with a comprehensive product directory and business listing to deliver a unique and powerful buying solution Jack Gocher, Founder, Eye on Display
Eye on Display launches The Guide The digital news platform for display printing, Eye on
deliver a unique and powerful buying solution. It joins the
Display, has launched a new marketing resource that
dots between products and applications while having all
brings company information, news and products together
the important information about each business at your
in a single online location. The Guide makes it easy for
fingertips.” The process is designed to be as simple as
buyers to read case studies, browse products and find
possible for suppliers. Eye on Display will build and
contact and social details without having to trawl
manage the listing from scratch. Suppliers only have to
multiple web pages. It also provides suppliers with a
provide a list of the products they would like to include
trusted third-party reference point to share with
and the team does the rest. Businesses can choose from
potential customers. Jack Gocher, Founder of Eye on
two options, with the Standard listing including one
Display, said: “We’re really excited to be launching The
category and up to five products. The Featured option
Guide. It combines our established news service with a
allows unlimited categories and a total of 20 products,
comprehensive product directory and business listing to
with the option to add new products as they are launched.
Recognition for Prima Production Solutions FUJIFILM Europe recently announced the winners of its 2026 European Partner Awards, presented during its third European Partner Conference, held in Vienna. Taking place under the theme “Make More”, the event brought together Fujifilm partners from across Europe to share strategic updates, explore new business opportunities and celebrate the achievements of partners supporting Fujifilm’s continued growth across both Print-on-Demand production print and Device Technology office print. The Super Colour Special Recognition Award went to Prima Production Solutions, set up by ex-Xerox industry veteran Norman McNellis, who set up the company in 2025. Prima is Fujifilm’s first “Ultimate” partner in Ireland in the company’s new Thriive partner programme. “Ultimate” is the highest accreditation awarded by the company and is based on a partner’s potential and ability to scale.
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BALLYPRINT
This game-changing all-in-one finishing system is set to take what we do to the next level, opening up even more possibilities
Razar lands at Ballyprint In 2025, Ballyprint became the first print firm in the world to sign up for the Vivid Razar single pass spot UV digital coater with cut and crease. Described as the “Swiss army knife of finishing”, Razar combines raised spot UV printing, cutting, creasing and taping into a single, automated pass. It’s been designed for B2 sheet and roll-fed media, with a wide thickness range of 10–200 microns. Earlier this summer, the print firm took delivery of the new machine from Vivid Laminating Technologies. “This gamechanging all-in-one finishing system is set to take what we do to the next level, opening up even more possibilities, faster turnaround times and some seriously impressive finishing effects. We’re only getting started, but trust us – you’re going to be seeing a lot more of this machine,” said Ballyprint Director, Aaron Klewchuk.
Company of the Year Smurfit Westrock
SMURFIT WESTROCK
While we have a strong global presence, we are proudly Irish
Top honours for paper and packaging firm Smurfit Westrock was named
Gill-Molony, Director, PR & Media
a strong global presence, we are proudly
Manufacturing Company of the Year at
Relations, Smurfit Westrock, said: “We
Irish, making this recognition especially
the eir business Chambers Ireland
were delighted and honoured to receive
meaningful. We would like to thank the
Awards. The paper and packaging
both the Manufacturing Company of the
judges and organisers for recognising the
solutions provider also took home the
Year award and the overall Company of
strength, innovation and capabilities of
coveted ‘Company of the Year’ Award.
the Year title at the 2026 eir Chambers
Smurfit Westrock. We also extend our
Commenting on the win, Sinéad
Ireland Business Awards. While we have
congratulations to all the other winners.”
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SOYANG EUROPE
Dave Murphy joins Soyang Europe Soyang Europe has announced the appointment of Dave Murphy as Sales Manager for Ireland. Dave brings more than 20 years of experience in the print industry to Soyang Europe. As Sales Manager for Ireland, he will work closely with customers across the country, helping them identify the right solutions for their businesses while also developing new commercial opportunities. His extensive market knowledge and customer-focused approach will further enhance Soyang Europe’s support for the Irish
Pictured (l to r): Damien Martin, Sales Manager, Soyang Europe; Dave Murphy, Sales Manager for Ireland, Soyang Europe
print industry as the company continues to grow its presence in the region. Dave’s appointment follows the opening of Soyang Europe’s Dublin facility in February 2025.
Dave brings more than 20 years of experience in the print industry to Soyang Europe
When AI combines with DTF technology At Google Cloud AI Live Milano 2026, participants were invited to create Gemini AI-generated visuals and see them transformed into custom T-shirts produced on demand, using a Mimaki TxF300-75 DTF printer. Mimaki says these printed t-shirts are a demonstration of how AI-driven creativity and professional digital print can work together to deliver immediate, personalised and high-quality experiences. Each design started as a digital concept generated through AI, then Mimaki’s DTF technology enabled that concept to be transferred onto a T-shirt, creating a personalised garment in real time. The Mimaki TxF300-75 is part of the TxF Series developed for professional direct-to-film production. The TxF Series enables high-quality decoration on a wide range of materials including cotton, polyester, blended fabrics and performance fabric using a heat press, making it a strong solution for t-shirt printing as well as event merchandising, promotional products, fashion, sportswear and branded items.
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N A T I O N A L PRINT MUSEUM
30 The National Print Museum is celebrating its 30th anniversary with The BIG Type Festival
BOLD YEARS
The BIG Type Festival is a celebration of everything the National Print Museum has achieved over the past 30 years
Taking place from the 4-6 September, The BIG Type Festival will bring together artists, designers, writers and printmakers from Ireland and abroad to celebrate the enduring influence of print culture. A prog r a m me
of
ta l ks,
workshops,
demonstrations, music and family-friendly events will, says CEO Carla Marrinan Funder, reflect the Museum’s commitment to connecting
traditiona l
cra f t
w ith
contemporary culture and creativity.
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9 National Inventory of Intangible Cultural Heritage. This year, through the Heritage Council’s Organisation Support Scheme, the Museum has been in a position to appoint a parttime Letterpress Learning Officer and Technician. This is the first role of its kind in an Irish museum and aims to strengthen the Museum’s capacity to continue the practice and transmission of letterpress printing.
Print continues to shape how we communicate, create and tell stories, and this festival reflects the breadth, creativity and enduring relevance of print culture today
Speaking about the festival, Carla said:
Mary Plunkett took up the role earlier this
“The BIG Type Festival is a celebration of
summer. Plunkett is a graphic artist and
everything the National Print Museum has
printer who specialises in letterpress. Her
achieved over the past 30 years, but it’s
role combines hands-on printing, creative
equally about looking to the future. Print
design, education, working with visiting
continues to shape how we communicate,
artists and facilitating skills transfer
create and tell stories, and this festival
programming. She said: “I’m delighted to
reflects the breadth, creativity and enduring
take on this role and look forward to working
relevance of print culture today.”
with other printers, designers, artists and
The festival is supported by the
my colleagues in the National Print Museum
Department of Culture, Communication and
to promote and support the practice of
Sport’s After Hours at the Museum Scheme,
letterpress printing in Ireland.”
the Aviva Stadium Community Fund and the Design and Crafts Council of Ireland.
Safeguarding Ireland’s printing heritage
For Heritage Week, Plunkett hosted a special event with designer Niall McCormack, who designed a response print to the current exhibition ‘Come Fly With Me, Aviation, tours and Irish design’. McCormack discussed
In 2019, the National Print Museum successfully
the concept behind the design while Plunkett
applied to have letterpress included in the
printed the new work.
FESTIVAL HIGHLIGHTS » An in-conversation event featuring artists Anthony Burrill and Maser, exploring typography, design and the power of print » A half-day letterpress workshop with Anthony Burrill and designer and printmaker Mary Plunkett » A conversation with writer Djamel White on his debut novel All Them Dogs, exploring its portrayal of contemporary Dublin, the craft of fiction and what it means to be longlisted for the 2026 Booker Prize
» A talk by author and designer Annie Atkins on the art of creating paper props for film, drawing on her experience working on films directed by Wes Anderson, Steven Spielberg and others » A talk by illustrator, designer and author Chris Haughton on the evolution of knowledge, communication and information » A free Community Day, featuring live printing demonstrations, letterpress, bookbinding, calligraphy, papermaking and hands-on activities for all ages.
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10 C S
O T
V O
E R
R Y
PERFORMANCE Canon has extended its UVgel innovation into the 3.2m category with the new Colorado XL Series – the ideal choice for modern, ambitious PSPs
As Print Service Providers (PSPs) face increasing pressure to deliver faster turnaround times, broaden their creative output and meet rising sustainability expectations, the technologies they rely on must evolve accordingly. Canon’s UVgel platform has long been recognised for transforming the roll-to-roll market and with the introduction of the Colorado
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without
COMPROMISE
XL series, that innovation now enters the 3.2 metre production
The Colorado XL is designed for modern, ambitious PSPs
space. Though the market refers to this category as 3.2 metres,
who require high performance without compromise. By
Canon’s XL device extends to 3.4 metres, offering greater
combining UVgel’s unique ink properties with Canon’s
flexibility and enabling operators to run two 1.6 metre rolls
renowned engineering and application versatility, the XL
simultaneously; an advantage that significantly enhances
series stands as a logical and powerful extension of the
productivity.
successful Colorado lineage.
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The Technology that Redefines 3.2m Production At the core of the XL series is Canon’s patented U Vgel ink technolog y, engineered to deliver precise droplet control and stunning output quality at high production speeds. The distinctive behaviour of UVgel – gel in the bottle, liquid in the printhead and instantly gelled dot placement and rich colour density.
Colorado XL: Built for Scale, Flexibility and Creative Freedom
This same characteristic is what enables
The Colorado XL series brings these technological advantages
FLXfinish+, Canon’s gloss-matte dual
into an expanded width, enabling PSPs to address larger, more
finish capability that allows PSPs to
immersive graphic applications. Its hybrid design allows printers
produce glossy, matte or mixed finishes
to transition effortlessly between rigid sheets and flexible roll
within a single print job, without varnish
media. This means that everything from Point of Sale (POS)
or additional processing steps.
displays and décor boards to short run packaging components
Complementing the ink technology is
can be produced using the same device, allowing businesses to
FullBeam LED curing, Canon’s high
diversify their offering without additional hardware investment.
efficiency curing system designed to
For those operating continuous roll-to-roll environments, the
support uninterrupted, high-speed
XL series provides the reliability and uptime required for long
production. By separating printing and
production cycles. It is engineered to support sustained output
curing into optimised stages, FullBeam
in settings where efficiency is critical, ensuring that PSPs can
ensures a uniform, energy efficient cure
run extended jobs with confidence and minimal intervention.
while maintaining consistent colour and
Canon’s modular approach to the XL platform also allows
surface quality. This controlled approach
businesses to adapt the device as their needs evolve. The ability
to curing reduces heat exposure and
to add white ink, for example, opens up broader creative potential
energ y consumption, supporting
that supports high-value applications such as window graphics,
environmentally conscious production
coloured media, backlit signage and layered effects that require
workflows.
opacity and visual depth. This flexibility ensures that the XL
UVgel prints also form a durable and
series is not simply a printer for today’s requirements, but a
flexible film that can withstand scratches,
platform that can support tomorrow’s ambitions.
on the media, ensures exceptionally sharp
water and UV exposure. This inherent resilience makes Colorado XL suitable for short run and on demand production. In many cases, the robustness of UVgel technology removes the need for lamination altogether, helping streamline production and lower operational costs.
It is engineered to support sustained output in settings where efficiency is critical, ensuring that PSPs can run extended jobs with confidence and minimal intervention
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The ability to achieve high output quality at production speeds helps businesses meet tight deadlines without compromising consistency
Why Colorado XL Matters in Today’s Market
13
In a print landscape where differentiation increasingly hinges on speed, sustainability and creative capability, the Colorado
Expanding the Possibilities in Large Format Production With its extended width and UVgel technology, the Colorado XL series positions PSPs to capture work traditionally reserved for more specialised or higher cost production methods. Print providers can now deliver expansive retail backdrops, produce seamless wall coverings and create visually striking graphics with remarkable stability and colour uniformity.
XL series gives PSPs a clear competitive edge. The ability to achieve high output quality at production speeds helps businesses meet tight deadlines without compromising consistency. Its hybrid flexibility ensures that PSPs can cater to both rigid and flexible applications, while UVgel’s efficiency reduces ink consumption, heat requirements and energy usage – creating a more sustainable and cost effective production environment. The Colorado XL offers businesses a dependable and scalable platform on which to build long term value. Through a combination of advanced ink technology, flexible architecture and the engineering reliability Canon is known for, the XL series enables PSPs to deliver more, innovate more and compete more effectively in a dynamic, opportunity rich market.
To learn more, get in touch with the Canon Ireland team at marketing.ireland@canon.ie ISSUE 4 2026 IRISH PRINTER
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SUSTAINABILITY
We’re proud to be the first Irish print and signage firm to obtain B Corp certification and pave the way for others to follow
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iSupply’s LOUIS DONNELLAN and DYLAN KELLY MCDONAGH on how it feels to be the first Irish print and signage firm to achieve B Corp certification
THEREAL
Earlier this year, the team at Galway-
based print and signage firm iSupply paid a visit to the offices of Alan Dillon, the Minister of State at the Department of Climate, Energy and the Environment. The meeting was to mark the print firm achieving B Corp certification, a recognition that’s only awarded to companies that meet high standards of social and
DEAL
emissions had to be measured, energy use was analysed and
environmental performance, transparency and
initiatives to reduce waste were introduced. “It took a good 12
accountability. The achievement was all the more meaningful as iSupply is the first printing and signage company in Ireland to obtain the certification. “We’re unlikely to be the last as there’s a tremendous amount of innovation and ambition across the Irish print sector. By working together we have an opportunity to demonstrate what responsible manufacturing can look like. We’re proud to be the first Irish print firm to obtain the certification and pave the way for others to follow,” said Head of Sustainability at iSupply, Dylan Kelly McDonagh. B Corp certification is widely regarded as one of the most rigorous standards in responsible business. Over 10,500 companies are certified worldwide and at home, it’s a movement that’s increasingly gaining traction amongst businesses eager to impress their sustainability
15
months to get new policies in place and just get everything
We said from the start that even if we didn’t manage to get the certification, just doing the impact assessment would be worthwhile
together. We were very thorough – we had to prove that we could walk the walk as well as talk the talk if there was any chance of achieving it.” Achieving B Corp certification reflects a company’s commitment to sustainable practices, but there’s also a financial benefit to it. On average, businesses that obtain the certification see a 22% rise in revenue. For iSupply, the aim is to increase its corporate client list. “Corporate clients are more conscious of their reporting requirements under CSRD. By achieving the standard, they know we have the credentials that they need to meet their requirements.” Those financial benefits are coming through in other ways too. The print firm has reduced its energy use by 11% on last year. “I think what we’ve learned throughout this process is that there doesn’t need to be a compromise between being sustainable and being profitable. You can do both and actually, one leads to the other.”
credentials upon customers. With companies obliged to meet non-negotiable standards in order to obtain the certification, just how onerous was the process? “Very! We said from the start that even if we didn’t manage to get the certification, just doing the impact assessment would be worthwhile. It’s extremely comprehensive; it forces you to look into all the nooks and crannies of the company and consider every single element of the business. Ensuring our scope 1 and 2 were up to scratch was straightforward, but we also had to take into account everything outside our own operations,” says Dylan. Travel distances for staff and suppliers had to be benchmarked,
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16 Beyond print Business is strong at iSupply. In recent weeks, Galway’s Arts Festival has kept the team busy. “We provided a host of services to the festival, including signage, graphic design, display and print. Historically, we would have been known as a print company but today, we’re so much more. We’ve achieved ISO 14001, B Corp and recently ISO 9001 – we’re only a handful of companies in Ireland to hold these three. These credentials differentiate us as more than just a print company. We’ve become a supplier of choice and we’re making it easier for clients to choose us,” says Managing Director Louis Donnellan. About 55% of iSupply’s revenue is generated through print – that leaves 45% from other sources. “I think that 45% is only going to increase. We’re still busy with print but that work has levelled off. We have diversified to encompass other segments and we’re constantly evolving; we’re not trying to produce more of what we produced 10 years ago.” Louis has been working in the print industry since the 1990s. “I started working in print because I couldn’t get a job! I bought a sign writing machine and began knocking on doors. My father had been made redundant from a print firm in Galway and so we decided to take a chance and opened a print shop on Sea Road in 1993.” Were those early years tough? “They were but hunger and fear of failure are great motivators. We experienced crises and failures but as long as you have belief in yourself and in the business, you can come out the other side.” The business began as a print/copy shop and over the years, the pair developed the business
Having those shared values across the board and working together to achieve something worthwhile would, I think, transform the industry
For Louis, the most enjoyable aspect of his job is when he’s on the factory floor. “It’s when I’m standing beside the Komori and I feel the vibrations go through the concrete floor. If there’s no noise or vibration, I know I’m not busy. That noise is like a signal that ok, we’re doing well.” For Dylan, the level of innovation
into a chain of copy shops. “Covid was the end
within the industry isn’t something he expected. “People always
of retail for us. Since then, we’ve consolidated
laugh when I say this, but we use an ink that’s made from algae
the operation and we’ve changed with the times
residue. The idea that this ink exists, that’s not only lower in
to broaden our offering. Today, I think we’re in
emissions but during its life actually sequesters carbon, is amazing
a great position; we’re in much calmer waters
to me.”
than we have been in the last 35 years. When
If more print firms set their sights on achieving B Corp, the impact
you’re starting out you probably take greater
would be felt right across the industry says Dylan. “Having those
risks but when it’s a more mature business,
shared values and working together to achieve something
you’re more sanguine. We’re still eager to grow,
worthwhile would transform the industry. We put a lot of work
but we don’t have to make risky decisions.”
into it, but we know we’ll reap the rewards over time.”
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PRINT & CUT THE NEW ROLAND TRUEVIS AG-640 BRINGS VIVID, WATER-BASED LATEX PRINTING AND INTEGRATED CUTTING TOGETHER IN ONE 64-INCH MACHINE
Driven by
Until now, latex meant printing on one machine and cutting on another. The TrueVIS AG-640 changes that. Print and contour cut in a single workflow, then apply almost immediately thanks to instant curing, so short-run labels, decals, stickers and signage move off the floor faster. The newly developed TA2 latex inks are water-based and GREENGUARD Gold certified, they’re safe for even the most sensitive indoor spaces, from schools and hospitals to retail interiors, which opens the door to higher-value wallpaper, wall graphics and interior work. Add dense white ink, rich colour and support for a wide range of PVC and non-PVC media, and one machine covers vehicle graphics, window displays, exhibition work and everyday sign production. Vivid colour, clean cuts, lower running costs, and a smaller footprint on your floor.
THE AG-640 WILL BE ONE OF THE MAIN MACHINES AT OUR SHOWROOM OPENING EVENT ON THE 15TH OF OCTOBER If you would like to discuss adding this machine to your workshop before then, please scan the QR code below and fill out the form
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18 I N T E R V I E W
David McGinn, Technical Manager, Black Church Print Studio
FINEPRINT
David McGinn at BLACK CHURCH PRINT STUDIO on the democracy of print and the joy of building a community of fine art printmakers
Can you tell me about Black Church Print Studio?
We’re a not-for-profit, fine art printmaking
studio based in the heart of Temple Bar and we’ve been in operation since 1982. We’re a member-run studio with about 100 key
How do you become a member?
Members generally come from art colleges. They will have
holding artist members who use the specialist
completed a degree in fine art, usually in fine art printmaking.
facilities on a regular basis, along with a good
We also run night classes and weekend workshops on a regular
number of non-members, artists and students
basis throughout the year. A good number of people who have
who also use the studio.
completed workshops will produce a body of work which they will then submit to become a member. That’s a requirement
If we feel like someone will be a good addition and will benefit the studio, we offer them a place
– they must show a degree of competency in the area they want to work in, whether it’s screen printing, stone lithography, copper plate etching, aquatinting etc. If we feel like someone will be a good addition and will benefit the studio, we offer them a place.
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19 We provide all the traditional printmaking techniques. We were lucky enough to design and build our building in the early nineties as part of the Temple Bar Cultural Trust development
Mary O’Connor, Studio Member, preparing a screen for printing
Witness Tree Project, Collaboration with Trinity College Dublin. Black Church Print Studio was commissioned to create a boxset of 21 prints.
Is it tough to secure a place? It is. We try to be as inclusive as possible but
An Gee Chan, They stare at me everyday, 5 plate aquatint and hard ground etching, Edition of 35, 21 x 26 cm
we’ve had to reject people in the past. Most of the time it just means they’re not ready. Sometimes we ask them to complete more
devoted to traditional copper plate and aluminium plate
workshops or they’ll be given what we call
etching, with some photo intaglio printing as well. The third
temporary access, which grants them limited
floor is for screen printing and we also have a photography
daytime access to our facilities while I’m here
darkroom. We were lucky enough to help design our building
so I can see their progress.
in the early nineties as part of the Temple Bar Cultural Trust development. Before that, we had a studio on Cork Street
What facilities are available at the studio? We provide all the traditional printmaking techniques. Our studio is over three floors –
which burnt down in 1988. After we lost our studio, we were approached by the Trust to design and build a dedicated print studio, so that’s what we did.
the first floor is traditional stone lithography
What’s your own background?
and includes a Riso printer, which is a 1980s
I went to art college and studied fine art printmaking in Cork.
mechanical printer that looks like a
Then I moved to Leipzig in Germany which has a very
photocopier, but actually prints single colours
prestigious fine art print college. I studied there for three years
at a time. We also have a large format digital
and then came back to Dublin. Eventually, the position here
printer, an Epson P8000. The second floor is
came up. Up until then, I had been working in other arts organisations. ISSUE 4 2026 IRISH PRINTER
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Witness Tree Project, Collaboration with Trinity College Dublin. Black Church Print Studio was commissioned to create a boxset of 21 prints.
You collaborated with Trinity College on an interesting project We often collaborate with different institutions. With Trinity, we worked with the botany department on a project called ‘The Witness Tree’. This project uses 21 specific trees in the Botanic Gardens in Dartry as living monitors to track pollution levels. Black Church Print Studio artists responded to this with a series of 21 prints, in the format of a limited edition boxset. This work will be exhibited in November as part of Science Week in TCD. We also collaborate with primary schools; last year we worked with Stanhope Primary School in Stoneybatter on a project called ‘The Dangerous School
'The Dangerous School Tour' book project with 4th Class pupils from Stanhope Street School, Stoneybatter. Funded by Dublin City Council
Tour’ where we produced a book made by the kids. We brought them to the zoo and did printmaking workshops where they produced prints based on a story that we helped them create. We produced two books – one hardcover and a graphic edition, almost
All images are courtesy of Black Church Print Studio, 4 Temple Bar, Dublin 2
like a comic book. We’re doing a similar project with Gaelscoil Inse Choir and Kilmainham Gaol later this year.
What do you like about your role? It’s always different. I love printmaking; I’m still a printmaker myself. I like the democracy of print. Generally, we produce an
I enjoy the range of people What does your role entail? A bit of everything! Initially, my role was Print we get Technician and now, it’s Technical Manager, students along but it constantly evolves. I look after the with people in equipment and the facilities, the artist members and the printmakers. Health and their eighties safety is in my remit, along with facilitating and everything the production of work. There’s also a teaching element to the role. I take in students, whether in between
edition of prints, most of which are between 20 to 50. If it’s over
and instruct them on printmaking. We’ve got
a nice format. The next fundraiser is in November and we would
they’re transition year students or third level, a small staff here so we all dig in. Hazel Burke
is the General Manager and her role is an evolving one too.
100, we consider it quite large. I like the fact that you can then sell them at a reduced cost. It makes it more affordable for people who are just getting into the art market. I also enjoy the range of people we get – students along with people in their eighties and everything in between. Some people who come to us have no history of printmaking. Working with those people and seeing what they come up with is interesting and can lead to productive collaborations. Along with our shows and our Culture Night activities, we also hold a fundraising event once a year where members donate a print. We sell 50 tickets for about €200 each. Everyone gets a print, it’s encourage people to support our work by purchasing a ticket. You’re not just supporting the studio; you’re also receiving a fine art print to add to your art collection.
For more information on the fundraiser and to book your ticket, go to https://www.blackchurchprint.ie/become-a-collector/
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O P I N I O N
For an industry built on precision, print and packaging has an uncomfortable secret – the colour you approve may not be the colour I see, writes James Cropper
The problem with
INSIDE colour-critical industries, enormous effort goes into eliminating variation. Spectrophotometers measure tolerances to microscopic degrees. Presses are calibrated. Delta E values determine whether a print run passes or fails. Entire production systems are built on the assumption that colour is fixed, repeatable
There are a couple of ways of measuring colour or your sensitivity to colour. One called the Ishihara test. That determines whether you’re colour-deficient. Then there’s the Farnsworth Munsell 100 Hue test, which measures how well your vision distinguishes hues
and universally understood. And technically, it can. Human perception, however, cannot. Under controlled lighting, with near-identical grey samples laid edge-to-edge across the bench, the disagreement seemed impossible. Everyone in the room was looking at the same colour. Yet they were not seeing the same thing – only subtle shifts in tone, brightness and neutrality that refused to settle into agreement. At James Cropper, that realisation emerged
before any of that, there were the tests. “There
interpretation. Nothing dramatic. Mostly greys.
not through scientific research or consultancy
are a couple of ways of measuring colour or your
Light greys, dark greys and the smallest steps
intervention, but through day-to-day colour-
sensitivity to colour,” he explains. “One called
between them that felt insignificant in isolation
matching conversations within the business
the Ishihara test. That determines whether
but became harder to reconcile when placed
itself. Repeated moments where experienced
you’re colour-deficient. Then there’s the
side by side.
professionals looking at the same sample did
Farnsworth Munsell 100 Hue test, which
“I was seeing a couple of these colours slightly
not agree on what they were seeing.
measures how well your vision distinguishes
different in our interpretation of them,” he says.
hues.”
“But that was fine because we were talking in
Initially, nobody thought much of it. “You just think, well, you’re not quite there with that
Within colour-critical roles, those tests
the same language. Brighter. Darker. Duller.
yet,” recalls Alison Rodwell from the colour
matter. They establish whether someone can
Redder.” The language mattered because
team. “Or maybe it takes time.” That assumption
reliably distinguish tonal shifts and subtle
language allowed adjustment. Even if two people
made sense. Colour matching is learned through
variations. The assumption is reassuring: if the
perceived a colour differently, they could still
repetition and exposure. Experienced operators
tests are passed, colour is being interpreted
navigate towards alignment through shared
trust their eye because they have spent decades
correctly. Except reality proved more
terminology.
refining it, often under identical lighting
complicated.
But then Alison took maternity leave.
conditions, with only the smallest tonal
The breakthrough came gradually. As more
Internally, secondments were opened up across
differences separating agreement from doubt.
customers began visiting James Cropper to
the business, bringing new people into colour-
Mark Starrs had done exactly that. Like many
collaborate on colour development,
matching environments. That was when the
technical specialists in print and paper
conversations about shade became more
pattern became impossible to ignore. “We
manufacturing, he came from a traditionally
nuanced. Increasingly, the participants in
started getting this thing of, ‘I can’t see what
male production environment. He had worked
creative colour-matching sessions were women.
you’re saying, Mark,’” he recalls. “Particularly
alongside colleagues with 40 years of experience.
Not exclusively, but predominantly. Over time,
when we got into dark greys and light greys.”
Colour accuracy was simply part of the job. And
Mark began noticing subtle differences in
At first, he assumed it was experience. “You’ve
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True expertise is not insisting your eye is infallible. It is remaining curious enough to question what you thought certainty looked like in the first place
exposes how often industries mistake consensus for objectivity. Mark remains cautious about overclaiming the scientific basis for what they discovered. There are evolutionary theories suggesting women may perceive subtle red-green shifts differently. But none of that fully explains the Because if highly trained professionals could
only been doing this six months,” he remembers
experience they encountered.
still consistently disagree on colour
The practical implications are fascinating.
interpretation, then what exactly does “correct
How many rejected print runs have actually
colour” mean? That question matters far beyond
been disagreements in perception rather than
paper making. It spans print approvals, luxury
manufacturing failure? How often do creative
packaging, cosmetics, automotive finishes, retail
teams and production teams believe they are
branding and every environment where colour
arguing about accuracy when they are actually
decisions ultimately rely on the human eye.
arguing about perception? In packaging and
Particularly because modern manufacturing
print, these questions are rarely discussed
increasingly seeks to digitise colour fully.
because colour is usually framed as a technical
thinking. But then something happened that
Brands rely on data-driven consistency
rather than a human discipline. But perhaps
challenged the hierarchy of expertise entirely.
across global supply chains. But as Alison points
that is the mistake. Because colour does not
Samples were sent to customers independently.
out, human decision-making rarely operates
exist inside instruments, it exists inside people.
The selections customers consistently preferred
so neatly.
That is why, despite the rise of automation
were not the ones Mark had chosen. “Females
“A lot of the women who come in to take the
and AI-driven production systems, colour still
were picking them,” he says. “And the samples
samples away, they’re not necessarily the only
refuses to become entirely digital. “I think it’s
getting picked were the ones Lauren or Anna
person making that decision,” she says. “There
a combination of electronic and visual,” says
had picked. Not the ones I’m picking.”
could be discussions where they’re talking to a
Mark. “It always has been for me, because colour
male senior who’s saying, ‘No, I think that one,’
is how you perceive it.” That sentence may
and they’re saying, ‘I think that one.’”
ultimately be the most important insight of all.
For many businesses, the story might have stopped there. A curiosity. At James Cropper,
Not because it rejects technology. But because
they decided to investigate. Internally, the team
In other words, the disagreement may already
began retesting everyone using the Farnsworth-
exist across the industry. It just hasn’t been
Munsell Hue Test to ensure there were no formal
openly acknowledged. Mark believes many
The future of colour management will
colour deficiencies. Then they conducted blind
technical environments may never have
undoubtedly become more sophisticated and
comparisons using highly similar grey samples
uncovered it simply because the same kinds of
data-driven. Yet the final judgement may still
against target shades. The outcome was
people historically occupied the same kinds of
depend on something gloriously imperfect: a
startlingly clear. “Out of the four ladies and four
roles. “Any printers I’ve ever been to, it’s always
human being standing under a light source,
lads, the men all picked one side and the ladies
been males who are running the printers
looking carefully, and saying yes or no. True
all picked the other side.” No hesitation. Just two
generally,” Alison adds. “Maybe there’s not that
expertise is not insisting your eye is infallible.
distinct interpretations emerging consistently
crossover of people having a discussion about
It is remaining curious enough to question
from the same visual information. And suddenly,
it.” That observation lands awkwardly because
what you thought certainty looked like in the
an industry assumption began to unravel.
it exposes something bigger than colour. It
first place.
it recognises its limits.
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C A R E E R S
SOME PEOPLE stumble into the print industry. I was practically born into it. My parents founded T.Q. Paper in 1975 so growing up, paper wasn’t just something you wrote on, it was part of everyday life. I was interested in paper textures and finishes. I loved the feel of a beautifully crafted sheet and was fortunate enough to build a career around selling paper products. When the family business closed in 2017, I felt it was time for a completely different chapter. In fact, I had convinced myself I was destined to become an RTÉ newsreader. They just didn’t know it yet. When Esmark Finch Print & Packaging appeared on the horizon, much like a good headline, it grabbed my attention immediately. I knew them as a progressive, ambitious and innovative company. They had a reputation for embracing change, investing in technology and constantly looking ahead. My broadcasting career suddenly looked less certain. One of the joys of working in print and packaging is seeing what happens after the paper leaves the warehouse. Seeing a concept evolve from an idea into something tangible
WHERE IT ALL
STARTED Louise Quinlan on why great businesses aren’t just defined by machines and processes – they’re defined by people My marketing background saw me entrusted
new girl in packaging, so actually winning the
with relaunching Esmark Finch’s social media
award came as a genuine shock.
activity and the support I received to complete
What made it even more special was the
a Diploma in Packaging Technology through
reaction from my colleagues. Esmark is no
the Print & Packaging Skillnet programme in
stranger to winning awards for print excellence
conjunction with TUD, proved invaluable.
and sustainability, but the team celebrated my
However, real earning happens every day
achievement as enthusiastically as any
alongside the exceptional Esmark team.
company accolade. I may or may not have worn
Everyone here has a voice, everyone
a tiara for a week afterwards. In truth, it still
contributes and everyone plays a part in
makes an appearance on particularly good
delivering great results for customers. The
sales days. My office nickname is now “Miss
proudest moment of my career so far was being
Print”.
nominated, entirely without my knowledge,
The print industry has shaped my entire career,
in the ‘Women Leading in Print’ category at
from paper merchanting to packaging
this year’s Irish Print Awards. Despite spending
innovation. Along the way, I’ve learned that
my entire life around print, I still feel like the
great businesses aren’t defined by machines, products or processes alone. They’re
sitting proudly on a retail shelf never gets old.
defined by people and that’s how we
As a Senior Sales & Business Development
thrive or strive. And as for RTÉ? Well,
Executive, no two days are ever the same. One
they’ll just have to wait a little longer.
day I’m helping a start-up develop its first packaging solution ahead of a product launch.
When Esmark Finch Print & Packaging appeared on the horizon, much like a good headline, it grabbed my attention immediately
The next, I’m working with an established brand to reduce packaging materials, improve pack security, elevate designs or find more efficient ways to bring products to market. That’s what I love most about the role. It’s not just about boxes or cartons. It’s about the packaging journey we take with our clients,
Louise Quinlan is Senior Sales & Business
sharing knowledge, consultation and collaboration, embracing problems and finding solutions.
Louise receiving the ‘Women Leading in Print’ award at the 2026 Irish Print Awards
Louise presenting an award at the 1994 Irish Print Awards
Development Executive at Esmark Finch Print & Packaging
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