CERSAIE CELEBRATES TECHNOLOGY AND DESIGN

95FULLY ENDORSED BY THE AUSTRALIAN TILE COUNCIL

T R E N D S | P R O J E C T S P O T L I G H T | I N S T A L L A T I O N | I N D U S T R Y N E W S

CERSAIE CELEBRATES TECHNOLOGY AND DESIGN INDIA AS A

SUPPLY SOURCE

TILE MAKING ENTERS NEW PHASE

TILE TODAY

NIGHTDAY

All tile sheets are shown in 25mm x 25mm.

Ask us about our Safe Steps “C” rating range.

ZEN - DOLERITEMETALLICA - LAVA

LISA - 2559-B

METALLICA - OXIDO

COCKTAIL - DAIKIRI

ZEN - TIGRATO

IRIS - CUARZO

VULCANO - COLIMA

VULCANO - KILAUEA

IRIS-MIX - MOON NIEBLA - 2522-B

IRIS - NACAR

VULCANO - TEIDE IRIS - PERLA IRIS-MIX - STONETOPPING - FLOWERS

LISA - 2545-A IRIS-MIX DIAMOND ONDULATO - 2545-A METALLICA - NICKEL

ZEN - CARRARA ZEN - ASH LISA 2551-A

NIEBLA 2525-B

LISA 2554-C

DECO-MIX-2576-B

NIEBLA 2526-B

LISA 2533-A

LISA 2539-B

NIEBLA 2597-BMETALLICA - INOX COCKTAIL - MOJITO

LISA - 2544-A TOPPING LEAVES NIEBLA 2596-B IRIS AMBAR LISA - 2532-BDECO-MIX - 25008-D COCKTAIL - MANHATTAN

COCKTAIL - GIN FIZZ COCKTAIL - BLUE MOON METALLICA AURUM LISA 2558-B NIEBLA 2509-C LISA 2538-D

TOPPING - MOCHI NIEBLA 2523-B LISA 2552-A NIEBLA 2524-B NIEBLA 2564-B

IRIS - ARENA COCKTAIL - ALEXANDER DECO-MIX 25009-D TOPPING VIOLET

COCKTAIL - ALEXANDER

DECO-MIX 25006-D

SPACE - SCORPIO TOPPING - ROSES

METALLICA RUBI

NIEBLA 2506-C SPACE - LEO VULCANO MAUNA LOA

DECO-MIX - 25007-C

AUS. DESIGN - DRY MARTINI

COCKTAIL - SAN FRANCISCO

AUS. DESIGN - WHITE RUSSIAN

ZEN - FIOR DI BOSCO

SPACE - CAPRICORN

NIEBLA - 2560-A

TOPPING CHOC BITS

TOPPING PECANS ZEN SANDSTONE ZEN TRAVERTINO

IRIS - MARFIL

TOPPING - SILVER BITS

COCKTAIL - MARGARITA

COCKTAIL - BELLINI

VULCANO - VESUBIO DECO-MIX 25016-D NIEBLA 2513-A TOPPING ALMONDS ZEN OAK

AUS. DESIGN - BLACK RUSSIAN

ZEN - PHYLLITE

COCKTAIL - ECLIPSE NIEBLA - 2501-B ZEN SARSEN ZEN PALE CHERRY VULCANO SAJAMA NIEBLA - 2504-ANIEBLA - 2516-B

VULCANO - ETNA

TOPPING - COOKIES

ZEN CREAMSTONE ZEN RUSTIC COCKTAIL BLOODY MARY COCKTAIL KIR ROYAL

SPACE - SAGITTARIUS ZEN - BLACK MARBLE

IRIS - EBANO

LISA - 2530-D ONDULATO - 2530-D ZEN PALISANDRO COCKTAIL COSMOPOLITAN LISA 2531-B IRIS COBRE

LISA 2546-A IRIS MIX SKY

NIEBLA 2529-B

AUS. DESIGN TOURMALINE DECO-MIX 2518-B VULCANO IRUZU

IRIS CORAL NEIBLA 2521-B

IRIS AZUR LISA 2541-A METALLICA VANADIUM LISA 2547-A NIEBLA 2586-BAUS DESIGN AQUAMARINE

IRIS MIX SAHARA NIEBLA 2520-A LISA 2534-A DECO-MIX 2578-B AUS. DESIGN TAHITI IRIS JADE NIEBLA 2502-AAUS. DESIGN EMERALD

AUS. DESIGN 2569-C

AUS. DESIGN 2528-C AUS. DESIGN BALI

AUS. DESIGN HONOLULUNIEBLA - 2511-A NIEBLA 2508-A NIEBLA 2510-A AUS. DESIGN ARCTIC LIGHT DECO-MIX 25002-C VULCANO FUJI

DECO-MIX 2514-B DECO-MIX 25004-B LISA 2542-B NIEBLA 2505-A IRIS-MIX OASIS SPACE TAURUS

LISA 2553-B DECO-MIX 25015-D DECO-MIX 25001-C DECO-MIX 25003-B TOPPING DROPS LISA 2555-C DECO-MIX 25010-DMETALLICA ESMERALADA

LISA 2537-E AUS. DESIGN TOPAZ AUS. DESIGN ATALANTIC VULCANO STROMBOLI LISA 2535-A IRIS GREEN PEARL TOPPING KIWI TOPPING MARIGOLD

METALLICA OPALO IRIS OCEAN AUS. DESIGN ARCTIC DARK LISA 2556-C DECO-MIX 2577-C DECO-MIC 25011-D NIEBLA 2585-B NIEBLA 2507-A

TOPPING RAISINS NIEBLA 2562-B LISA 2536-C TOPPING BLUE BERRIES LISA 2557-D LISA 2548-C LISA 2549-A COCKTAIL GRASSHOPPER

DECO-MIX 25014-E VULCANO SANTORINI NIEBLA 2512-C AUS. DESIGN HARBOUR VULCANO MASAYA COCKTAIL TOMAHAWK COCKTAIL CAIPIRINHA

SPACE AQUARIUS TOPPING GRAPES LISA 2543-D NIEBLA 2503-D AUS. DESIGN SAPPHIRE

ZEN RIVERSTONE METALLICA AZURITA AUS. DESIGN DARK REEF COCKTAIL LONG ISLAND

COCKTAIL BLUE LAGOON ZEN BLUESTONE ZEN MAKAUBA

FOSFO AQUILA

FOSFO DELPHINUS FOSFO DRACO FOSFO SERPENS

FOSFO ARGO FOSFO LEPUS

FOSFO STANDARD

FOSFO BEIGE FOSFO GREY FOSFO BLUE

IRIS ZAFIRO

We have your

project covered!

GLASS MOSAIC T ILESSHOWROOM: 28 Prince William Drive, Seven Hills NSW 2147

[email protected]: 1300 EUROPE (387-673)

POOL & DeCORMOSAIC TILESEZARRI GLASS

NIGHTDAY

All tile sheets are shown in 25mm x 25mm.

Ask us about our Safe Steps “C” rating range.

ZEN - DOLERITEMETALLICA - LAVA

LISA - 2559-B

METALLICA - OXIDO

COCKTAIL - DAIKIRI

ZEN - TIGRATO

IRIS - CUARZO

VULCANO - COLIMA

VULCANO - KILAUEA

IRIS-MIX - MOON NIEBLA - 2522-B

IRIS - NACAR

VULCANO - TEIDE IRIS - PERLA IRIS-MIX - STONETOPPING - FLOWERS

LISA - 2545-A IRIS-MIX DIAMOND ONDULATO - 2545-A METALLICA - NICKEL

ZEN - CARRARA ZEN - ASH LISA 2551-A

NIEBLA 2525-B

LISA 2554-C

DECO-MIX-2576-B

NIEBLA 2526-B

LISA 2533-A

LISA 2539-B

NIEBLA 2597-BMETALLICA - INOX COCKTAIL - MOJITO

LISA - 2544-A TOPPING LEAVES NIEBLA 2596-B IRIS AMBAR LISA - 2532-BDECO-MIX - 25008-D COCKTAIL - MANHATTAN

COCKTAIL - GIN FIZZ COCKTAIL - BLUE MOON METALLICA AURUM LISA 2558-B NIEBLA 2509-C LISA 2538-D

TOPPING - MOCHI NIEBLA 2523-B LISA 2552-A NIEBLA 2524-B NIEBLA 2564-B

IRIS - ARENA COCKTAIL - ALEXANDER DECO-MIX 25009-D TOPPING VIOLET

COCKTAIL - ALEXANDER

DECO-MIX 25006-D

SPACE - SCORPIO TOPPING - ROSES

METALLICA RUBI

NIEBLA 2506-C SPACE - LEO VULCANO MAUNA LOA

DECO-MIX - 25007-C

AUS. DESIGN - DRY MARTINI

COCKTAIL - SAN FRANCISCO

AUS. DESIGN - WHITE RUSSIAN

ZEN - FIOR DI BOSCO

SPACE - CAPRICORN

NIEBLA - 2560-A

TOPPING CHOC BITS

TOPPING PECANS ZEN SANDSTONE ZEN TRAVERTINO

IRIS - MARFIL

TOPPING - SILVER BITS

COCKTAIL - MARGARITA

COCKTAIL - BELLINI

VULCANO - VESUBIO DECO-MIX 25016-D NIEBLA 2513-A TOPPING ALMONDS ZEN OAK

AUS. DESIGN - BLACK RUSSIAN

ZEN - PHYLLITE

COCKTAIL - ECLIPSE NIEBLA - 2501-B ZEN SARSEN ZEN PALE CHERRY VULCANO SAJAMA NIEBLA - 2504-ANIEBLA - 2516-B

VULCANO - ETNA

TOPPING - COOKIES

ZEN CREAMSTONE ZEN RUSTIC COCKTAIL BLOODY MARY COCKTAIL KIR ROYAL

SPACE - SAGITTARIUS ZEN - BLACK MARBLE

IRIS - EBANO

LISA - 2530-D ONDULATO - 2530-D ZEN PALISANDRO COCKTAIL COSMOPOLITAN LISA 2531-B IRIS COBRE

LISA 2546-A IRIS MIX SKY

NIEBLA 2529-B

AUS. DESIGN TOURMALINE DECO-MIX 2518-B VULCANO IRUZU

IRIS CORAL NEIBLA 2521-B

IRIS AZUR LISA 2541-A METALLICA VANADIUM LISA 2547-A NIEBLA 2586-BAUS DESIGN AQUAMARINE

IRIS MIX SAHARA NIEBLA 2520-A LISA 2534-A DECO-MIX 2578-B AUS. DESIGN TAHITI IRIS JADE NIEBLA 2502-AAUS. DESIGN EMERALD

AUS. DESIGN 2569-C

AUS. DESIGN 2528-C AUS. DESIGN BALI

AUS. DESIGN HONOLULUNIEBLA - 2511-A NIEBLA 2508-A NIEBLA 2510-A AUS. DESIGN ARCTIC LIGHT DECO-MIX 25002-C VULCANO FUJI

DECO-MIX 2514-B DECO-MIX 25004-B LISA 2542-B NIEBLA 2505-A IRIS-MIX OASIS SPACE TAURUS

LISA 2553-B DECO-MIX 25015-D DECO-MIX 25001-C DECO-MIX 25003-B TOPPING DROPS LISA 2555-C DECO-MIX 25010-DMETALLICA ESMERALADA

LISA 2537-E AUS. DESIGN TOPAZ AUS. DESIGN ATALANTIC VULCANO STROMBOLI LISA 2535-A IRIS GREEN PEARL TOPPING KIWI TOPPING MARIGOLD

METALLICA OPALO IRIS OCEAN AUS. DESIGN ARCTIC DARK LISA 2556-C DECO-MIX 2577-C DECO-MIC 25011-D NIEBLA 2585-B NIEBLA 2507-A

TOPPING RAISINS NIEBLA 2562-B LISA 2536-C TOPPING BLUE BERRIES LISA 2557-D LISA 2548-C LISA 2549-A COCKTAIL GRASSHOPPER

DECO-MIX 25014-E VULCANO SANTORINI NIEBLA 2512-C AUS. DESIGN HARBOUR VULCANO MASAYA COCKTAIL TOMAHAWK COCKTAIL CAIPIRINHA

SPACE AQUARIUS TOPPING GRAPES LISA 2543-D NIEBLA 2503-D AUS. DESIGN SAPPHIRE

ZEN RIVERSTONE METALLICA AZURITA AUS. DESIGN DARK REEF COCKTAIL LONG ISLAND

COCKTAIL BLUE LAGOON ZEN BLUESTONE ZEN MAKAUBA

FOSFO AQUILA

FOSFO DELPHINUS FOSFO DRACO FOSFO SERPENS

FOSFO ARGO FOSFO LEPUS

FOSFO STANDARD

FOSFO BEIGE FOSFO GREY FOSFO BLUE

IRIS ZAFIRO

We have your

project covered!

GLASS MOSAIC T ILESSHOWROOM: 28 Prince William Drive, Seven Hills NSW 2147

[email protected]: 1300 EUROPE (387-673)

POOL & DeCORMOSAIC TILESEZARRI GLASS

95TILE TODAY

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TRENDS

10 Cersaie 2017 showcased new decoration techniques. The trends presented at the show were primarily about larger format porcelain floor tiles. International correspondent, Joe Simpson files his report on the event.

22 The benefits of large, slim tiles have helped to transform the ceramic tile sector, and equipment technologies continue to progress to manufacture these popular tiles.

32 Slim ceramic tiles produced by major players such as Laminam, Neolith, Graniti Fiandre, ABK Group, Levantina, Florim and RAK are still finding favour in the local market.

34 In the next five years, growth in ceramic tile production will be driven by “continued urbanisation, higher per capita income, population increases and improving economies”, according to a report by ceramicindustry.com.

TECHNICAL

36 Bryan Vadas has identified an important shift in supply of tiles to the Australian market, and the rest of the world.

INDUSTRY NEWS

44 The Australian Tile Council is launching a Tiles & Tiling Guide; Tile Power adds another store to its network; Amber Tiles announces the winner of its 2017 design award; and Laticrete offers training seminars.

FEATURED PRODUCTS

42 New releases from Beaumont Tiles, Starstile and Southern Cross Ceramics.

READ ON THE GO: Scan code to view the latest FREE digital versions of the magazine on our website. Simply click on the front cover once you have scanned the code.

SYDNEY 02 9795 2000 | MELBOURNE 03 8792 3500 | BRISBANE 0418 886 833

ASH GREY

STEEL GREY CHARCOAL

CREMA LUNA

FRONT COVER IMAGE

The Be In range of wall tiles from Iris Ceramica features brushed surfaces, sophisticated hues and exceptional details, according to the company. With more than 50 collections and over 2500 products, Iris Ceramica has been contributing to the prestige of Italian-made coverings since 1961.

International correspondent, Joe Simpson visited Cersaie 2017 for Tile Today readers. He goes beyond the surface of the trends that were displayed at the stands, and writes that “the adoption of new decoration techniques has resulted in some notable refinements and departures”. His report starts on page 10.

Another contributor to this issue, Bryan Vadas from the Tile Agencies Group, explores the possibilities of more tile supplies coming from India and moving away from China. You can read about this on page 36.

In Australia, the tile council is planning to launch its guide for both industry professionals and consumers of tile products. This story leads the news section on page 44.

On a final note for this edition, Tile Today will be visiting The International Surface Event in Las Vegas in early 2018. We would be happy to hear from anyone from the Australian tile industry who will be attending.

We also wish our readers, advertisers and supporters a safe and enjoyable holiday season. Look forward to working together next year.

Until next time,

Betty TanddoEditor

MEET THE TEAM

Vicky Cammiade Publisher

Betty Tanddo Editor

Joe Simpson International Correspondent

Anthony Stock Contributing Editor

Philip Ashley Machinery Editor

8 | TILE TODAY #95 | www.tiletodaymagazine.com.au

FOREWORD

Exclusively available through

www.ncia.com.au

Promenado

600x600 / P2 & P5

300x600 / P3 & P5

Technology meets design

The devil was in the detail at Cersaie 2017. While the design direction for most ceramic tile collections may,

at first sight, appear to have changed little over the past few years, delving deeper revealed that the adoption of new decoration techniques has resulted in some notable refinements and departures.

In general terms, present trends are about larger format porcelain floor tiles; the increasing emphasis on the new generation of ultra-large panels and their diverse applications. For example, 20mm pavers are overlaid with effects to deepen the aesthetics of graphics or traditional glazes, chevrons and other geometric shapes, plank formats, and refined metallics.

Surprisingly, this year also saw small format glazed wall tiles enjoying a much higher profile. This is a retro trend that looks to the future.

Cersaie 2017 signals positive signs for the ceramic tile market in the year ahead, according to international correspondent Joe Simpson.

Brick Text by Made+39 reproduces heavy woven fabrics.

Unseen to all but the most expert eye, the most important thing to understand about Cersaie 2017 is what is going on underneath, within, and on top of, the glaze layer. The proliferation of glaze, ink and frit technologies over the past couple years really hit the mainstream this year. Many manufacturers are employing these tools to enhance what were already exciting new collections.

So at the top end, the bar has been raised. Manufacturers who are simply employing a single glaze and printing a digital image on tile in ceramic inks, are now behind the curve. Selecting a good design, and understanding the appropriate colours for the target market, is now just the starting point for creating a winning collection in 2018.

New printers are becoming commonplace with 10-12 bars of

heads. (Manufacturers usually use five heads for colour — six if they are employing white inks — and the remaining four to six heads for effects.) Available effects include:• Reactive inks that sink through

the glaze (creating reliefs) or rise up (creating structure)

• Lustre – which can be in multiple colours

• Metallics – which can be multiple metals

• Inkjet glue – used to adhere a dry frit (granilla) or dry glazes

• Glazes – gloss, matt, or satinThe enormous number of

possible effects that are available are a result of the latest printers. It is forcing manufacturers to decide on a design language and to specialise in certain looks. The end result is that retailers and distributors are being offered some of the most nuanced and sophisticated tiles ever seen.


TRENDS

Untitled-2 1 19/12/17 9:57 am

Geometric formsThe strongest look at Cersaie this year was the encaustic cement and other takes on the geometric style with multiple patterns mashed together to create a layered cohesive aesthetic. Many of these tiles are offered in the traditional 200 by 200mm format but these patterns are increasingly being printed on larger format tiles as a multi-tile decor.

Other design directions include delicate textures in damask or lace, and there was a major influence from paper and textiles in all styles. Geometrics were back in many collections, either as overlays or in tone-on-tone versions.

Large-scale graphics that flow seamlessly from piece to piece, or in a single large format panel, were also seen. Decors had a stronger presence but, overall, they were quite understated and could easily be used in place of field tiles. Accents, it seems, are now made for entire walls or floors instead of just strips.

Ultra-large panelsManufacturers are seeking new applications for the current generation of mega-tiles or “gauged ceramic panels”, on the back of a lot of interest from the architecture and design community. With the Continua, Supera and Lamgea pressing machines expanding the limits of tile production to 1,600 by 4,800mm sheets, the definition of tile — and its potential applications — is moving forward at quite a pace.

On stand after stand at Cersaie, wall and floor tiles were shown alongside kitchen worktops, bathroom vanity tops, tile-clad furniture, tables with one-piece ceramic tops, and more. This was also true of factories, like Grespania, that have in-house

Laminam plants. Once again, this 3mm material is now being produced in the same designs as porcelain floor tiles and white body wall tiles.

Today’s ceramic tile factories cannot only compete on size and price with composites and natural stone. Digital printing technology means that simulations of very fragile stones, or minerals rarely found in large enough seams for a one-piece worktop, can now be replicated in a material with better technical performance, especially in terms of stain- and scratch-resistance.

While there is definitely a place for these mega-formats, companies will require paradigm shifts in their marketing and sales channels to take full advantage of the opportunity.

The kitchen benchtop market is an obvious starting place, and many stands at Cersaie celebrated this fact. However, the major players in this sector are not traditional tile distributors. Many “purist” tile distributors simply don’t have the warehousing, logistics or showrooms to place this material in front of the right people. Indeed, most of Cersaie’s core visitors are thinking about or looking for traditional tile rather than slabs or panelling.

Benchtop specialists, kitchen companies, stone fabricators, veneer suppliers, and even door and exterior panelling businesses would seem to be the drivers of growth at the moment. Demand continues to grow and there are undiscovered markets that would embrace this material.

Porcelain paversOn the landscaping front, most leading manufacturers had dedicated areas on their stands for 20mm exterior grade tiles in a range of slip-resistance finishes. The design options have increased, with wood-, concrete-, and stone-effect tiles, rubbing shoulders with more decorative and unexpected options. At Cersaie 2017, it is fair to say, exterior tiling finally came of age.

These 20mm tiles suit many different fixing methods, from height-adjustable pedestals, right through to dry laying like granite sets. It is a category that offers major opportunities. One of the reasons for its increasing popularity is that trade influencers are already on board for a switch to porcelain from the more typical options in cement or stone composites. They are also lighter and cut consistently.

Previous years at Cersaie saw mainly 600 by 600mm formats but this year there were many 400 by 800mm and 600 by 1,200mm pavers on offer, and even some plank formats.

Left: Serenissim collection by Pierre de France Naturelle. Below: Aextra20 by Ceramiche Caesar consists of single-piece porcelain stoneware slabs for outdoor areas.


TRENDS

TerrazzoWithout doubt, the key design direction at Cersaie 2017 was terrazzo; a well-established material that provides the bridge between cement, marble and mosaic. Terrazzo was the truly ubiquitous product at this year’s event. A few of the better versions used printed gloss glaze to pick out the “stone” chips, mimicking the effect of polishing on the marble inclusions in the real thing.

Variants were shown with uniform chips or multi-sized inclusions. Some offered a single stone tone; others a multi-coloured look. There were a mix of larger and smaller chips while others featured imperfect spacing or chip coverage across the tile’s face.

This reinvention of terrazzo has been gathering momentum for the past two years. It is now being used to decorate hallways, bathrooms and kitchens, and as a pattern on textiles.

With digital decoration, tile designers can interpret terrazzo in many different ways. Modern designs span the trencadis style through to new takes on “salt and pepper” surfaces speckled with miniscule particles.

CottoIf you thought that the inexorable rise of porcelain floor tiles would sound the death knell for terracotta tiles, it is time to think again. Faux terracotta porcelain tiles were another major trend at Cersaie this year.

Rather than the usual 300 by 300mm format, they now come in larger formats (600 by 600mm and upwards) and are moving to a cleaner and more contemporary look. Indeed, many have clear connotations of cement, especially when composed in knocked back beige, grey or white tones. Those seeking a more traditional cotto appearance found producers going for a more vintage, rather than weathered, feel. Here, smaller formats are being adopted, including 200 by 200mm and 150 by 300mm.

Clockwise from top: Fragments is the collection designed by Pierre Charpin for Ceramiche Piemme; The key design direction at Cersaie this year was terrazzo; Pietra Blu from the Stone Box collection by Cercom Ceramiche recalls Northern European architecture.


TRENDS

CementAlthough the urban loft look appears in somewhat of a decline, cement-effect tiles where still much in evidence at Cersaie. In the latest iteration, texture is now added in subtler ways. The shuttered look, with its echoes of the wooden planks used to constrain in-situ concrete remains popular, alongside brushed varietals.

Lapatto finishes are on the rise as manufacturers take advantage of digitally printed adhesives to apply granilla for polishing. The colour palette for cement-effect tiles is soft, tone-on-tone, with some tile makers delivering a care-worn rustic look with the scratched surface of old industrial floor slabs.

Natural stone sophisticationThe addition of printed effects, metallic or mica flecks really enhanced the realism of stone looks at Cersaie. Marble, quartzite and limestone, in that order, are the prevailing trends in this well-established design.

Glossy marble-looks continue to be strong in subtle, classic stones like the ubiquitous white marble varietals. In the whites, there seems to be a shift from the stark/dark veined Statuario in favour of softer and more diffused Calacatta options.

In contrast to the whites, there was a dramatic range of black marbles. As the whites became softer and more diffused, the prevailing black stone is a stark and strong black.

There was also a small but striking trend toward rare or endangered stones. Most of these are finding their way to the larger panel formats, often

in book-match options. These stones are unlikely to sell in volume but will certainly wow design-conscious clients.

Digitally and mechanically printed effect overlays are deepening the marble looks and creating varying layers of interest within these collections. The use of sinking inks (and dissociative glazes) is especially effective in marbles. With the addition of a separate channel to the design file, manufacturers can print a texture onto the surface so this ink can sink through the glaze and create a depression. Adding depth and subtle shadow in the vein structure of the stone creates very realistic marble looks.

While limestone appears to be taking a back seat right now, or morphing into the cotto and cement trends, there does seem to be a return to the classic French limestone. It is split between clean looks with a square edge and softly rusticated versions.

Other dominant trends in stone-effect tiles are quartzite and slate. It is different from the heavily clefted look towards elegant and subtly varied Brazilian-style slates. The looks are refined and more cultured. Digitally applied gloss glaze in the clefts for the slates and mica flecks; metallics and sugar glazes for the quartzite create interest.

Timber-effect tilesThe overall softening was also seen in wood-effect tiles and planks. There was a clear move away from heavily distressed wood looks towards more sand-blasted and hand-scraped

Clockwise from top: ColorArt and Moda Bianco wood-effect tiles from Ceramica Sant’Agostino; The Mirai porcelain stoneware series by Edilcuoghi; Bright Forest is a range of timber look tiles from Cerim; Kentucky from CIR Ceramiche interprets the charm of wooden flooring.


TRENDS

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looks. One of the biggest trends in wood planks is the ultra clean and minimal Scandinavian take on woods in soft, light tones.

Digitally printed effects were a wonderful addition to the woods this year with glossy glazes being applied in portions of the plank to mimic a natural aged patina, or simply picking out the raised grains in the more structured sandblasted looks.

Interesting to see how many wood collections featured a denim blue tone to set-off the warm natural wood colours. This is a direction that could take off in the mass market.

Cool coloursGrey, white, and black remain the top three colours, in that order, for both floor and walls; with greige a close fourth depending on the design inspiration for the collection. The only departure from this is in wood-effect tiles where classic wood tones still reign supreme. The complementary colours of choice have shifted from the oceanic blues, teals and turquoise of the past two years. The accent tones of choice for 2018 are denim blue, British racing green and black.

As far as tile manufacturers are concerned, black is the new black.

True black, saturated black, absolute black ... however it was labelled, deep, dark black was the accent colour of choice at Cersaie 2017. Several manufacturers claimed to have the blackest black at the show.

Black appeared as a textured finish on basalt-effect tiles, as a luxurious gloss on tiles emulating black marbles like nero marquina, or as a simple glazed tile. There was even pure black wood grain tile, a contemporary painted timber-effect that designers can appreciate.

In terms of coloured wall tiles, the rich, saturated pastel hues of the 1950s are gaining popularity. While blues and greens lead the popularity stakes, red, dusky yellow, pink and purple all made an appearance.

Plank formats, which established themselves with wood-effect tiles, have now been adopted for stone-effects, metallics and some of the cotto tiles. These formats appear to be around 200 by 900mm. However, some factories showed wider formats, up to 300mm, at Cersaie which really helped to emphasise the impact of the grain and knot detailing. In commercial contracts, longer formats, up to 1,200mm, are also staring to gather momentum.

There appeared to be a trend away from the 300 by 600mm format this year. The bridge size is 450 by 900mm, with more progressive markets favouring 1,200 by 2,400mm. In square formats, there has been an incremental jump to 600 by 600mm

The Ariana brand focuses on ceramic slate with its Mineral range seen here in greige.

Transalp by Monocibec is inspired by nature’s finest marble;


TRENDS

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CT_TileToday_Treverkmore_FPad_Oct17_4.indd 1 24/10/2017 8:00 AM

Below: Arkshade mosaic 3D tiles from Atlas Concorde. Bottom: Triangles, chevrons, rhombus, parallelograms and other geometric tile forms could be seen everywhere at Cersaie 2017.

and 900 by 900mm for the more avant-garde ranges.

In contrast, small formats are enjoying a real renaissance. Much of this appears to be the result of the on-going popularity of the subway tile. Interestingly, many manufacturers are also reporting growing interest in smaller format floor tiles.

3D tilesCersaie was awash with triangles, chevrons, rhombus, parallelograms and other geometric tile forms. Square and rectangular tiles decorated appeared in one or more of these forms. The result was some very ingenious fixing patters, which allow a few colours to be used to create stunning and original settings.

Architectural and decorative wall cladding collections continue to flourish. There is a suitable dimensional cladding option for any design; the most prevalent being small format geometrics in white, black and metallic. These ranges are a perfect accent for the plank format in traditional ceramic, wood, stone or metal. Often in dynamic patterns that can create different effects when rotated, these collections are also ideally suited for feature walls.

It may not have been obvious at first sight, but there was an underlying cohesion to Cersaie 2017. The broad trend is toward authentic, clean and honest materials, and collections designed with flexible installations in mind. The hyper-distressed look is giving way to a more refined, vintage feel.

In 2018, ceramic tiles will be all about balance: point and counterpoint in harmony. Tile is no longer just for the shower, splashback, or fireplace. It can be anything the designer requires and can clad almost anywhere.

The quality of design and technical performance of the tiles on display at Cersaie, was superb. And yet is was also a very pragmatic show; with installation costs now very much a part of the tile manufacturers’ product design process. As well as a move byond rectified tiles, many exhibitors made a point of presenting “easy fit” white body wall tiles alongside porcelain floor tiles. ■


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The next generation of tile making will lead to increasingly sophisticated ceramic surface solutions, according to Joe Simpson.

Over the past decade, porcelain slabs have transformed the ceramic tile marketplace. The

impact has been so profound that specialist distributors have emerged that focus on thin porcelain and nothing else.

Apart from weight, these tiles, which come in thicknesses from 3mm to 6mm, offer a range of advantages including installation over existing floor or wall coverings. This eliminates the need for ripping out existing finishing materials in renovation projects, saving labour and logistics costs.

They are strong yet reduce material consumption which benefits the environment. They can also be easily cut with a wet saw, and in some cases, (easier with non-reinforced slabs) using a standard hand-help glass cutter.

There are currently five main technologies used to manufacture thin tile. The Lamina process using

System equipment (System itself manufactures Laminam tiles); the Continua process using Italian-made Sacmi equipment; the Supera system from Siti B&T; double-pressed or dust-pressed technology that loads powder into the press to produce a thin tile; and Lamgea, the new kid on the block (also developed by System).

Typically, Lamina tiles are 3mm thick and are produced in 1,000 by 3,000mm or 1,200 by 3,600mm slabs. Continua tiles are 3mm thick for walls and 4.6mm thick for floors.

Supera produces large ceramic slabs measuring 1,200 by 3,600mm that are cut into smaller, modular sub-formats; such as 600 by 1,200mm, 300 by 600mm or 300 by 900mm. Thicknesses usually vary from 5mm to 25mm, depending on the application. Large format dust-pressed tiles, essentially produced using conventional porcelain production presses, are typically 4.8mm thick, and not less than 4.5mm thick.

Most of these processes can produce tiles that are available with, or without, reinforcing mesh on the back.

Thin porcelain technology has taken off in a big way in recent years, with many leading manufacturers making large investments in this type of machinery.

For instance, Cotto d’Este’s Kerlite collection is manufactured using the Lamina process, as is Lea Ceramiche’s Slimtech Re-Evolution. Refin’s Skin 4.8mm slim porcelain stoneware is made using dust-pressed technology, and offers the same technical characteristics as standard thickness porcelain tiles.

Why use thin tiles?Environmental benefits: Thin tiles use up to 70% less material than regular porcelain tiles. Thin porcelain tiles also use less energy during manufacture.

Lightness: Thin tiles can be used for incorporating large format tiles onto the wall, previously not possible. Being lightweight, they are cheaper to transport.

The Kerlite collection by Cotto d’Este is manufactured using the Lamina process.

Manufacturing large, slim tiles


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Project speed and cost: Large, slim tiles can cut the time needed to strip off the previous finish and prepare well ahead of the new tiles being mounted. This can ultimately save time and money.

Continua and Continua+Continua+ is the latest generation of the revolutionary Continua system developed by Sacmi. It is an innovative compaction technology that redefines productivity for large size tiles. Continua+ allows the manufacture of porcelain slabs and tiles in a wide range of sizes and thicknesses, decorated both on the surface and in-body, at far higher output rates than traditional vertical press processes.

Sacmi offers Continua+ lines with four-colour powder-based digital decoration and “on the move” tile cutting. At the heart of Continua+ is a continuous compactor that can form slabs that are stronger and denser than using traditional vertical pressing.

Compaction occurs by way of two very stiff motor-driven belts. The powder is deposited on the lower belt and carried inside the machine where it is subjected to the combined action of two belts and two compaction rollers. Non-deformable containment buffers limit lateral movement.

The cutting machine incorporated into the line allows manufacturers to produce a full range of sizes simply by adjusting a few settings. This, and other modern tile production systems also benefit from advanced digital quality control systems, such as those developed by Surface Inspection. They offer highly accurate, automatic, digital product inspection scanning pattern, dimensions and planarity.

Iris, Ariostea, GranitiFiandre, Co-Operativa Imola, Iris, Fincibec, RAK, Nord Ceram and Steuler are just some of the big tile names that have invested in Continua technology.

From top: Sensi Wide is a range of marble-effect large-format ceramic panels from ABK; The Azalai ITOPKER countertop is a natural stone finish in Negro colour; Italgraniti Mega by Sognando Casa is a collection for indoor floors.


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Supera Allied to smart systems and patented technologies, Supera by Siti B&T is flexible and versatile in terms of its tile thicknesses. It is also fast, with an average daily production capacity for each line of around 9,500sqm depending on thickness.

Supera offers clear financial benefits as well. Start & Stop on-demand hydraulic power generation is claimed to reduce energy consumption by up to 30%. It can also handle up to 10 surface textures at the same time, while significantly reducing production waste.

Rather than just a pressing technology for large-size tiles and panels, Supera is a complete production line with cutting-edge technology. It can produce ceramic slabs up to 1,200 by 3,600mm…and their sub-multiples…in a wide range of thicknesses (from 5 to 25mm).

To illustrate how tile production technology is constantly improving, it will soon be available in a massive 1,600 by 4,800mm version – using 33,000 tonne pressure – which will allow economic production of the increasingly popular 800 by 800mm tile format.

With Supera, Siti has reproduced

the advantages of traditional pressing on a discontinuous belt press. It is equipped with three hydraulic pistons designed to guarantee uniform shaping on the edges and splitting of the panels to minimise deformation during pressing. A system of mobile powder containment plates solves the problem of side waste, one of the major challenges facing technicians working with large sizes.

The press is also equipped with a breathable system that allows for effective venting through a semi-porous membrane. This leads to greater production efficiency.

A key feature of the Supera line is XXL Green Cut, a cutting machine for unfired ceramic slabs up to 4,000 by 1,350mm equipped with a transverse and longitudinal row of disc cutting units to cut the slabs in both directions and at positions that can be set via the touch-screen control unit.

Other technical features include the high-precision XXL Deepmotor Cut score-and-snap line for cutting fired and unfired panels, the XXL Polishing machine, the XXL Wet Squaring machine, the high-speed DRY Squaring Speed machine which

allows for considerable energy savings, and the Hi Coat protective treatment.

The system offers aesthetic potential by exploiting digital decoration technology from Projecta Engineering; and material finishing from Ancora, both Siti B&T Group member companies.

The latest major player in this market is System. System’s Lamgea is a mouldless press, capable of manufacturing slabs up to 4,800 by 1,600mm using standard atomised porcelain powders. It is possible to create any effect on the slabs, even structured surfaces with a relief up to 2mm, digital decorations and 3D effects.

Since the belt slides on the press, users can create different structures on a 16m long slab surface. This means that three concurrently-produced slabs, each 4,800 by 1,600mm, can each have different designs.

Lamgea is designed to reach a force of 30,000 tonnes and can produce panels such as 1,600 by 3,200mm or 1,200 by 2,400mm. These slabs can be anywhere from 3 to 20mm thick.

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the day-to-day production process of the line and signalling any necessary maintenance work in advance.

For manufacturers seeking a complete turn-key solution, Lamgea can be paired with a high definition (400 dpi) Creadigit BS digital printing system.

Tile fundamentalsWe have to look back to the launch of Laminam (also known by many other proprietary names) to really trace the reason for thin porcelain’s current popularity. These 3mm thick, fibre-reinforced, sheets, initially 1,00mm by 3,000mm, marked a step change in the perception of just what we mean by a tile: a process that has just led the American tile industry to coin a new term “gauged ceramic panels” in an attempt to provide some classification clarity.

But while it is easy to get carried away by just how large these ceramic tiles/sheets./slabs/panels are, fundamentally, they still rely on the same basics, in terms of body preparation, pressing and firing as smaller tiles.

The first step in the manufacture of thin ceramic slabs is the reception and storage of incoming raw

materials. The basic ingredients that go into a finished tile are clays, sands and feldspars. These are routed to separate storage and undergo rigorous quality checks to ensure they comply with each company’s specified standards.

When the time comes for their use, each raw material making up the required mix is checked for quality and consistency by an automatic computerised weighing and dispensing system that will deliver the exact amount of each ingredient.

The raw materials are then conveyed to the grinding bay, where they are fed into a continuous mill. Water and pebbles – a grinding aid – are added to the mix. The end product is a very fine paste, usually with a moisture content of around 30%, often referred to a “slip”.

This “slip” is then forced at high pressure into a drying chamber where it is dispersed as a fine spray. The resultant dry powder is known as atomized dust. This fine-grained

dust is the ideal consistency for the subsequent production steps, allowing the material to move smoothly through the next phases. From the drying chamber, the dust is taken by conveyor belt to storage silos until needed on the tile production line.

When required, the atomised dust, now with a moisture level of around 5 to 6%, is loaded into a hopper, sieved to remove any impurities, and delivered to the production line. Depending on the product being manufactured, additional materials can be added at this stage so that the finished tile surface will feature the required effect.

Then comes the critical pressing phase, a key moment in the tile-making process. In traditional production, this features an hydraulic press and its control unit. In the Laminam process, the sheet steel press exerts pressures of up to 15,000 tons to make the 3 by 1 metre ceramic slabs.

Supera by Siti B&T is flexible and versatile in terms of its tile thicknesses.

Continua+ is the latest generation of the revolutionary Continua system.


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The press has a matrix on the upper part, and a conveyor belt below. The conveyor belt carrying the dust-mix is pushed upwards during the compaction or pressing phase by a rectangular piston. During pressing most of the air contained between the granules of the dust-mix is expelled. The result is a smaller, highly compacted tile body.

This is in contrast to traditional dust-pressing technology which uses an hydraulic ram to compact dust contained in a mould or die. The new pressing method does away with the die and so avoids most of the stresses caused by lateral thrust against the sides of the retaining die.

As noted earlier, Continua, Supera and Lamgea use a belt-based pressing system.

After pressing, whatever the system, most tiles/panels then enter a gas-fired drying chamber, that reduces the moisture content of tiles/slabs to residual humidity of around 0.5 to 0.6%.

Decoration on these unfired tiles can be achieved in many ways, and often has a combination of technologies including rotary silk-screen printers, of which Rotocolor is the leading brand.

These printers are used to apply background dyes, a range of graphic designs and protective surface glazes. Today they are usually combined with digital ink-jet printers. These feature multiple print-head bars; with each bar able to carry a different colour pigment.

The ink-jet printer operates like a plotter making repeated passes over the slab as required. Digital decoration ensures high-resolution patterns or pictures. There is no limit to the graphic designs possible.

Once decorated, the thin ceramic tiles/slabs are fired in gas kilns for around 35 to 40 minutes at temperatures that reach around 1,200 to 1,210°C. After firing, a carefully-controlled cooling phase ensures that the finished slabs are perfectly flat, exactly the right size and do not have internal stresses.

Most equipment manufacturers now use highly accurate digital scanning and weighing technology, along with robotic sorting and packing lines to minimise breakage in transport.

The end result is a range of new surface materials that are taking ceramic “tiles” into completely new areas – façades, worktops, furniture manufacture, signage, tunnel linings, etc – that were, quite simply, beyond reach only a decade or so ago.

And don’t expect the pace of production evolution to slow down any time soon. ■

Clockwise from top: 120×240cm slabs feature in the Fire range by Naxos; RAK Ceramics have invested in Continua technology; Waterfall features large sizes of laminated porcelain tiles by Lea Ceramiche; Glocal is the smooth concrete collection in Mirage porcelain stoneware.


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All of the major tile producing nations are constantly seeking ways to reduce raw material and energy consumption. At

the same time, specifiers are searching for environmentally friendly products.

Slim tiles and panels tick all the boxes. The slim products produced by major players including Laminam, Neolith, Graniti Fiandre, ABK Group, Levantina, Florim and RAK are available from leading suppliers in Australia, together with other slim materials that are finding favour in the local market.

Leading Italian manufacturer System pioneered the introduction of Laminam, the original slim material. System technology and machinery is used by some of the world’s major tile producers to manufacture slim materials and the company is at the vanguard of this developing movement.

When large panels of slim porcelain first appeared in Australia

around 15 years ago, many members of the local tile industry expressed concerns about the materials durability, brittleness and difficulties related to storage, cutting and handling. The jury was out and in some instances, it is still considering its verdict.

However in the last 15 years, many of the original reservations about slim tiles and panels have been addressed, and solutions have been found or are in the process of being delivered.

In 2015, Iluka Resources published a s report entitled, “Zircon use in Emergent Ceramics” which confirmed that some 3 to 6mm ceramic products had initially been hampered by production defects in the surface decoration. The report concluded that these defects had been resolved by the introduction of “improved decorative glazing formulations”.

Slim ceramics go mainstream

The on-going appeal of thin tile will bolster the market for porcelain tile, according to a US-based study by Freedonia.

GrandiLastre Calacatta (1600 x 3200 x 6.5mm) is a large panel of porcelain from the Maxislim collection by Everstone.

The report also indicates that slim products enable new applications of ceramic materials, particularly the 3mm thickness, to curved walls, furniture (ie. kitchen cabinet fascias and tabletops) and other functional elements.

SizeSince their introduction, these products have evolved to a point where the 3000mm x 1000mm x 3mm panels of slim porcelain can now be acquired in the even larger format of 1600mm x 4800mm.

While 3mm product is still produced, industry practitioners now have the option of using a variety of tiles and slim panels in thicknesses of 3mm to 7mm. Up to a certain point these products are still classified as being tiles (1 metre x 1 metre), and larger slim units are frequently called panels. The term “slab” is largely reserved for product which is a minimum of 20mm thick.

UsageWhen slim panels and tiles first appeared, several manufacturers promoted their use in tile-on-tile applications, where the cost of removing in-situ floor and wall tiles, and the reinstatement of sound, flat and smooth surfaces suitable for retiling is both costly and time consuming.

Ultimately, any material that can be adhered to the façade of a building, a kitchen bench top, over sound existing tiles or an old tabletop, or practically any vertical or horizontal, internal or external surface is bound to eventually find a secure place in the lexicon of tile.

Digital processesAs a growing number of tile manufacturers pursue increased efficiencies in regard to glaze and engobe application, the demand for greater digitalisation of production lines increases. This trend mirrors the demand from specifiers and consumers for surfaces, which offer improved colour intensity and aesthetic flexibility.

Recent radical advances in digital ink-jet printing provide an opportunity to meet that demand, and the surface of a large ceramic (porcelain tile is a ceramic material) provides an ideal canvas for all kinds of experimentation.

The combination of advanced digital image reproduction, along with the possibility of creating unique design concepts on a large tile format, as well as durability, may prove irresistible in the coming decade.

From Anthony Stock

Slim panels can be used on practically any surface. The correct thickness must be chosen and the background must be prepared correctly, providing a smooth, flat substrate. The featured product is Neolith Estatuario (3500 x 2334mm) by CDK Stone.

Growth in tile production is anticipated to be substantial over the next five years. It will be driven

by “continued urbanisation, higher per capita income, population increases and improving economies”, according to the report by ceramicindustry.com.

The Asia-Pacific region will maintain its status as the largest market for tile, while China will be the main player in relation to volume.

The report states: “The global market is fragmented due to the presence of numerous companies. These companies invest heavily in research and development to introduce environmentally friendly products. However, the presence of large unorganised markets, mainly in India and China, pose a constant threat to manufacturers in terms of their quality and price offerings.”

There will always be a market for cheap products, so it is hard to imagine that the companies which attempt to imitate the appearance of high quality ceramic tiles are ever going

to disappear entirely. Nevertheless, advances in manufacturing and tile decoration are creating a gap between those who strive to produce ground breaking, environmentally friendly products and those who seek simply to imitate prevailing trends.

Raw materialsThe ASEAN ceramics market is anticipated to reach a market size of USD69.08 billion by 2025, according to a recent report available from Research and Markets. (ASEAN nations include Brunei Darusallam, Cambodia, Indonesia, Lao PDR, Malaysia, Myanmar, Philippines, Singapore, Thailand and Vietnam.)

The growing construction industry and rising government spending on infrastructural development are expected to have positive impacts on market growth over the forecast period. The rising need for ceramic tile in restaurants, offices, malls and resorts will augment product demand growth over the next eight years.

The traditional ceramics segment is growing due to increasing demand for clay brick, tableware and porcelain tile. Advanced ceramics growth is expected to result from their capability to perform under extreme conditions in industries such as heavy machinery, automotive, energy, cutting tools, and defence.

Ceramic tile was the largest product segment for ASEAN ceramics in 2016, accounting for 25.5% of the ASEAN ceramic industry’s revenue. The number of construction projects is on the rise due to demand for residential infrastructure and building renovations, particularly in rapidly emerging countries such as Indonesia and Malaysia.

As the world’s population increases and demand for tile expands, manufacturing processes will become less sustainable. Current production processes involve mining raw materials from the earth’s crust prior to crushing, mixing, grinding and pressing the tile body, which is then decorated and fired

Ceramic tile market set to growCeramicindustry.com confirms the global production of ceramic tile dominates the ceramics sector.

Storie by Italian manufacturer Cedit, is an example of how slim tile and panel technology and digital decoration can be used to recreate faded, time worn surfaces. The large 1200 x 2400 x 6mm thickness panels provide the ideal surface to render the required ambience.


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before products are sorted into batches and packed in cartons.

As industry becomes more automated to keep pace with demand, every effort will be made to simultaneously reduce costs while improving quality.

It must be remembered that tile fulfils two roles: it provides a hard wearing, easy to clean surface and a highly distinctive form of decoration, which can be employed practically anywhere in the built environment.

Recent advances in digital ink-jet printing processes are just as critical as the emergence of large slim tiles and panels. This process enables tile manufacturers to literally add any decoration to the surface of a tile, including unique design proposals for specific environments.

The combination of large format, slim products and advanced decoration will ultimately take the art of tile to new levels, which will raise the bar in terms of marketing and installation practices.

Twist by Italy’s Refin encompasses two patterns, two sizes and five colours. Ink-jet printing technologies are used to create a blend of texture, weave and geometry.

Tile retailers and fixers of the future will require new skills, sales aids and tools, if they want to maximise the potential of a product that has undergone more revisions in the last 15 years, than it has in the last century.

Kastus, a company located in Ireland, has reportedly developed a practical antimicrobial solution that kills harmful bacteria and micro-organisms

such as MRSA and E.coli. The patented technology can be used to protect a variety of surfaces the tile industry encounters on a daily basis, including ceramics, glass and cell phones, against deadly superbugs. There is a ceramic tile for practically every environment. ■

From Anthony Stock

For the Australian (and global) tile industry China represents at one time a great solution, and an entirely new set of

problems. The solution is evident: it creates an inexpensive source of tiles, which means that the creative design industries in Australia (and elsewhere) can find their commercial expression in a much more viable environment than local manufacturing could ever provide.

As for the problems that come along with these new-found riches of supply, there has been an ample demonstration of them, starting in 2016.

It pays to never, ever forget that China is very far from being a capitalist economy, where its fate would be largely determined by free and relatively frictionless internal and external markets. China remains a command-control economy, heavily centralised, with some developed capitalist characteristics.

In 2016, the local governments in the north of China greeted the Chinese New Year with a new policy to clean up the environment. As

There has been a continental shift in the world of tiles. Bryan Vadas has experienced it first hand.

An alternative source of supply

such, many factories were told they would not be allowed to reopen after the holiday, effectively knocking out hundreds of thousands of metres of daily production.

Whilst the effect was devastating to many, the worst was yet to come when the authorities repeated the exercise after Chinese New Year 2017. The effect of the two tranches of closures saw over 200 factories each with an average of 10,000sqm of daily production having closed. If one does the maths, that’s around 750 million square metres of annual production that has ceased over the last year. That figure is on par with the total annual production of Italy and Spain combined.

For the European-based tile industry, the best way to grasp the effects of these closures is to imagine if all the production in Spain and Italy was switched off virtually overnight, with no warning.

In those circumstances, what would be the impact? How would the remaining manufacturers react? How would those remaining manufacturers cope with the increased demand on

their resources? What would be the impact on price, quality, and lead times? And how would customers cope in the interim as supply was interrupted until some form of equilibrium was re-established?

Those of us heavily invested in supply from China are currently dealing with that situation. Some have felt the pain of this over the last

India is becoming a major international tile hub with over 180 tile factories being built in the region.

India has come a long way in the quality and pricing of the tile its factories manufacture.


TECHNICAL

few months, whilst others are yet to feel it. Like a train derailment, those in the front carriages have felt the impact, while those in the carriages further back are blissfully unaware of the impact to come. Believe me, it is coming.

ImpactThe first problem to be faced is, with Chinese supply lines cut, how do manufacturers find other factories to make the product that meet the demands of the existing sales channel.

This involves moving digital files (assuming they have access to them or that they own them), then shifting the physical master samples, and then matching the colours in factories who use different glazes, technologies and processes to that of the factories which have closed.

Some replications are easy and take little time. Some others, however, can take days, weeks and even months, adding further pressure to the supply chain. Then there are textures to be matched and tested. There are polishes to be tried and replicated.

Realise that all of this takes place in an environment where hundreds of factories are scrambling with the same tasks in an effort to quickly protect “their patch”, the market they have carefully developed over the years.

In the resulting melee, those trading companies and buyers with small volumes get pushed to the back of the queue. There have been recent stories where the carparks of the remaining factories are filled with cars carrying people requiring product, and these people are armed with briefcases full of cash, gold and diamonds (I mean literally) to “influence” the managers of the remaining factories to give preference in the production schedule.

In AustraliaMany in the Australian market have felt the fallout. Supply has been a serious issue. Many suppliers are months away from getting supply back on track. Others, offering volume and upfront payment, are close to having alternatives in place, and should be back on track very soon. For them, the worst of it is almost over.

One source of concern is those who believe that, by using factories in the south of China, they have escaped the consequences of the factory shutdowns in the north. Yet, as the demand from the north heads south throughout China, the demand on the Foshan factories will start to increase. They could be hit just as hard.

Some tile supply is moving from China to India.

Inside an Indian tile factory.

In part that is because volumes here in Australia are relatively small by world standards. Even if a supplier deals directly with factories and enjoys a good, longstanding relationship, commercial pressures will come into play as factories field an increasing number of approaches from companies seeking large volumes — for which they are prepared to pay a premium. This will see Foshan factories shifting their supply priorities. Their pricing will inevitably increase as they realise they can sell their production time to the highest bidder.

Link InternationalAs part of a group supplying over a dozen countries around the world, I have been proactive in trying to find out the extent of the problem first hand, and to discover how we can address these issues. Link International has been assisting in establishing a supply chain that offers sustainable availability of high quality, well-priced product. This has been the most painful period in my 32 years in the tile industry.

Fortunately, I am part of a company that supplies customers around the world, Link International (www.linkinternationalkl.com). We have a volume that is enticing for factories.

We have the resources to be able to buy up weeks of production at a time, and to satisfy the requirements of the factories who realise they are now both king and drummer boy, setting the beat to which we will all now march.

Yet even with all that in our favour, it has been tough. However, with the support of the best customers in the world, we now have a solution that will see us shortly emerging from this nightmare. This solution will see us avoid the issues that many will continue to endure for months to come, and which many are on the verge of starting to experience.

The solutionWhen the initial closures started to occur after Chinese New Year 2016, it became crystal clear that we had become too heavily invested in China. Not just as a company, but as an industry. Many warned us over the years that, as an industry, we were weighing in too heavily into the manufacturing sector of one country, but for commercial reasons we jumped in, headfirst, and moved all our eggs into one basket. What could ever go wrong – right?

As this manufacturing crisis developed, Link International started to use its network and experience to find an alternative manufacturing base. We also manufacture in Italy, but we needed to find a solution to provide well-priced, yet high quality product that we could get with some continuity, and have it done in a manner that meets the market requirements for product and logistics.

We had some contacts and experience with India, and we made a trial order.

In the past, I have had some experience with sourcing tiles in India. When I was the buyer for a major group years ago, I bought a container of wall tiles from there. India was still fairly new to global tile manufacturing, and their standards weren’t what would be considered in alignment with our expectations in Australia.

There was also the issue of having to wait months for production. Then, once the product was made, there was the problem of getting the product to the wharves and getting the material on the water.

India can offer an uninterrupted supply when Chinese factories close down for Chinese New Year.

New Indian factories are being built to gear up for increased demand.


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We jumped the hurdles and the product arrived. We opened the container, took a box out, inspected the “quality”, closed the container, and sent it to the tip. That sums up the experience of importing from India back then.

Last year, we started to re-examine the potential of India. We had been told that Indian tile production had come a long way in the last few years. And we were pleasantly surprised when we went to India, and found that there had indeed been progress. Investments in technology, factories, infrastructure and training had seen the gap between China and India close, with India catching up, but still sitting a little way behind China in the “Great Tile Race”.

Quality was OK. Pricing wasn’t cheaper than China, and anything of quality was perhaps a little more expensive than the Chinese equivalent. Plus, they were only really interested in volume – big volume. There was no way that they were going to entertain the thought of mixed containers, and minimum order quantities (MOQs) were quite high.

Despite this, we took a punt, and placed an order — a big one. We had markets overseas where we knew we could clear the product should the quality not be what we were expecting. They made the product within the timeframe they had described to us. The product made it to the wharves without a hitch. It sailed. The freight rate was very similar to China, as was the sailing time. The containers arrived and the material was exactly what we were expecting. We ordered more. So, for each month over the last year, Link has shipped a healthy volume of containers — without one single complaint!

With the recent, second round of factory closures in China, it was timely to go to India and have a look at the current state of play to see if their product and supply chain was in alignment to the requirements here. (It was hot there, damn hot!)

The tiles come from a “dry” (alcohol free) state, so there is no refreshing ale to await you at the end of a long day visiting factories. The diet is mainly vegetarian, so the ache for a steak

was gnawing away. Despite these material and cultural hardships, the reconnaissance mission went ahead.

Development in IndiaIndia has come a long way in the last twelve months, and the timing couldn’t have been better. The first thing that strikes you is the amount of construction that is going on. Over 180 new tile factories being built in the region. They obviously understand the significance of the closures in China, and are gearing up for increased demand.

The next thing that strikes you, is the ease of communication in a country where most people speak English. With their increasing capacity, and clear lines of communication in place, it becomes very evident that they are hungry to do business. Their quality is good, really good. Their pricing has come into line with China. Their designs are getting closer to what we would deem acceptable here. They are open to making our designs as well, although their MOQs remain quite high.

The interpretation of colour in India is great — their light greys are light grey and not blue. Their blacks are black and not dark green. They get it that blue, green, pink and yellow hues can kill a series. And their thinking has come much closer to ours in understanding our market nuances and requirements.

The product for Australia is now in production. We have replicated a couple of our most popular Chinese lines giving us two manufacturing bases. We have also bought designs that will be specifically made in China. We have shipped a considerable volume of containers from India in the past year, and after the recent reconnaissance visit, we are confident that this is a real opportunity to diversity the tile manufacturing base beyond China.

We now also have in place an option that offers us uninterrupted supply when China closes for Chinese New Year, meaning our customers no longer need to stock up over Christmas, just prior to Chinese New Year. This will have many positive impacts on the market here, not least of which will be cashflow.

India is not a place to go unless you are prepared to offer them volume, serious volume. And they don’t really have a concept of payment terms, so be prepared to pay up front. But if you have the resources and are able to take volume, and the heat, sanitation, food and other inconveniences don’t bother you, then the quality, logistics, pricing and designs may offer a real alternative. Obviously, these hurdles will lessen over time as they pick up volume in India and as we align our thinking, but for now the bar is still quite high, and the rewards are there.

As China becomes increasingly uncertain in terms of reliability of supply, we all need to look at how we take prudent steps to mitigate risk. As an industry, we have been lucky in backing one horse, but the horse is starting to show worrying signs.

Supply from China will continue to be sizeable, but it will change. A correction is coming — some say it is already here.

Collectively, we will shift back to some of the traditional manufacturing centres in Europe. Local manufacture may be seen as a safe haven by some. A few of the smaller and perhaps obscure tile manufacturing nations will see more action.

But the real message is this: India will emerge as the next tile superpower.

Get ready — the lion is about to roar! ■

Story by Bryan Vadas, Tile Agencies Group (www.tileagenciesgroup.com.au)

Machinery inside an Indian tile factory.


TECHNICAL

IN FEBRUARY you have an

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FEBRUARYMO WE SATU FRTH SU

XV WORLD CONGRESS ON CERAMIC TILE QUALITY

Dark blue moodSouthern Cross Ceramics have added six new designs and eight new

colour ways to its Artisan range. These colours are available in light

and dark options in most designs. Pictured is the Oslo French Blue

Dark tile.

SOUTHERN CROSS CERAMICS03 9561 9911 www.southerncrossceramics.com

Inspired by marbleDolomite is the latest marble look tile from Starstile. It is an Empera-

dor marble and available in three colours: white, light grey and dark

grey. It also comes in two different finishes, matte and lappato, and

three sizes: 600 x 600mm, 300 x 600mm and 300 x 300mm.

STARSTILE (FENICE INTERNATIONAL)www.starstile.it

Northern highlightsBeaumont Tiles says its Nordic

and Stockholm ranges of bath-

room vanities are set to raise the

bar for minimalistic bathroom fit

outs in 2018. They are enveloped

in exterior-grade birch wood, and

resistant to abrasions and com-

monly used chemicals. They are

also weather and moisture proof.

BEAUMONT TILES08 8292 4444

www.beaumont-tiles.com.au

Vintage style sinksPaco Jaanson has ventured into ceramic kitchen sinks with the introduction of its Bocchi Casa Sink range. Designer, Claudia Danelon blends original 17th century style and modern design by offering the sinks in a number of different colours.

PACO JAANSONTel: 1800 006 260

www.pacojaanson.com.au

Tantalising TerrazzoThe Promenado tile, exclusive to Beaumont Tiles, is an imitation of the increasingly popular Terrazzo. It is a pressed edge, matt finish tile range, boasts 24 designs and two slip ratings.

BEAUMONT TILES08 8292 4444

www.beaumont-tiles.com.au


FEATURED PRODUCTS

Tile Council reveals guideIn keeping with the national body’s instructions, the new resource from the Australian tile Council (ATC) is strictly a guide, rather than a new standard. However, unlike standards which remain the same until they are revised, usually after developments in products and industry practices have rendered parts of the standard out of date, the Tiles & Tiling Guide is an online source of information that will be reviewed regularly.

ATC national president, Peter Carter explains, “We aim to form a small national committee which will look at the guide and its content at last twice a year, in order to add or remove material and change images to reflect any major changes in industry trends, products and practices.”

Nine of the ten sections of the guide are complete. These sections have been sent to ATC members in all States and Territories for peer review. There will be changes but hopefully they will be minimal, as each section was reviewed by the ATC as work progressed.

The guide contains valuable information and wherever necessary the prevailing Australian or international standard is referred to, enabling readers to gain further information where required.

The content of the guide is designed for architects, designers and industry practitioners, while remaining accessible to members of the public seeking information about tile selection and installation.

It is anticipated that the Tiles & Tiling Guide will be accessed via the homepage of the ATC’s website. Visitors will initially be able to download the entire guide, or individual sections.

Each section contains relevant contemporary images and line drawings which illustrate key points and depict how tile is used in the built environment.

In addition, the guide is supported by an extensive glossary which defines key terms. It also contains terminology that readers may encounter as they investigate purchasing or installing tile.

The ATC intend to email a link to the guide to design/construction professionals and other industry practitioners.

It is anticipated that the ATC Tiles & Tiling Guide will be available online in the first half of 2018, once final peer review and edits have been completed. From that point its content will be reviewed and updated on a regular basis.

From Anthony Stock

Amber UTS competition winnerAmber Tiles, in association with University of Technology (UTS), has announced the winner of its 2017 design award. The Amber UTS Design Award supports creativity and innovation in the design community by acknowledging excellence in UTS design students.

Entrants were required to submit a custom tile design in a bespoke size as well as a fully resolved interior or exterior

space featuring their custom tile as hero. Submissions were judged for the quality and development of their ideas and overall concepts, unique aesthetic vision, creativity in the resolution of formal, functional, and technical requirements, practicality and degree of innovation.

John Chua, managing director of Amber Tiles said, “At Amber, we’re excited to be working with one of Australia’s leading universities to give the next generation of designers the opportunity to create their very own tile design while providing them with some insightful industry knowledge and experience.

“This year’s winner is a third year Bachelor of Integrated Product Design student, Alana Birch who created a geometric design which is prevalent in the European market. As part of her prize, Birch will be working with interior stylist Steve Cordony to further refine her design skills. Amber Tiles will also be producing a small quantity of the winning design to create an in-house display for both its head office and UTS Design School.”

Birch received return flights to Italy and attended the Cersaie event, as well as a visit to Amber Tiles’ parent company, the Kim Hin Factory in Malaysia. She also had the opportunity to meet and discuss her designs with Julia Toh, senior designer with Kim Hin Industries, Malaysia’s largest manufacturer of porcelain tiles.

The Australian Tile Council’s Tiles & Tiling Guide is designed to assist professionals and consumers in tile selection, installation and maintenance


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Tile Power store launchModern Tiles Macarthur in Campbelltown (NSW), located in Sydney’s fast-growing South West region, is the latest store to join the Tile Power group.

This store is the result of a collaboration between Tile Power executive director Paul Craig, who is the current owner of Modern Tiles Erina on the NSW Central Coast, and Adam Er who was the previous manager of Tile Power’s head office.

With the collective experience, skills and contacts between the two industry professionals, this new Tile Power location is poised for success. It will focus on trade, availability of materials and exceptional service.

Ron Green is a founder of the Tile Power group and former Campbelltown local businessman. He operated Tile Power Campbelltown for three decades, situated only metres away from the new store location. He is very happy to see Tile Power back in the heart of Campbelltown and on Blaxland Road again.

Green, with his extensive contacts and knowledge of the area, has mentored and assisted the Modern Tiles team with the development of the new store. Results have been “fantastic” so far, according to the group.

Modern Tiles Macarthur works in partnership with suppliers such as Ardex, Davco, Aqua Mix, DTA and offers an extensive range of tiles, stone, and bathroom fixtures and products.

Tile Power is one of the longest running buying groups in the Australian tile industry with a rich history and diverse membership. It continues to grow its members who join the ranks of the existing directors and founders.

Laticrete training seminarsLaticrete deliver onsite technical service and training, as well as provide in-house, product specific courses.

The most popular at the moment is its waterproofing and epoxy grout certification courses. When installers attend, they have the opportunity to get involved and experiment with Laticrete products. Installers become familiar and more proficient when they start using them. The waterproof and epoxy grout training is assessed, so installers can leave with confidence and a certificate that says they have been trained on Laticrete materials.

The courses offer a chance to work with Spectralock® PRO Premium Grout, a patented, high performance grout which has excellent colour uniformity, durability, stain protection, and beautiful, full grout joints in an easy to-use, non-sag formula, according to Laticrete. It is easy to maintain, cleanable to the original colour and never needs sealing.

The Hydro Ban® course satisfies the requirements of installation and discusses some of the standards and rules around its application. Hydro Ban is a thin, load bearing waterproofing/crack isolation

The new Modern Tiles showroom.

Some of the entries to the 2017 Amber UTS Design Award at Cersaie.

www.tiletodaymagazine.com.au | TILE TODAY #95 | 45

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TILE TODAYmembrane that does not require the use of fabric in the field, coves or corners. It is a single component self curing liquid rubber polymer that forms a flexible, seamless waterproofing membrane that bonds directly to a wide variety of substrates.

These courses last approximately four hours, and are conducted either during a morning or afternoon session. Contact Laticrete on 1800 331 012 or email: [email protected] to enrol.

Laticrete ensure installers do the best job possible by providing training seminars.

CeramBath post-show reportThe 30th China International Ceramic & Bathroom Fair in Foshan ended on a high note in late October 2017. The

event featured four days of activities, on-trend products, O2O (online to offline) services and rich information sources. Exhibitors and buyers from all over the world gained many benefits from attending the fair, according to organisers Foshan China Ceramics City Group. It was hosted by the China Building Ceramics & Sanitaryware Association.

The number of registered attendees reached 60,930, a 12 per cent increase on the previous CeramBath event in April 2017. International buyers represented 9.7 per cent of total attendees. Over 5,900 professional purchasers from 60 countries visited the 30th CeramBath, representing a rise of 20% from the 29th CeramBath event.

Tile specification, especially for larger sizes, has become a significant issue at CeramBath fairs. At the 30th CeramBath event, more companies have launched big sizes measuring 1200 x 2400mm and 3200 x 1600mm. Products measuring 3200 x 1600mm products from ASA Tiles are already in production.

In terms of popular colours, black, white and grey could be found everywhere at CeramBath. Beige or cream were often used to complement these colours.

Stereoscopic tiles were eye-catching at both CeramBath events this year. Many displayed concave-convex textures with striking visual impact. Modern rustic tiles also met with great favour. ■

The 30th China International Ceramic & Bathroom Fair was held in October 2017

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DISPLAY, SALES & WAREHOUSE – SYDNEY 32 Bryant Street, Padstow NSW 2211 Ph: 02 9773 5677 Fax: 02 9773 5644Email: [email protected] Online Catalogue: www.cinajus.com

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