Image Reports - April-May 2023

UFABRIK OPENS NEW DEDICATED PRODUCTION FACILITY TO SERVICE US MARKET

The runaway success of the range in the UK and Europe is set for replication and expansion in North America

Message to manufacturers Print chiefs highlight the technical advances they’d like to see

Fancy parametic modelling? Coker Expo owner and CEO Ashley Coker is doing it. Should you?

Fespa Global Print Expo preview

What you can expect from the 2023 event

Transform glass into a window of opportunity for advertising, branding, one-way privacy and so much more with the Contra Vision range of perforated window films. Available in a choice of sizes, and transparency options throughout the UK from Premier.

COUNTING THE COST

As this issue goes to press, SDUK has just finished and Fespa Global Print Expo is just around the corner, metaphorically speaking. So, are you spending? If so, what on? I ask the same question in the Widthwise poll - open until 21 April at https://www.surveymonkey.co.uk/r/65CMDY3 - and will analyse your responses in the subsequent Widthwise Report. But I’m predicting that a significant chunk of many a large-format PSP’s investment this year will go not so much on new hardware but on making existing systems more efficient, on people, on environmental improvements, and in developing new techniques and markets. The editorial content herein reflects all that.

Take staff recruitment and retention - especially when it comes to the young blood. As a sector it seems we’re ramping up efforts to get career possibilities in front of those who we’d like to see becoming its leaders in time. In Talking Point I ask Fespa UK MD Suzi Ward about the association’s Next Generation Networking Days and new youth committee - what are the expected ramifications for those involved, their employers and the industry at large? We also hear from KGK Genix on the launch of its ‘Student Retail Design and Careers Competition’ which it hopes will drive interest in the retail design, visual merchandising, and print industry. What’s it getting for its efforts, and should more PSPs be creating youth programmes of this ilk?

Given the increasing onus on PSPs to improve their green credentials, FaberExposize UK and Northern Flags MD Iain Clasper-Cotte provides a first-hand account of his sustainability journey so far. You’ll realise you’re not the only one with niggles and concerns.

On the technical front, you can read what a number of the sector’s print chiefs want to see in terms of development. Efficiencies is the watchword, but turn to p16 to get the detail. And, straight after that, you can read why Coker Expo owner and CEO Ashley Coker is putting money behind 3D parametic modelling.

Wherever you’re investing, here’s to a decent return.

Editor: Lesley Simpson lesley.simpson@imagereportsmag.co.uk

Production / Design: Rob Castles

Publisher: Wayne Darroch wayned@sjpbusinessmedia.com

Advertising Manager: Carl Archer carl.archer@imagereportsmag.co.uk

Tel: 07723 079928

SJP Business Media, 27 Clements Lane, London, EC4N 7AE

www.imagereportsmag.co.uk

For circulation enquiries contact: SJP Business Media Email: subscriptions@sjpbusinessmedia.com

Image Reports is available free to printers based in the UK. Register at www.imagereportsmag.co.uk/register.

To purchase a subscription please visit www.imagereportsmag.co.uk/subscribe –UK £54, overseas £84

Printed in Great Britain.

No part of this publication may be reproduced, stored in a retrieval system or transmitted by any means without the Publisher’s permission. The editorial content does not necessarily reflect the views of the Publisher. The Publisher accepts no responsibility for any errors contained within the publication.

Editor

LESLEY SIMPSON

LESLEY.SIMPSON@IMAGEREPORTSMAG.CO.UK

TEL: 01932 707173

From Top: Lesley Simpson Wayne Darroch Carl Archer

CONTENTS

REGULARS:

7 NEWS

Keeping you abreast of all the latest news in relation to digital wide-format print.

10 COVER STORY ADVERTORIAL

UFabrik is set to repeat its UK and European success in North America

32 FORUM

Digging below the surface with Industry Mole; Out and About events diary; Over to You interview; Vital stats.

34 ZEITGEIST

Mike Beese at DecTeK argues the case for collaborative working.

SECTIONS: SPECIAL

17 Fespa Global Print Expo preview

An overview of what you can expect from the 2023 event in Munich and at Fespa Wrap Fest here in the UK.

TECHNICAL

20 Message to manufacturers

Print chiefs say what technical advances they’d like to see in the short- to medium-term.

23 3D parametric modelling

Ashley Coker explains why he’s doing it. Should you?

BUSINESS

24 Talking point

…with Suzi Ward on the new Fespa UK Association youth initiatives.

26 Getting down with the youth

NEWS

AND VIEWS

ONLINE

Go to www.imagereportsmag.co.uk for all the wideformat sector’s industry news, updated regularly online. Image Reports can also send a twice weekly enews bulletin straight to your inbox – register at: www.imagereportsmag.co.uk/ newsletter

How KGK Genix hopes a new competition will attract fresh talent into the industry.

ENVIRONMENT

29 Trials and tribulations

FaberExposize UK and Northern Flags MD and eco warrior Iain Clasper-Cotte flags up his eco niggles.

31 Spreading the word

Chris Green of Antalis talks about the need to spread the word greener printing options.

Increase efficiency. Accelerate results.

Increase efficiency. Accelerate results.

HP Latex 2700 Printer series

HP Latex 2700 Printer series

The high-performance, cost-effective wide format printers with a sustainable edge.

The high-performance, cost-effective wide format printers with a sustainable edge.

GO TO WWW.IMAGEREPORTSMAG.CO.UK FOR THE FULL STORY…

z Durst joins EcoPrint Summit 2023 as premier partner

z Onset X3 HS to get European show debut at Fespa Global

z QPS offers new ColorJet Verve Mini

z Innotech product catalogue integrated into Clarity MIS

z Kavalan joins DGI

z Eurolaser to show new camera system on 3XL-3200

z EFI gets new CEO as it splits from Fiery

z Fujifilm extends its inkjet pigment dispersions colour range

z Echo House beta site for Fujifilm Acuity Ultra Hybrid LED

z New solvent-free adhesive from Avery Dennison

z ISA-UK brings out guides to best practice

z Cestrian achieves EcoVadis silver rating

z WTTB launches same day branded merchandise service

z Nutec Aquamarine ink gets Eco Passport certification

z Siegwerk collaborates on deinking trials

z BSI calling for industry involvement in ISO meetings

z Josero adds Fujifilm Acuity Prime to portfolio

z YPS to sell the Agfa Anapurna

z CorelDraw Graphics Suite updated

z Lack of EPR preparedness laid bare in a new survey

z HP and Rapidity join Two Sides

z Integration Technology rebrands

z 3M MCS warranty for TrueVis VG3 and SG3

z Jetrix to support Photo Oxford Festival

z printMax named Roland’s most successful UK dealer 2022

z Premier grows Scottish hub

z Pantone adds 229 colours its matching system

z KGK Genix sponsors air ambulance initiative

z Megnajet invests to meet growing demand

z GMG OpenColor and ColorProof made more powerful

z GIS expands Konica Minolta printhead support

z Xaar extends schools collaboration

z Brett Martin announces partnership with Keencut

New report confirms MacroArt sustainability strategy is working

An independent report by Green Circle Solutions has highlighted the significant reductions in carbon emissions MacroArt has made through its sustainable strategy.

The key benchmark in the report that allows consistent year-on-year measurement of carbon emissions is CO2e per m2 of material. This has been steadily decreasing since 2019 and now stands at a 24% reduction and shows that MacroArt remains on track towards the fundamental goal of reducing its carbon footprint by 50% by 2030.

Data from the new report shows the impact of sustainability initiatives across the business. These include more environmentally friendly and responsible material sourcing, greener production and installation methods, highly focused waste

streams for improved recycling, and fully audited waste management with zero to landfill.

MacroArt has also recently invested in several new software programmes, which allow for a seamless processing of artwork files through production without the need for manual intervention. In addition, more efficient new equipment purchases have helped to both reduce waste throughout the production process and maximise efficiencies in material and energy use.

David Humphreys, director at Green Circle Solutions, added: “I am extremely impressed by the commitment of the team at MacroArt. It is rare to find a business so open to understanding its true environmental impact and using this insight to establish a basis for continued real change and improvement.”

Direct-to-film printers launched by Mimaki and InkTec

Mimaki has launched its first direct-to-film (DTF) inkjet printer, the TxF150-75, aimed at the apparel market. It made its show debut at Printwear and Promotion Live! in February, as did a DTF printer from InkTec.

Mimaki has created a range of Oeko-Tex Eco Passport certified PHT50 water-based pigment inks for this new DTF system, which will be commercially available via Mimaki resellers from April 2023.

Based on Mimaki’s 150 Series, the TxF15075 has a built-in ink circulation system and degassed ink pack design help prevent common DTF issues. There’s also a nozzle check unit and

Epson adds to SureColor SC-T and SC-P ranges

Epson has added 24in and 36in models to its SureColor SC-T range of large-format technical and poster production printers. It has also added of three 24in models to its existing 44in printer in the SureColor SC-P series.

With the new additions, the SureColor SCTx700 series now consists of the original 44in SC-T7700D (dual roll), a new 44in SC-T7700DL (dual roll with 1.6L ink pouches), the 36in SC-T5700D (dual roll) and three 24in models - SC-T3700E (single roll, no Adobe PostScript), SC-T3700DE (dual roll, no Adobe PostScript) and SC-T3700D (dual roll).

The SC-Tx700 printers use Epson’s 6-colour UltraChrome XD3 all-pigment inks, including a red.

Based on Epson’s Micro TFP PrecisionCore printhead technology, many products in the extended SC-Tx700 Series also feature the company’s Variable Sized Droplet Technology and Nozzle Verification Technology, together with Adobe PostScript as standard.

The three new 24in SureColor SC-P models are the SureColor SC-P6500E (single roll), SC-P6500D (dual roll with PostScript) and SC-P6500DE (dual roll). The 44in SureColor SC-P8500DL also joins the 44in SureColor SCP8500D to form the SureColor SC-Px500 Series.

All the machines in this SureColor SC-P series use the company’s 6-colour UltraChrome Pro6 pigment inks, which now includes an additional grey. The SC-P8500DL includes 1.6L built-in ink packs

Delivering print speeds up to 18m2/hr, the printers feature a printhead that is protected from dust and particulates, and have enhanced IT and security features, which include NFC security protection, plus encrypted PIN and passwordcontrolled access.

As ease of use is a key requirement, the SC-Px500 Series printers have been designed to be simple and intuitive to operate, through a customisable 4.3in touch panel.

nozzle recovery system. The printer is supplied with Mimaki’s RasterLink7 Rip software, InkTec’s new DTF offering comprises printer, inks, film, shaker and powder. MD Joey Kim said of its introduction: “We have been watching closely the development of DTF printing and its rapid expansion over the last year or so. However, for us, it has been important to ensure our South Korean based research and development team took their time to properly create and manufacture an ink and film that stands up to our stringent quality and testing control. As a result we could not be happier with our DTF inks and film.”

Soyang opens demo facility

Soyang has opened a new demonstration facility at its European HQ is Accrington. The facility will run in the style of a print house, with systems ranging from narrow-width machines up to the 5m-wide Fujifilm Acuity Ultra R2 - which Soyang has been selling since last spring - in addition to finishing equipment and media.

“It’s not just a normal demo site where you’ll go and see machines - you’ll see an actual facility with 1.5m square metres of material in it,” said Soyang Europe managing director Mark Mashiter. “It’s not just about machinery, it’s about the media as well and, specifically, the right media for the right printer.

“We want to be different - the printers will be used all the time as we will be producing our own samples, so there will always be something running in the demo room.”

The new demo centre is being overseen by Gareth Newman, who joined Soyang Europe as technical applications manager earlier this year.

Vivid is exhibiting at FESPA

GLOBAL PRINT EXPO 2023

Visit Vivid on stand A2-D50

With sizes starting from 1800mm x 1600mm, the VeloBlade Nexus is a range of wide-format digital die-cutting systems that operate seamlessly with substrates up to 25mm in thickness. Including; dibond, MDF, fabrics, acrylic and much more! Opening up a vast array of markets for your business to operate in and enabling you to create endless amounts of products with exciting varying materials.

VB-N-1816

VB-N-2516

VB-N-3016

POS/POP/FSDU DISPLAYS

PPE/PROTECTIVE SCREENS

PACKAGING INDOOR SIGNAGE VINYL STICKERS

OUTDOOR SIGNAGE & MUCH MORE!

Roland DG on printer launch roll

Roland DG has brought out its first water-based resin ink printer, the AP640, amid an extension to its TrueVis printer range which now comprises 10 models with a new LG and MG series.

The four-colour TrueVis AP640 has a maximum print width of 63.5in and accepts media 10.2in - 64in in width. The print resolution is 1200dpi, with printheads arranged in a dual, staggered formation with an optimizer printhead that preps the media surface. It uses Greenguard Gold certified TrueVis Resin Inks and comes with VersaWorks 6 Rip software and Roland DG Connect print operation app.

There are five UV-LED print and cut devices in

SAi releases EnRoute 23

SAi International has introduced EnRoute 23 - the first major upgrade since EnRoute 7. Along with more than 20 new features, SAi’s EnRoute 23 CAD/CAM design software is the first iteration of a new product strategy of annual updates and refinements

Among the most notable new features of EnRoute 23 are:

- Setup Manager, which enables users to configure the menus and tool bars of EnRoute 23 to display the tools necessary for specific jobs, giving a clean, custom dashboard for ease of use. These custom configurations can be saved for repeat jobs.

- New profile tools. SAi has also added sample tools to the tool library to enable users to quickly begin using them. In addition, DXF and PDF files can now be used to define tools by users.

- Simulation of profile tools, which enables users to ensure that results are what they expect before cutting by displaying a graphic representation of the toolpath.

- Corner fine capability is built into Hatch, Island, and Spiral fills and enables the selection of smaller radius (ball-nose) end mill tools to achieve sharp internal corners.

There is also no-lift tool pathing, colour and centerline vectorisations and improved nesting.

the new LG and MG series - the LG-640, LG-540, LG-300, MG-640 and MG-300 - offering print widths of 64, 54 and 30in. Apart from CMYK the inks choice includes white, red, orange and a gloss and primer, all Greenguard Gold certified. Again, the VersaWorks 6 Rip software and Roland DG Connect app are included.

The company has also launched its TrueVis product wizard to help potential printer buyers identify best-fit products.

Also new is the EU-1000MF UV flatbed printer. This has a four zone electronic vacuum bed with alignment pins and can print onto substrates up to 2,440mm x 1,220mm and with a maximum

height of 95mm. The maximum print resolution is 720 x 1,200dpi.

It can be configured as a 4-colour machine or 6-colour (inc. white and gloss) and uses Greenguard Gold-certified E-US UV inks. The 2.5l ink tanks can be filled on the fly. A SAi FlexiPrint Plus Roland DG Edition Rip comes as standard.

Roland DG has also announced a new DGXpress printer brand - what Kevin Shigenoya, business division VP, described as “a limited area brand that focuses on high productivity at an easy-to-install price.” The first in the series are the DGXpress UG-642 and UG-641 UV printer-cutters. The series is not available in the UK.

PrintIQ adds 30+ features in latest software release

Version 46 of printIQ’s cloud-based MIS has more than 30 new features. The highlights include: a ‘Sign Off’ app that allows mobile phone users to upload information directly to a job bag, review, check and sign off LFP and signage jobs; an ‘Outsource Portal’ that allows for the delivery of artwork and purchase order details; an ‘IQ Link’ that allows customers to collaborate with fellow IQ users to offer products not

PFI acquires Novum Graphics

The PFI Group has acquired Novum Graphics, which it has relocated from Stratford in London and merged with Maidstone-based Speedscreen, which it acquired in June 2022.

Tim Hill will head up the new Novum Speedscreen operation, with Emile Melki, the MD of Novum Graphics also on board.

Hill said of the move: “We are all really pleased with the seamless integration of Novum with Speedscreen - up and running all kit within two days. The combination is a powerful one and I certainly am excited with this next chapter in my 38 years of being part of Speedscreen. PFI is becoming a real powerhouse in the industry.”

Premier opens new Wellingborough branch

Premier has moved its Northampton branch to a bigger stockholding facility in Stanton Cross, Wellingborough. The premises features a 4180m2 warehouse has a capacity for more than 4,000 pallets of substrate.

The Wellingborough site will also house a Schelling FK6 plastic and composite panel saw, a Cauhe GH 366 heavy-duty guillotine and a Streibig saw to enhance the Premier’s ability to cut products such as Plexiglas, Foamalux, ACM, Marlon FSX etc. to customer requirements.

The new branch is the latest in a number

of significant investments at Premier aimed at improving its offering to UK-based customers - in 2021 Premier opened a new branch in Haydock, servicing the North West of the country and recently expanded its operations in Glasgow.

Chris Stanyon, Premier operations director, said: “The new Wellingborough site not only improves our ability to service customers, it has also created a number of jobs. It has electric car charging points, which, given the site’s proximity to major road networks, means that it will become a hub for some of Premier’s commercial activity.”

currently manufactured in-house; and advanced functionality with Infigo for live pricing and stock control, plus ‘Push’ for dynamic updates in Infigo storefronts.

Other features include an approve module, data capture, commissions, promotional products, single product creation quick ordering, expanded stock options, new dispatch/shipping, capacity planner updates, APIs and Webhooks.

Ultraflex Europe becomes Agfa reseller

Cambridgeshire-based Ultraflex Europe is to sell Agfa large-format print engines, associated software and consumables.

The reseller - which has a 1,672m2 warehouse in St Neots - has been supplying digital print media since 1994 and accelerated its growth when it acquired customer Mayday Graphic Products in 2020.

Clint Green, MD of Ultraflex, said of becoming an Agfa reseller: “This is a logical addition to our product portfolio, especially as Mayday Graphics had lots of experience in the supply of print engines. We wanted to move forward with an established brand name in the wide-format market. Agfa offers us a range of print engines that will suit different requirements and we know that Agfa are highly praised by their customer base. They also have an exceptional team of support engineers to assist with installation and are quick to call out to any follow up issues.”

Paul Fitch, head of inkjet at Agfa UK and Ireland, added: “Having a reseller with such a broad reach of contacts, especially across the south of England, will allow us to tap into a wider base of customers to talk about the Agfa brand. Ultraflex Europe is a very knowledgeable media supplier with a great reputation for quality products and technical expertise. I am looking forward to working with them and developing our business together.”

UFABRIK OPENS NEW DEDICATED PRODUCTION FACILITY TO SERVICE US MARKET

UFABRIK, THE LEADING MANUFACTURER OF SUPER-WIDE DIGITAL TEXTILE MATERIALS FOR DISPLAY GRAPHICS HAS OPENED A NEW STATE-OF-THE ART PRODUCTION FACILITY IN CHONBURI, THAILAND. THE UNPRECEDENTED SUCCESS OF THE UFABRIK BRAND AS THE LEADING SPECIFIED MATERIAL IN THE UK AND EUROPEAN MARKETS, COMPELLED FURTHER INVESTMENT IN PRODUCTION CAPACITY TO REPLICATE ITS ASCENDANCE IN THE US.

UFabrik Manufacturing is jointly owned by Robin East, Jon Price, and BingXin Wang. East and Price are also the founding directors of CMYUK, the UK’s largest supplier of digital textile materials and wide format production equipment, and the most successful top performing distributor in EFI’s history. BingXin Wang is one of the largest and most influential global producers of printing textile materials.

The development of the UFabrik brand began six years ago with a curated collection of display graphic materials that provide solutions for 95% of applications required for the exhibition, events, and retail markets. Available in in 3.2m and 5m widths, UFabrik represents high performance innovation compatible with all leading global wide-format UV, Latex and dye sublimation technologies including EFI, Durst, Agfa, Mimaki, HP, and Canon.

The progression of UFabrik’s manufacturing capability is set to exploit the growth of textile production in the US. According to the U.S. Digital Printed Textile Market

Size, Share & Trends Analysis Report by Application (Home Textile, Apparel, Industrial, Soft Signage) Forecast, 2022-2030, the  size of the US digital printed textile market is estimated to hit USD 2.519 billion by 2030 and register a CAGR of 15.9 per cent. The increasing demand for soft signage applications is providing greater opportunities for digital printers, which are expected to drive market uptake.

The new factory at Chonburi in Thailand, a greenfield site developed for world class manufacturing, boasts a number of high-tech innovations. Additional UFabrik management, sales and marketing teams for the US have been appointed.

US ROUTE TO MARKET WITH LEXJET

UFabrik has established strategic offices and warehouse logistics facilities in the states of Texas, New York, and Nevada, and has recently appointed LexJet, part of the S-One Group, as its exclusive North American distribution partner.

“To ensure that customers benefit from the unparalleled quality and consistency of our manufacturing, we needed a partner that has the scale to stock and fulfil the fastest delivery for all customers in any state,” said Robin East, UFabrik Commercial Director.

“LexJet’s customer engagement is second to none. It offers an elevated experience of product specification, application positioning and educational video tools through a bespoke portal that engages with their CRM and multiple social media platforms. This stood out uniquely for us – a partner with parallel aspirations to ourselves – utilising innovative digital solutions to better serve and account manage customers,” he added.

“UFabrik is a highly innovative and disruptive portfolio that is transforming the textile industry. With its cuttingedge technology, UFabrik is poised to revolutionize

UFABRIK REPRESENTS HIGH PERFORMANCE INNOVATION COMPATIBLE WITH ALL LEADING GLOBAL WIDEFORMAT UV, LATEX AND DYE SUBLIMATION TECHNOLOGIES

[L to R] Robin East, BingXin Wang, Jon Price World class manufacturing

UFabrik’s manufacturing capability is set to exploit the growth of textile production in the US.

the way we think about textile manufacturing and distribution. As the exclusive distributor for UFabrik in North America, we are uniquely positioned to leverage our expertise and market reach to accelerate the adoption of this technology across the continent,” said Justin Lehman, S-One Holdings Chief Revenue Officer.

Qualified North American customers can procure palletised consignment orders to ensure efficient stock control management for national campaigns. Bulk consignment stock ordering reduces high transportation costs, while less deliveries equates to a lower carbon footprint. This type of ordering safeguards against depleted inventories as stock levels can be replenished automatically or topped up at any time. A greater level of flexibility also enables large production businesses to cope with non-forecasted peak business periods.

UFABRIK VERSATILITY

The UFabrik range is designed for multiple market applications such as backlit, frontlit, blockout, backdrops, wall wraps, banners, flags, canopies, tents, gazebos and more. It includes proven eco-responsible textiles constructed from recycled post-consumer waste reflecting the demand for environmentally responsible, high performing, well-priced materials from global brands that have a requirement to meet sustainability goals.

EFI VUTEK TRANSITIONAL SUPPORT

To ensure the North American EFI VUTEk installed customer base achieves immediate out-of-the-box success with printed textiles, UFabrik has collaborated with EFI to ensure that all its colour profiles are available on the Fiery XF RIP and can be accessed directly from the Fiery Profiles Updater.

UFabrik colour profiles are available for the following 3.2m and 5m wide EFI VUTEk UV LED printers:

• Dedicated roll printers – EFI VUTEk Pro32r+, Q3/5r series

• Hybrid – EFI VUTEk Pro 30h, h3/5-series, and HS125 Pro

Colour profiles for the EFI VUTEk FabriVU 340i and next generation FabriVU 340i+ dye sublimation printers are also available through the Fiery XF RIP. To ensure the ultimate recipe for colour reproduction and textile stability, UFabrik has produced a settings guide

QUALIFIED NORTH AMERICAN CUSTOMERS CAN PROCURE PALLETISED CONSIGNMENT ORDERS TO ENSURE EFFICIENT STOCK CONTROL MANAGEMENT FOR NATIONAL CAMPAIGNS

UFabrik distribution centre Dallas

that includes specific printer speeds, inline fixation temperatures, and tension controls for its materials.

In addition, the UFabrik technical team is working with multiple RIP developers including Caldera, Onyx and Rasterlink to provide a full set of colour profiles for all leading global wide-format UV, Latex and dye sublimation technologies including Durst, Agfa, Mimaki, HP, and Canon.

Said Robin, “UFabrik will provide the North American market with premium performance, quality textiles that also offer viable eco alternatives. Our warehouse logistics infrastructure enables us to provide very significant levels of stock consistency to the region, while our partnership with LexJet will introduce unparalleled levels of state-to-state availability and delivery, previously unseen in the US.

“There are tremendous opportunities within the digital textile markets in both traditional and non-traditional areas. UFabrik materials have already been endorsed by global equipment brands and we are confident by concentrating on the North American market, it will become the market-leading specified entity here too.”

THE UFABRIK RANGE

The UFabrik range is designed for multiple market applications such as backlit, frontlit, blockout, backdrops, TFS, SEG, wall wraps, banners, flags, canopies, tents, gazebos and more. Innovative and

UFABRIK HAS COLLABORATED WITH EFI TO ENSURE THAT ALL ITS COLOUR PROFILES ARE AVAILABLE ON THE FIERY XF RIP AND CAN BE ACCESSED DIRECTLY FROM THE FIERY PROFILES

UPDATER

Colour profiles for all leading global wide-format UV, Latex and dye sublimation technologies.

sustainable, some products within the range are made from recycled single-use plastic waste, all other materials are polyester-based meaning they can be recycled or processed through waste-to-energy conversion. UFabrik offers vibrant colour reproduction and high-quality performance. Its range of applications, attractive price point and sustainable focus means that it has become the most popular choice for exhibitions and event work.

UFABRIK BACKLIT ECO TEXTILE

UFabrik Backlit ECO Textile is an innovative backlit textile produced from 100% recycled PET plastic bottle waste. Manufactured to the highest standards ensuring stunning backlit and frontlit applications, it is top coated for use with UV or Latex inks and ensures brilliant colour reproduction. Crease and wrinkle-free on tension with no bruising or marking when folded, it’s the ultimate material for all backlit applications in retail, event and exhibition graphics. Flame protection: DIN 4102-1-B1 & EN13501. This textile is also REACH, Global Recycled Standard certified and complies with the California Proposition 65.

UFABRIK BACKLIT TEXTILE

A 100% polyester textile suitable for the production of backlit and frontlit graphics, and compatible with UV, Latex and solvent inks to provide the ultimate in colour reproduction. It is crease and wrinkle-free on tension with no bruising or marking when folded, making it the premium material for all backlit applications in retail, event and exhibition graphics. Flame protection: EN13501-1, DIN 4102-1-B1, NFPA 701 Test1, JIS L 1091.

UFABRIK CANVAS TEXTILE

UFabrik Canvas is a 100% polyester canvas textile that is perfect for art reproduction and one-piece graphic wraps. With a bright, white print surface that has a

two-layer coating, this canvas can be used with UV, Latex and solvent inks resulting in the most vibrant large format graphics. This textile has a unique, double coating that ensures superb colour reproduction. It consists of a top layer for ink reception and a bottom coating that ensures durability.

UFABRIK OPAQUE ECO TEXTILE

UFabrik Opaque ECO Textile is an innovative blockout textile designed for ultimate colour reproduction with UV and Latex inks. It has a unique white print face made from 100% recycled plastic bottles and has a grey and black woven reverse made from polyester, which ensures complete blockout plus total scratch and scrub resistance. This is a highly sustainable textile comprising 50% recycled content with 100% recyclable afterlife. Flame protection: EN13501-1, DIN 4102-1-B1, NFPA 701 Test1. This textile is also REACH and Global Recycled Standard certified.

UFABRIK SOFT BACKLIT TEXTILE

The very latest in dye-sublimation backlit printing, Ufabrik Soft Backlit Textile is a 5.6 oz/yd 100% woven polyester textile designed specifically for backlit applications. A unique weaving process in its production ensures no pin holes and no need for a top coating.

UFabrik Soft Backlit has an unrivalled white point with a soft and natural handle offering unparalleled image output. It is foldable, crease and bruise-free. Flame Protection: B1, EN13501-1 & NFPA 701.

UFABRIK WALLCOVER CANVAS ECO GREYBACK

UFabrik Wallcover Canvas Eco Greyback is made from 80% minimum recycled plastic bottle SCS certified post-consumer waste. PVC-free, REACH compliant, reusable, and recyclable, it is the most environmentally friendly grey-back canvas for stretch graphics, one-piece paste-the-wall applications, wall coverings and roll-ups.

UFABRIK WILL PROVIDE THE NORTH AMERICAN MARKET WITH PREMIUM PERFORMANCE, QUALITY TEXTILES THAT ALSO OFFER VIABLE ECO ALTERNATIVES

UFabrik sample binders

UFabrik ECO display box

DIN-4102 (B1) and EN13501-1 fire rated too, it also has SCS Indoor AdvantageTM Gold certification, which means it contributes to better room air quality. It also meets the DIN EN 12956 standard for dirt repellence and scrub resistance.

UFABRIK SOFT BLACKBACK TEXTILE

UFabrik Soft Blackback Textile is a high quality 100% knitted polyester textile that has a blackout coated reverse. Developed to be the supreme direct and transfer dye-sublimation blackback with a perfectly balanced stretch and softness ratio. It is ideal for expo walls, frame wraps and high-quality backdrops for retail and events. UFabrik Soft Blackback Textile has a bright white print surface with an anti-scratch black backing. Flame Protection: B1, EN13501-1 & NFPA 701.

UFABRIK SOFT DISPLAY TEXTILE

The consummate soft and crease-free display textile with a high knit density accounting for over 80% opacity. Designed for tension frame systems, banners and tablecloths, it is compatible with dye-sublimation direct or transfer processes. UFabrik Soft Display Textile has an excellent white point, superb stretch and recovery plus vibrant colour reproduction. Flame Protection: EN13501-1, B1 & NFPA 701 certified.

UFABRIK ULTRA STRETCH TEXTILE

UFabrik Ultra Stretch Textile is an opaque two way stretch textile made up from 85% polyester and 15% Spandex. The textile, which is approximately 80% opaque, is crease-resistant and easy to handle, making it ideal for stretch pop-up, hop-up and snake systems. Other applications include table and chair coverings, sculptural and acoustic arrangements. Flame protection: B1.

UFABRIK FLAG AIRMESH TEXTILE

UFabrik Flag Airmesh Textile is a lightweight and

tearproof knitted beach flag textile with holes patterned into the fabric for efficient airflow. Designed for barrier jackets and flags, it can be printed dye-sublimation direct or transfer. Flame Protection: EN13501-1, NFPA 701 & B1.

UFABRIK FLAG TEXTILE

A 3.2 oz/yd knitted flag textile designed for waterbased dye ink. UFabrik Flag Textile can be printed with dye-sublimation, direct or transfer. It is tearproof and designed for all flag applications. The material is certified to fire standards B1, NFPA701 & EN13501-1.

UFABRIK TENT TEXTILE

UFabrik Tent Textile is a heavyweight woven textile that is both water and airtight. It features a lotus effect print face making it the preeminent textile for gazebos, marquees, canopies, tents, and outdoor event graphics. It also boasts 80% plus opacity – highly advantageous to these types of applications. UFabrik Tent Textile is designed for direct or paper transfer without any ink offset when wet and can be stored without issues. Flame Protection: B1 & NFPA-701.

UFABRIK BEACH FLAG BELT BLACK

UFabrik Beach Flag Belt Black is designed as an effective component for quickly edging a strong elasticated fringe onto a flag. This material is made from 100% polyester and is fully REACH compliant.

UFABRIK SILICONE PROFILE

The original 100% silicone Keder that is almost universally used throughout the global print industry for SEG graphics. UFabrik Silicone Profile is available in the most common industry standard size (14mm x 3mm) but 12mm and 9mm width profiles are also available. REACH compliant, it is a proven popular eco solution that can be recycled and safely incinerated after use.

Manufacturing Facility: 616/2 Moo.5, Mae Nam Koo Pluakdaeng, Rayong 21140. Thailand

European Office: Building 329, Suite G4, Doncastle Road, Bracknell, Berkshire. RG12 8PE. UK

North America: 12855 Valley Branch Lane, Farmers Branch, TX 75234. USA

28 Track Dr, Binghamton, NY 13904. USA

840 E. Glendale Avenue, Sparks, NV 89431. USA

sales@ufabrik.com

www.ufabrik.com

UFabrik online digital sample binders

START YOUR DTF JOURNEY WITH INKTEC

DTF Printer

DTF Powder Shaker with Air Purifier

Range of high-quality DTF Inks in CMYK plus White

DTF Film

Hot-Melt Adhesive Powder in Black and White

B2

FESPA IN FOCUS

MESSE MUNICH IS READYING FOR FESPA GLOBAL PRINT EXPO 2023, SO WHAT CAN YOU EXPECT WHEN YOU GET THERE?

There are some notable changes at Fespa Global Print Expo this year, which at the time of writing (late March) already had more exhibitors signed up than took part in 2022. Still a couple of months out from the show over 490 companies had already committed to taking part across the main event, a new Personalisation Experience, and the now established co-hosted European Sign Expo - this compares with 378 exhibitors on site at Fespa 2022.

Fespa CEO Neil Felton confirmed that not only are more than 95 exhibitors returning for the first time since the pre-Covid show of 2019, but that 78 are also exhibiting at the event for the first time. So, will you too be drawn to Messe Munich in May - and will you be rubbing shoulders with a different demographic than at previous iterations given the organiser’s hope of attracting a wider audience.

“Our core proposition as an event focused on speciality print has not changed, so we expect the majority of visitors to be drawn from the print and sign community, with all the diversity that represents,” says Felton. But he adds: “With our new Personalisation Experience, which is co-located within Fespa Global Print Expo, we’re aiming to attract brand owners, agencies, consultancies, retailers and membership organisations, and of course printers in the packaging, interior décor, sportswear and loyalty marketing verticals.” He points out that visitors to this will also gain free access to the main show and European Sign Expo 2023.

So what’s the Personalisation Experience all about - and is it for you? Running with the strap ‘New

AT A GLANCE

Fespa Global Print Expo 2023

Where:

Messe Munich (West Entrance), Germany

When: 23 - 26 May, 2023

Times: 10am - 6pm, Tuesday - Thursday, 10am - 3pm, Friday

Cost: Various depending on whether or not you have a promotional code. 80 Euro on the day.

Perspectives’, it comprises a three-day conference programme focused on personalisation in four key vertical markets - interior décor, packaging, sportswear/ fashion and loyalty marketing. The presentations will delve into the psychology of personalisation, how to embed personalisation into customer experiences, and technologies enabling personalisation.

Richard Askam, TEDx speaker and Fespa’s personalisation ambassador, will be the moderator for the event, which is slated to have more than 50 speakers. So far confirmed speakers include: Frank Thomas Piller, Professor of management and head of the Institute for Technology and Innovation Management at RWTH Aachen University; Paul Currie, retail executive and chairman of YPP Group; Debbie McKeegan, British designer, CEO of Textintel and Fespa’s textile ambassador; Sabine Huijskes, innovation manager, Moonpig/Greetz Group; and Chloe Combi, author and expert on Gen Z and Gen A. The agenda can be found on the event website.

Within the Personalisation Experience, a Personalisation Zone will offer delegates a lounge and retail area where they can go through the process of defining, ordering and collecting personalised items delivered by participating exhibitors.

“Personalisation has been a hot topic within our community for some time. Now we’ve reached a tipping point where the creative and technical capability is matched by widespread and immediate demand,” says Duncan MacOwan, Fespa’s head of marketing and events. “Consumers everywhere want experiences that are personalised, instant, and augmented. Brands that embrace personalisation are sharpening their competitive edge, creating value and increasing market share. With the launch of Personalisation Experience, we want to help delegates grasp the commercial value of personalisation by hearing actual business cases and seeing real-time customisation in action.”

Another hot topic of course is sustainability, so as you’d expect, the Sustainability Spotlight feature returns this

year, but, perhaps more surprisingly, without a seminar programme this time around - more on that below. First, let’s point out what you will get, which is a material showcase, highlighting sustainably produced applications to help printers make more environmentally conscious choices. Each submission from suppliers will feature an information card with further detail about the materials used in the application.

The material showcase will follow the same format as in 2022 and will all be available in one dedicated space. Of course, exhibitors will also be showing sustainable technologies and materials on their stands throughout the exhibition halls.

At the time of writing it is too early for Fespa to confirm which exhibitors and products will be part of the showcase, but it confirms it’s working with Reboard for the feature build again, and that there will be an increased focus on environmentally responsible textiles.

So what of the decision to take the seminar programme out of the Fespa Global 2023 Sustainability Spotlight?

Felton is at pains to point out that this has not been scrapped, but moved online: “Acknowledging the scope of the topic of sustainability, and mindful of our launch goal of providing useful, informative and actionable advice to address the needs of people, planet and profit, it makes sense to expand the reach of Sustainability Spotlight by providing free and universal access to an online hub which hosts all our content on this topic, rather than providing a physical seminar programme that is limited to visitors to the show.

“Feedback from visitors in 2022 was that they found it hard to attend at-show seminars last year due to conflicting commitments while at the event. To make it easier for our community to access the same kind of expert insights, we are introducing a new, on-demand video series hosted by Graeme Richardson-Locke in conversation with suppliers, print service providers and sustainability experts, delivering insight on how to make businesses and print processes more environmentally friendly. These will be available alongside a variety of written content such as the Fespa Planet Friendly guides, articles offering practical guidance on implementing environmental performance improvements, and case studies highlighting the companies leading on sustainability in our industry.

“At Fespa Global Print Expo 2023, visitors can explore a showcase of sustainable substrates, as well as take a break from the show floor and sit in the Sustainability Spotlight area to view a sustainability content feed on a screen set up. Although not the focus, sustainability will also be covered in the dedicated ticketed conference alongside the Personalisation Experience exhibition space.”

Also moving online is the Printeriors feature that has had a physical presence within the Fespa Global Expo for some years now. Felton says: “We reached the decision to host a virtual showcase for Printeriors in early 2023, following consultation with Debbie McKeegan and our event and feature partners.

“The Printeriors microsite, which will be hosted on Fespa.com, provides an ‘always-on’ online resource and will build on the application stories for the products that have been created over the lifetime of the physical Printeriors showcase. This allows us to highlight the product information in the form of mini case studies,

detailing the production methods, technologies used, substrates etc, as well as delivering a central platform that hosts articles/videos/podcasts on the interior décor opportunity and how printers can expand into this market. The purpose of the digital showcase is to extend the value of the feature beyond the event, giving our entire community access to an educational content platform whenever they need it.

“While Printeriors will not be present in the same physical format as at recent shows, there will still be many elements of printed interior décor throughout the exhibition. For example, visitors can see products from previous iterations, such as furniture, cushions and other accessories, in the Personalisation Zone lounge within Personalisation Experience and in the Club Fespa member networking area.”

Felton adds: “Printeriors is just one example of a Fespa product that is relevant to markets beyond our primary audience. We’ve had really good feedback from our speciality print community on the Printeriors showcase. Many of these businesses are already active in the interior décor market or are looking to expand into it. However, interior décor is not our key sector and, of course, interior designers are served with their own trade-specific exhibitions. Therefore, it’s understandable that a designer may not travel to a Fespa event for Printeriors alone.

“We have a strong database in the décor market, so the online Printeriors platform will make it easier to deliver educational and explanatory content to the interior design audience, without the expectation that they will attend a live event. We are also further engaging this community with our Personalisation Experience conference programme, which will zone in on interior décor as a key growth market.”

Debbie McKeegan, who has been heavily involved in the decision to host Printeriors on a virtual platform, is responsible for developing and curating content hosted on the microsite which is launching pre-Fespa Global Print Expo 2023. It will look at the applications that have been developed for Printeriors since its launch. Therefore, all companies previously involved in Printeriors will be featured, including Brother, CMYUK, Drytac, EFKA, HP, Imageco, Kornit, Mimaki, Premier Digital Textiles and SwissQprint. Alongside the product case studies, there will be content on interior décor market opportunity, ‘how to’ pieces explaining how certain products or effects can be achieved using print and finishing techniques, and testimonials from interior design businesses using print to bring their concepts to life.

What will most definitely be a physical feature at the show this year will be the World Wrap Masters. It’s back, with free training workshops, an expanded programme of demonstrations and the live action wrapping competition. On days one and two, European wrappers will be judged on a series of timed wrapping tasks, and on days three and four, regional competition finalists from around the world will join the winners of the European heat to battle it out for the title of ‘World Wrap Master 2023’.

Visitors will also again get the chance to see a display of work shortlisted for the 2023 Fespa Awards. This year 213 entries were submitted by companies from across 34 countries. The winners will be announced at a ceremony on 24 May. Oh, and there will the actual exhibitor stands! News of new wares and services will be published on the Image Reports as it becomes available…

WE WANT TO HELP DELEGATES GRASP THE COMMERCIAL VALUE OF PERSONALISATION

FESPA WRAP FEST

A new Wrap Fest 2023 event will take place at the Silverstone racing circuit in Northamptonshire on 26-27 April. The vinyl installation and vehicle wrapping event will include over 60 live wrapping demonstrations alongside a Wrap Talks programme.

Hexis, 3M, Adapt (with Profilm), Avery Dennison, APA, Grafityp, Spandex, William Smith, Innotech, Surfex (with FlexiShield and Teckwrap), HP and Metamark will provide wrapping demonstrations from their own pit garages in Silverstone.

Hexis will deliver live car wrapping and PPF demonstrations involving its products Hexis Skintac Wrap and Bodyfence PPF.

3M will discuss and demonstrate the nuances of how to wrap its Paint Protection Film and Print Wrap Film IJ280, as well as talkthrough the preparation and application of its colour change Wrap Film Series 2080, using 3M Knifeless Tape. Adapt, in partnership with Profilm, will run live demonstrations by its head of technical services, Eugene Voigt, using the Gloss, Matte and ProColor series.

APA will deliver a wrapping demonstration using new limited edition colours from its UltraJet Line.

Metamark, represented by Paige Walton, will demonstrate a wrap using products including MetaCast MCX, a new product offering 12 years durability

Surfex, which is partnering with Flexishield and

Teckwrap, will demonstrate the preparation process of wrapping and the limitations and techniques of wrap application and heating.

The Wrap Institute, the event’s official training partner, will also organise sessions on behalf of Fespa in its own pit garage.

Meanwhile, the free-to-attend Wrap Talks will feature some high-profile figures. TV presenter, podcaster and influencer Yianni Charalambous, owner of Yiannimize, will take part in an interview discussing how a chance encounter with an Arsenal footballer snowballed into becoming him becoming a celebrity car customiser.

In a talk titled ‘Caesar Salad Logic: Can I Take Your Order? Deceptively simple selling tips for sign shops and installers’, Justin Pate, founder of The Wrap Institute, will provide tips on how to optimise the sales strategy, while keeping customers happy. In a second session titled: ‘Going Within: Why interior wraps are the future’, he will talk about the key focal points for success and share an interior renovation project with the Amsterdam Loft Wrap Rejuvenation.

Professional racing driver and YouTube personality Archie Hamilton will lead a panel discussion exploring market trends and innovative projects. Joshua Stedford, Livery Magic, will discuss the creative process of developing a Livery, including tips on logo and decal placement, how to create a brilliant colour scheme, and how to

use a car’s body shape to your artistic advantage. Wrap entrepreneur Corey England, the founder of Devon-based company Wrap Capital, will discuss his Lamborghini Huracán fade wrap project being showcased on the Wrap Fest show floor.

Also due to speak are Suzi Ward from Fespa UK Association, and Jon Hutton from Prism Environmental, who will discuss the importance of prioritising recycling throughout the supply chain, given the increased demand from consumers for brands, retailers, suppliers and manufacturers to be environmentally astute.

In a session titled ‘Wrap to Race’, World Wrap Masters judge Mr Sunshine (aka Ole Solskin) will provide a technical description of what is needed to wrap a race car, exploring the crucial elements of consideration for a competitive wrap, such as wind flow and turbulence.

“After lots of hard work behind the scenes, we’re delighted to be able to share the details of our content-rich event experience. From the earliest planning stages, we were determined to provide attendees with a diverse array of content and experiences, from learning intricate wrapping techniques, to asking successful wrapping entrepreneurs in person. The interest from both brands and big industry names to be part of this event has been overwhelming, and we can’t wait to get started,” says Duncan MacOwan, head of marketing and events, Fespa.

MESSAGE TO MANUFACTURERS

GIVEN IT’S TRADE SHOW SEASON, WE ASKED A NUMBER OF LARGE-FORMAT PRINT CHIEFS WHAT TECHNICAL ADVANCES THEY’D LIKE TO SEE THAT WOULD IMPROVE THEIR BUSINESSES. HERE’S WHAT THEY HIGHLIGHTED.

How confident are you of finding the tech you want, at prices you can afford, among the myriad advances being shown this year at the various print trade fairs - and beyond? No doubt there’ll be developments of note as there always are in an ever-evolving marketplace, but are there particular gaps you’d like to see filled sooner rather than later? According to a straw poll of some of the sectors key players there certainly are, and here’s where…

Nick Lindwall, co-director at Ottimo Digital articulates what many think when he says “technology moves pretty fast, and it’s hard to say what developments we’d like to see in the future without someone else telling us that they’re already here!”

But he continues: “Digital wide-format print is a mature industry, with a fairly stable ecosphere of equipment manufacturers and software developers. This has enabled us to build a fantastic, bespoke MIS and digital workflow. I think the next logical step is to link our machines, workflow and people into one seamless system.

“We’re very nearly there with systems like the Esko Automation Engine, but integrating live machine data into our MIS would enable us to reach whole new levels of optimisation and automation. Currently, even machines from the same manufacturer use different software formats, so a unified protocol across all machines could deliver huge productivity boosts.

“Wide-format print production means managing countless variables, from short, medium and long runs, to all the different kinds and compositions of substrates, inks and finishes. Being able to access and adjust these factors electronically would allow us to exert fine-grained control over costs, reduce wasted materials and time, increase our productivity, and boost our overall equipment effectiveness beyond what we’ve been able to achieve with today’s technology and our custom MIS.

At Raccoon director Richard Clark is also on the hunt for better software support. “Over the past two years we have updated and added to our large-format print capacity, replacing two HP Latex printers with the latest 800W model. The addition of the white ink has enabled us to be more creative with our output, especially with window

graphics. In addition to the new Latex printers, we have also installed two Colorado 1650 UVgel printers, which provide great capacity and some great features, including double sided printing and the unique FLX finish which allows you to combine matt and gloss finishes within one print. This additional firepower has once again highlighted the one true bottleneck that still exists for nearly all large-format print companies, which is artwork preparation, pre-press and job submission.

“The industry is crying out for a software company to join up all of the dots and to provide an ‘out of the box’, affordable management system suitable for large-format and signage printers.

“We have had two frustrating years trying to implement such a system and are still nowhere near achieving our aims. The current software companies and third-party consultants just aren’t able to take a holistic view of the needs of a large-format print company and to bundle this into a easy to install and implement platform. They seem to lead you just a few feet away from the water and then disappear, leaving you to wonder what to do next.”

Software, and support, also continue to be issues for Ray Linford, technical manager at RMC, who says: “I think quality has reached its peak and speed is now king, which means more printheads, which means more costs and ever-increasing service support requirements. This needs to be addressed by the manufacturer, and not adapting a one cap fits all approach - more an individual customer-based system to suit individual in-house needs.

“Given the economic outlook I believe the time is right to invest in new technology to enhance your existing business and to open new revenue streams for future growth.

“Printer manufacturers are all pushing the latest tech, which is good and bad because the user needs a solid, proven workhorse that delivers customer orders on time and to the quality they expect, and with that the least amount of downtime - and that brings me to customer support, which to me is the fundamental cause of customer-tomanufacturer communication breakdown.

“The one issue I have with new tech is software reliability from printer launch to printshop - this needs to

WE WOULD LIKE TO SEE ALL INKS BECOME 100% VOC EMISSIONS FREE AND WIDELY AVAILABLE TO THE INDUSTRY

Simon McKenzie, Hollywood Monster

Richard Clark

Ray Linford

Mark Rose

Nick Lindwall

be addressed with swift updates and fast response to customer communication.”

For Mark Rose, operations director at MacroArt, “it would be great if recent significant advances in file processing software and print output devices - with increases in speed, quality and multi-use functionality of equipment that enable everyone to produce more print in shorter timescales - could be matched by developments in post-print activities in terms of automated devices.”

He continues: “Almost all the print we produce involves an element of finishing to transform it into a high impact and useable display. Currently, most of these enhancements are labour intensive, putting pressure on the post-production departments to match the increased output from the more efficient presses and processes. Thus, productivity is capped by the post-print element of any project.

“Addressing this imbalance in innovation will allow largeformat printing firms to maximise the huge improvements in productivity being delivered by today’s new presses and software integration.

“There are several key areas in which advances would have a marked effect on overall production efficiency. Take lamination - there is both a strong requirement, and a keen commercial opportunity, for the introduction of presses with an in-line lamination capability, either as an integral part of the equipment, or a retrospectively fitted addition. Thus, two processes can become one, and a more seamless production more readily achieved.

“Then there’s the stitch finishing of textiles. Whilst there has been progress in this area of post-production, the development of new technology, similar to that used in digital die cutting, could potentially lead to the creation of an automated recognition system that knows where the fabric is and automatically feeds it, rotates, and feeds again until the product is finished, thus helping drive greater efficiencies in the process.

“Weld fabrication needs looking at too. With the increased use of sustainably conscious new materials, additional challenges are being experienced by operators using machines not designed to handle them, having, for instance, to add promoting tapes to achieve the desired strength in the joins, which creates a more labour-intensive process.

“Existing weld fabrication equipment has always been labour intensive, with fixed beds and moveable stamps which can only fix a small area at a time before manual movement of the stamp is required to progress along the length of a join. The development of a mechanism that could feed materials automatically through a fixed stamp

would enable any length of substrate to be welded by way of a spooling system, and would dramatically improve productivity.

“Current digital die cutting equipment has, on the other hand, seen elements of innovation in recent years, offering multifunctionality and tool interchangeability. However, the sealed edge cutting of fabrics still presents problems, requiring a separate machine currently in the form of a laser cutting machine or hot knife. Again, the development of a digital die cutter that incorporates such a capability as standard would greatly improve productivity and efficiency in post-printing departments and would be a welcomed innovation.

“As mentioned previously, the increasing use of eco-friendly materials is a key element in the drive for sustainability that many in the print industry are pursuing. This strong progress needs continued innovation in the infrastructure for the treatment and re-purposing of materials to ensure that, as an industry, we can cope with both the capacity and the breadth of materials. Advancements here are a must and will ensure that businesses like MacroArt are able to provide the sustainable graphics and wide-format print our customers’ demand.”

Inks are a focus for Hollywood Monster CEO Simon McKenzie, who says: “When we think of our business, we would like to see the improvement of ink elasticity which would mirror those provided by the dye-sub machine. We currently spend too much time trying to colour match our 5m UV printer with our 3.2m dye-sub machine. These advances would increase productivity and allow us to package differently, reducing our carbon footprint when it comes to transport. We would like to see all inks become 100% VOC emissions free and widely available to the industry.”

Another very timely issue is brought up by Mark Bartlett, MD at Signbox, who points out that “unfortunately, this is the time of year most business owners dislike as it seems to coincide with their people looking for new jobs and handing in their resignation. This leads into the technology innovation that I would like to see most in our post-Brexit world and with the associated issues of finding, training and keeping good people. The more we can automate the better and I would happily invest if innovation in print, could replace the people we just cannot find.

“I know that HP produce some of the best large-format printing equipment on the market but also have a division selling 3D print technology. However, are the two aligned, and why not? If the production processes are similar then we could have one operator for both machines, effectively replacing our laser and router, which both demand separate skills and are on different platforms. The ability to ‘print and build’ from a single resource would be hugely beneficial for growth in our current employment crisis.”

Though wide-format print is now be deemed a mature market there’s clearly demand for ongoing technical development - and refinement in terms of how the technology is delivered and supported by manufacturers. Once the data is in from the 2023 Widthwise survey, currently being conducted by Image Reports, kit and systems suppliers will get a chance to respond to your technical concerns and wish list. Perhaps new introductions across the spring trade fairs will speak for themselves before that.

EVEN MACHINES FROM THE SAME MANUFACTURER USE DIFFERENT SOFTWARE FORMATS, SO A UNIFIED PROTOCOL ACROSS ALL MACHINES COULD DELIVER HUGE PRODUCTIVITY BOOSTS.

Nick Lindwall, Ottimo Digital

Simon McKenzie

Mark Bartlett

DISCOVER NEW PERSPECTIVES

AT EUROPE’S LARGEST FOCUSED PRINT EXPO

23 - 26 MAY 2023 | MUNICH, GERMANY

WIDE FORMAT PRINTING | FINISHING | SOFTWARE | SCREEN & DIGITAL MACHINERY | DÉCOR | SCREEN DIGITAL PRINT | GARMENT

DECORATION | TEXTILE PRINTING | SUBSTRATES | SIGNAGE OOH | CONSUMABLES | FAST FASHION | VEHICLE WRAPPING & MUCH MORE!

SAVE €30 ON ENTRY USING PROMO CODE* FESA337

REGISTER AT WWW.FESPAGLOBALPRINTEXPO.COM

PLATINUM SPONSOR

+

“ SPECIALISTS IN ALUMINIUM SYSTEMS”

SPIRIT-TEX FABRIC SYSTEM

OCTANORM SYSTEM

EXHIBITION STANDS

SPIRIT-FLEX TENSION SYSTEM

MUSEUM INSTALLATIONS

RETAIL DISPLAYS

www.spirit-displays com EML: info@spirit-displays com TEL: 0208 684 0455

A REVOLUTION IN FABRIC DISPLAYS WITHOUT STITCHED FINISHING COMPATIBLE WITH ALL PRINTING TECHNOLOGIES

FANCY PARAMETIC MODELLING?

COKER EXPO OWNER AND CEO ASHLEY COKER IS DOING IT. SHOULD YOU?

With the ever-increasing demand for customisation, 3D parametric modelling can help a PSP walk the walk. So says Coker Expo owner and CEO Ashley Coker, who has so far invested over £30,000 in creating an attractive proposition for clients and the business alike.

Coker explains: “In simple terms, parametric modelling is a method of creating 3D models that can be modified by changing specific parameters or variables. The use of software to enhance the process of providing artwork for print is an essential aspect of this approach. By applying artwork to the parametric models, print companies can provide customers with a realistic preview of what the final product will look like before printing.

“In addition to being an efficient way to provide customised products, parametric modelling can also enhance the customer experience as they can be involved in the process of creating their products, whether they are using an online website or traditional sales process. The ability to see a 3D preview of their product before it is printed can provide a sense of ownership, which can lead to greater customer satisfaction.

“At CokerExpo we have invested in this approach with our new Versalite range of display furniture. The furniture is manufactured in the UK and can be (within the constraints of the materials uses) any shape, any size and any colour. The CokerExpo.co.uk website already gives people the ability to configure the dimensions of their product while automatically updating the price according to their selected options.

“In the coming weeks we are launching new features to enable people to upload their own artwork files and view their customised product in 3D. They will be able to configure the face and top of the furniture with different artwork - files/colours/pred-defined templates - and even download 3D models that can be imported into other

3D design software used in more complex renders. Any optional extras are also included in the 3D model so the customer can understand exactly what they are getting. Need an internal shelf? No problem. Want rounded corners? No problem. Looking for extra supports for superior strength? No problem. Soon we hope to be able to configure ‘snap together’ models as well, so bespoke larger modular displays can be configured in real time.

“Our investment in 3D modelling thus far is in the region of £30,000, plus the work to integrate it into our website to get it in the hands of our users. That may sound a lot, but when you consider what we get from that investment the upside is remarkable.

“We didn’t start with 3D, we started with 2D models that we then extruded into 3D. Why, I hear you ask? Well, the benefit of this approach is that we get 2D cut files for our furniture range that are used to power the machines that manufacture the furniture itself. So this is full scale automation. The 2D models power the cutting machines and provide the user with exact artwork templates for their chosen dimensions. The 3D extruding process takes the exact 2D sizings and creates an exact 3D model for use by the website/design software.

“Another major benefit of this approach is our ability to provide hardware only to trade, so other printers can supply and fit their own artwork. Just let us know what size/shape/colour top furniture your clients need and we’ll get cutting.”

OUR INVESTMENT IN 3D MODELLING IS IN THE REGION OF £30,000. THAT MAY SOUND A LOT - BUT THE UPSIDE IS REMARKABLE

Furniture hardware

At the start of the year Fespa UK embarked on a series of Next Generation Networking Days for the print industry’s 18-30-year-olds, and subsequently formed a youth committee. So what are the expected ramifications for the sector’s youth, their employers and the industry at large?

talks to...

Suzi Ward,

Suzi, I assume you decided the run these Next Generation Networking Days because Fespa UK felt the large-format sector wasn’t getting the most from its youth - nor the youth from the sector in which they work. Is that accurate?

The hard facts are print and signage in general, not just wide-format but all the related sectors, have an ageing workforce and the young people working among us are too few and far between, which is why we think it is imperative to support companies who want to invest in their younger team members. By offering not only events solely for the next generation, but by forming our Next Generation committee we can try to understand their point of view and, hopefully, bridge the gap between the old and the new.

Have the networking days so far delivered what you expected?

The first two networking days in January were trial days and on each we had a maximum of eight attendees so that we could really get to know the them and spend time learning what they think to their roles, the companies they work in, and what they want to achieve for the future. The days were a mixture of a presentation and then some hands-on vinyl application to get the delegates interacting with each other and just having a bit of fun. Thanks to the support of Adapt and CVI Group we were able to deliver two small events that were informative yet relaxed and everyone who attended felt they got something from the day.

At our larger event on the 15 March we welcomed over 40 delegates from both member and non-member companies, and we were lucky enough to have the support of Compass Business Finance, Vivid Laminating, All Print Supplies and HP. This networking event was solely for people aged between 18-30, the aim was to provide a safe non-competitive space to help the younger generation (who are often overlooked when it comes to networking events) to build their confidence, grow their

network and hopefully take back some new ideas that they could implement into their own job roles and the company they work in.

The day opened with a motivational presentation from former ‘The Apprentice’ winner Mark Wright, then followed a Q&A session with our supporter panel, where delegates were encouraged to ask questions about how the supporters had developed their own careers. After lunch we had an amazing workshop with Colin Sinclair McDermott, aka The Online Print Coach, who as a previous print business owner had a wealth of business coaching experience to pass on to our delegates.

How important was it that you managed to attract the likes of The Apprentice winner as a speaker for that March event?

As with most of our events, content is key. There is no point having someone speaking who doesn’t understand the audience or can’t relate to them, so we were thrilled that Mark Wright agreed to come and offer such valuable content to our delegates, especially as he is in the same age range as most of them.

It’s not all about age though. Colin Sinclair McDermott worked with our next generation committee to create a personalised workshop that delivered an interactive afternoon that was thoroughly engaging and really gave people something to think about.

You hoped some of those attending the networking days would agree to sit on a Next Generation youth committee. Has that happened, what do you hope that committee will achieve, and in what kind of timeframes?

Following on from the first two days we were able to form our Next Generation committee, which will work as a sub-board of Fespa UK and be led by Jay Burfield, our creative coordinator. He’s aged 24, and will help to bring the young generation’s concerns and ideas to the front of the association’s agenda.

All eight committee members were picked from those on the first two networking days and were just incredible, so full of energy and enthusiasm to make a difference and put their stamp on the industry. They have so far been focusing on the 15 March event where they were meeting to have a discussion on future plans, so watch this space.

Have you been surprised by anything you’ve learned thus far - and if so, what?

The events so far have been fantastic and to have been fortunate enough to see so many engaged, enthusiastic and knowledgeable young people is just inspiring, however, there are two main areas that worry me. The first is the lack of employees between the age of 18-30 currently working in print and signage.

When we started planning the 15 March event we thought we would have over 80 attendees, but we soon realised that was never going to happen. Having spoken to the majority of our membership, and a fair few nonmembers, we realised that most companies just do not have the younger generation working for them - and that isn’t through lack of trying. It is very clear that there is a sever lack of young blood coming into the sector.

Secondly, there seems to be a lack of willingness from employers to invest in their team and help them to grow their own connections and their networking skills. I am not sure if this is because they are concerned about other companies poaching their staff (we all know it happens) or if they just don’t see the value in investing and supporting the younger employees in their business. Thankfully, we have some fantastic companies who are leading the way, actively looking for ways to recruit young people, sharing ideas and supporting other members looking to invest in the future.

I know you wanted to get input from the those at the first meeting of that committee before the Next Generation’s supporters (such as Compass Business Finance, Vivid Laminating Technologies, HP UK and All

MD, Fespa UK Association

Print Supplies) confirmed other events and webinars in the programme. How’s that schedule progressing?

Jay [Burfield] will be using the event to meet with the Next Generation committee to plan the next set of events, both online and in person. He has plans to pre-record several webinars throughout the coming months through to August to highlight the ideas and thoughts of relevant topics from a younger generation’s perspective. These dates will be announced once the committee has a plan of action.

This new initiative is aimed at those already in the print industry. Is there scope/are there plans to widen the remit and try to reach potential recruits?

This initiative has been created to support the next generation already working in print and signage, but the ultimate goal is to develop content and ideas that are focused on what young people today want from a career and what makes an industry interesting to them.

We believe that the only way we are going to achieve this is by asking the younger people already working in print to guide the way and talk to others outside the industry who are their own age. This isn’t a project that will solve the issue overnight, it’s a longer commitment to work towards a better future.

If the question was posed to any of us today “Why would you work in print or signage” what would the answer be? How would it connect with young minds? How would that answer inspire? This is what the Next Generation committee and Fespa UK as an association will be working on going forward, along with the support and input from the more proactive members of our community.

To be able to encourage new people into the industry, we need to understand what young people want from a career, how to reach the different personalities, how to show them the diversity roles within print and signage, and we need to do this as a collective not as individual businesses. Working together we can reach a much wider audience and start to make a much need change.

THE ULTIMATE GOAL IS TO DEVELOP CONTENT AND IDEAS THAT ARE FOCUSED ON WHAT YOUNG PEOPLE TODAY WANT FROM A CAREER AND WHAT MAKES AN INDUSTRY INTERESTING TO THEM.

Getting down WITH THE YOUTH

KGK GENIX HAS LAUNCHED A ‘STUDENT RETAIL DESIGN AND CAREERS COMPETITION’ WHICH IT HOPES WILL DRIVE INTEREST IN CAREERS IN THE RETAIL DESIGN, VISUAL MERCHANDISING, AND PRINT INDUSTRY. SO WHAT’S IT GETTING FOR ITS EFFORTS, AND SHOULD MORE PSPS BE CREATING YOUTH PROGRAMMES OF THIS ILK?

If you want to attract youngsters into the sector, and more specifically into your business, telling them they can work with brands like Nike, Superdry, Tommy Hilfiger, French Connection and Calvin Klein might just do it. That’s what KGK Genix is counting on anywaythat and a few other attractive perks that are part of a new competition it has launched with the aim of getting more students into the retail design, visual marketing and print industries.

At KGK Genix - a multidisciplinary agency employing over 60 across sites in central London, Hertfordshire, and Essex - the average age is 32, which is 11 years younger than the latest figure released by the Office of National Statistics. Even so, the company decided something needed to be done to entice the younger generation into this arena. Forward to discussions between group managing director Graham Pitts and Matt Walsh, operations director for KGK Genix’s Essex production centre, about the difficulties of recruiting new

people, and the need to raise awareness of employment opportunities among students.

A survey of existing staff as to their pathways into the industry revealed a common answer - with the exception of the design team, no-one grew up knowing that they wanted to follow a career in print. The alarming fact was that many were not even aware during their education of the job they are now fulfilling. Hence, the launch of the ‘Student Retail Design and Careers Competition’, details of which are further on in this article.

“As an employer looking for young, impressionable people, you’d be forgiven in thinking that our remit is to cast our employment net to target a candidate that is looking for a job after further education, but who doesn’t know exactly what they want to do. Whilst this has proved successful in the past, being able to link with local colleges and schools has meant that we have been able to get a ‘foot in the door’ much earlier,” says Walsh.

He adds: “Many students are unaware of the diverse range of tasks involved in designing, producing and installing display graphics and they have found us coming to talk to them about the opportunities we have really helpful - it has opened their eyes to a career path that before this, was not even on their radar. This is much more than an ESG/CSR strategy, this is about an investment into the future of the business.”

Pitts says: “SME’s are becoming more and more inventive with their recruitment strategies. Our business has over 60 colleagues but we are certainly not considered a big business. In the past we were under the impression that colleges, schools and universities were really only interested in talking to the large, multi-national corporates about student intakes and careers. This is definitely not the case. In fact, making contact with local education centres has been eye opening - they want companies to visit and talk about careers, invite students to have a look around a working environment and to offer

work experience. More of the industry leaders should be doing this - they are an untapped resource!

“Take note though that, when speaking to schools, one of the first questions we were asked was ‘what’s the business doing to become more sustainable?’. You’d never get that question when talking to a group of 30 somethings. The younger generation are massively conscious about the environment which really helps to integrate our own sustainability goals into our culture, and maybe even educate some of our existing colleagues about the importance.”

Pitts continues: “Production people can’t work from home so we need local people. We are fortunate to have a large number of schools near our production facilities so, working with them is a natural choice and this in turn, saves money on recruitment fees and reduces carbon footprint.

“Many businesses offer apprenticeships and understand that in order for the apprentice to succeed there needs to be a large amount of time invested to ensure that get what is needed from the experience. Of course, there is an incentive from a business perspective that the inexperience is balanced by cost effective labour, but for KGK Genix it is very much about bringing in younger people as a firm investment into the future.

“It’s early days but the indicators are there to show that there is mutual benefit for running our new initiative. Who knows, there may be a future leader in the print industry coming through the ranks.”

By teaming up with the art and design department at Hertford Regional College for the new competition, KGK Genix is offering students the opportunity to experience working on a live campaign brief, creating window display concepts and display activations for some of the world’s biggest brands. This year, students will be working on a creative window display brief for sports brand, Nike and its ‘Women in Sport’ campaign.

The competition takes students on a journey, from developing initial creative window display concepts through to setting up and manufacturing physical graphics and displays from their designs. The competition has seven key stages, which all independently form an important educational roadmap into how retail design concepts are created and realised in a store environment.

The six-month program kicked off in December 2022, with an introduction to the company and campaign brief presentation and is continuing with inset design and production insight days to be hosted by KGK Genix in the coming months.

The insight days are an integral part of the competition, providing students with the opportunity to work alongside the design, studio and production teams and ask for advice and guidance to enhance their entry. Students will also learn about the different materials used in retail design activations and how they can be incorporated to enhance their own designs, including printed vinyls and films, front-lit and back-lit fabrics and display boards.

With sustainability in retail a growing concern, students will also learn about the materials come from sustainable sources, which ones can be recycled and learn about the waste channels that are used to recycle or repurpose display materials.

The final stage of the competition happens in May 2023, when the students activate their retail designs

using the physical graphics they have produced into a retail window mock shop at the KGK Genix production site in Harlow.

They will then be asked to present their concepts and activations to a panel of judges, explaining where they sought their inspiration, how they developed their designs, whether they are aligned to any current retail trends and explain how sustainable their activations are.

The judging panel will be formed of six industry and business professionals, including members of Nike’s own marketing team, experienced retail designers at KGK Genix and the CEO of the Herts Chamber of Commerce. Entries will be judged on the overall concept and activation, whilst taking into consideration contributing factors such as project management of the campaign and sustainability of their design.

Three competition winners will win a six-week work placement at KGK Genix, where they will work as part of the design and production team, taking on live retail campaigns for well-known brands and retailers.

Sara Saunders, curriculum area manager, art and design at Hertford Regional College, says of the initiative: “The KGK Genix student industry programme brief that Matt [Walsh] presented to our graphic design and visual merchandising students, has given them the most amazing insight into a multi-disciplinary design environment. The time generously given by Graham [Pitt] and the team at KGK Genix production base in Harlow was informative and inspirational. The students came away with lots of ideas, a better understanding of production processes and a creative approach to sustainability.

“Presenting work to an industry panel at the end of the project is an incentive and real world experience. This is an invaluable industry experience opportunity for our students which will prepare them for their future careers and build those key employability skills; time management, communication and creative problem solving. We are looking forward to seeing their outcomes.”

Benedict Slater, technical resources manager, art and design at Hertford Regional College, adds: “KGK Genix reached out to us to generously offer materials that were surplus to their requirements in an effort to improve sustainability. It has been much appreciated and greatly beneficial to our students, department, and college as a whole. The students have been able to use materials that we wouldn’t normally have sourced, allowing practical experience working with different construction boards and vinyl, as used in the industry. It has benefitted the art and design department in financial terms, meaning we can redirect limited budget that would usually be spent on similar resources. It has also helped the wider college, helping us to meet environmental targets set within our sustainability committee.”

Pitts rounds off: “This competition not only provides students with the opportunity to take a huge step forward in starting a career in creative print and retail design, but also actively encourages new, creative talent into our industry. By teaming up with Herts Regional College we’re able to provide an exciting window into our industry and the opportunity for a step on the career ladder too. We hope we can develop this competition to include more students from other schools, colleges, and universities in the future.”

PRESENTING WORK TO AN INDUSTRY PANEL AT THE END OF THE PROJECT IS AN INCENTIVE AND REAL WORLD EXPERIENCE. SARA SAUNDERS, HERTFORD REGIONAL COLLEGE

26-27 April 2023 | Silverstone, UK

Dedicated event for the vehicle wrapping, vinyl installation and car detailing community

Wrap specialists can immerse themselves in a unique event to explore the latest product innovations from leading industry brands, connect and exchange ideas with industry peers, plus access a host of valuable content from our Pit-Garage Demos and Wrap Talks sessions.

FIND OUT MORE AND BOOK YOUR TICKET AT WWW.WRAP-FEST.COM FOR ENTRY DISCOUNT, USE PROMO CODE WPFA306

Organised by

AN ECO WARRIOR THE TRIALS AND TRIBULATIONS OF

THE ROAD TO BECOMING MORE ENVIRONMENTALLYFRIENDLY TENDS TO BE LITTERED WITH OBSTACLES. HERE, FABEREXPOSIZE UK AND NORTHERN FLAGS MD IAIN CLASPER-COTTE PROVIDES A FIRSTHAND ACCOUNT OF HIS SUSTAINABILITY JOURNEY SO FAR. PERHAPS IT CAN HELP YOU PLAN YOURS.

This may resonate. As a business we have spent the past few years looking at how we can become ever more sustainable and environmentally friendly. We have had many companies and consultants approach us offering to offset with tree planting, installing solar panels and wind generation, doing carbon audits and, of course, the current thorny one of moving our fleet to electric cars - a subject that turns me into Victor Meldrew.

We decided that we would initially try and look at all the obvious easy wins before investing in outside help. Why pay someone to assist with the obvious?

We looked at energy - we are in a rented building and we expect to relocate at the end of the lease so it was not cost-effective to look at our own solar or wind generation strategy as the pay back times were too long financially.

We moved to a renewable energy supply. In the first contract this was a 10% premium against our previous contract. Citing the Ukrainian impact on power costs, Drax, the supplier we’d chosen, then made a massive above-market increase at our renewal point. We spent a month searching for the best green solution that was not extortionate and have ended up with EDF on a contract that is costing us £25,000 more than what it would if we had gone for a fully renewable service!

It is a premium we decided we had to bear, but it was a painful one. Ironically, it was more expensive even though the costs are not impacted by the price of oil. The drive to buy green energy has meant that this inflation has been even higher than gas or oil.

We have invested heavily in new printers to ensure lower running costs. We have insulated our printroom and put heat retentive drapes into our finishing mezzanines. We have moved to Greenguard and water-based inks, and we have been on a massive learning curve on substrates. We have looked at better planning production on energy heavy processes such as sublimation.

We have also developed an entire range of eco-friendly products - called Enviro - which offers sustainable alternatives to each of our core products. They are made from various recycled materials, including postconsumer plastic bottles, and can all be recycled after their end of life.

We moved to electric cars, never expecting them to be as good as the brochure, but we had not realised the range immediately falls by 20% as you are not supposed to fully charge them!

The so called 60kW chargers are not fast and take an hour to fill a salesperson’s car by 45% of rangeeffectively taking a call a day out of their productivity. Cost per mile on a paid-for charger is three times what it was with a diesel.

While clients doing green audits expect us to use electric vehicles, are they really that green when you look at how they are manufactured? My previous diesel

hybrid in reality was probably far better for the planet than a fully electric.

And therein lies one of the challenges of this move to green - many of the headline-grabbing changes that we are making as businesses are not as impactful as thought.

Many polyester fabric manufacturers argue that their efficiently produced virgin polyester is better for the environment than a fabric made from recycled bottles due to the energy and materials required to process dirty bottles. I see the arguments against electric cars and certain substrates and business changes that make headlines but I think this misses the bigger benefit of making these changes. It is all about the mindset.

It is about changing our culture and our clients’ culture to make the environment a priority. It is important that this does become a key way in which we all change and, as ever, change comes in different stages. Currently, electric vehicles and products made from recycled waste show clearly that we as a business are trying. As the market becomes more educated and informed then it will become easier to create clearer strategies with our partners that factor in everything in the long supply chain.

As a business we are now well on the way to ISO14001 accreditation and our first carbon audit. It would have been premature to do these before we got our ducks in a row. All these changes can help us create our strategy for the next stage of our green journey.

In the meantime, I will keep moaning about my car bought with a 385-mile range but, delivering a 240-mile range while we are working towards a cleaner, more sustainable business future.

IT WILL BECOME EASIER TO CREATE CLEARER STRATEGIES WITH OUR PARTNERS THAT FACTOR IN EVERYTHING IN THE LONG SUPPLY CHAIN

Actively investigating and supporting the wide-format print sector

Authored by former print professionals, Image Reports provides intelligent news coverage which targets those that produce and sell wide- and grandformat digital print.

Dedicated entirely to the digital print provider rather than the manufacturer or supplier, Image Reports presents information via three main filters – business, technology and the environment.

Also part of the Image Reports family is Widthwise Report, an annual survey and report on the state of the UK and Irelands wide-format print sector which is packed with facts, figures and features.

TO BOLDLY GO

Interior decoration offers up opportunities to an everexpanding diverse audience of end users, designers and up-cyclers who are open to understanding new approaches, techniques and opportunities. The harmonisation of print and interior decoration provides designers even more freedom to explore and innovate within their field to meet increasing demands for faster changing environments while delivering high quality projects that continue to meet visual expectations.

The versatility of print technology allows for the customisation of a wide range of materials for use across domestic and commercial spaces. This creates an exciting opportunity to experiment with texture, pattern and scale, as well as customisation, allowing the creation of something unique that truly speaks to end users.

Our recent show stands have demonstrated that exhibition design can be easy to build, sustainable, reusable, fit for purpose, modular and recyclable at end of life. Last year, we created two exhibition stands, both produced using Xanita, a closed-cell fibreboard manufactured with a part-recycled Kraft core that is 100% repulpable in standard wastepaper streams. Both stands - which can be fully recycled at end of life - have been re-homed in our showroom.

Our Sustainable Street exhibition stand at the 2022 Visual Marketing and Display Show had sustainability at the heart - the entire stand was manufactured from sustainable materials and went on to win a Platinum Award at the World Exhibition Stand Awards.

In 1974, an interstellar radio message carrying basic information about humanity and the Earth was transmitted to a destination 25,000 light years away. The ‘Arecibo message’ was a demonstration of human technological achievement; effectively humanity had taken its first step in advertising itself to a new market - and we all know how important than can be for our continued existence.

I have seen the benefits of exploring new possibilities within creative visual communications - where clients have developed opportunities with creative communities such as hoteliers, cruise liner operators, restaurateurs, luxury brand owners, architects and interior designers.

For many, real opportunities can be grown in terms of sensory marketing - the power of sight and touch means that surfaces have become significant areas of print opportunity. Refit and refresh has also been very relevant to many of these sectors, where they are looking to repurpose and revamp existing spaces.

To support this ‘voyage’ into vertical markets, Antalis has been looking at how to demonstrate the possibilities and educate a wider audience about them. Our attendance at the recent Surface Design Show, is a good example, and this has become an important event for us to demonstrate the potential of visual communications products - both creatively and environmentally - to a wider audience.

Shows like this allow the industry to enter a dialogue with a creative design community that will be involved in projects that transcend the traditional print market. Through engaging and educating this community, the door is then unlocked for creative, innovative and sustainable materials to be used in many differing applications.

The ‘mission’ for our industry is to educate and inform end-users about the possibilities of digital print, and also for us at Antalis to empower our customers to ‘seek out’ these new markets.

Antalis is here to support customers in using sustainability as a USP. A great example of this is Leeds-based wideformat printing and signage specialist Imageco, which used lockdown to refocus the business to become an expert in sustainability. The interactive new Dr Martens test and learn concept store on Carnaby Street, London, exemplifies impactful, sustainable retail display, showcasing impressive POS imagery and interior branding using a range of largeformat environmental substrates.

At the recent Surface Design Show, our concept was to engage designers and brand owners by displaying beautiful geometric art deco window panels and shapes coveredusing our Coala branded range of interior décor materials - to replicate marble, stone and terrazzo. Demonstrating the power and importance of creative visual communication is a passion for us at Antalis and we can help harness this power for our customers.

Another great example of diversification is from Antalis’ client MM Wall Graphics, which recently undertook a project for its customer Highfield Park Hotel. MM Wall Graphics showed the hotel the samples of Coala Interior Film, along with images of the revamped office kitchen. Impressed, the hotel commissioned the company to wrap the hotel’s reception desk and lighting gantry on which the existing oak veneer was beginning to lift. Within days of completing the desk, the hotel commissioned the revamping of the residents’ lounge area followed by another wrap to a coffee making area in the corner of the room… and so it goes on.

Exploring new territories brings uncertainty, but it also brings huge opportunity. It is critical that we all, as a collective, help to grow awareness of the visual communications industry among the many different sectors for whom our products and businesses can be a real game changer in terms of creativity and sustainability. After all, it is to everyone’s benefit to explore new worlds to showcase what digital print can achieve.

IT HAS BECOME IMPORTANT TO DEMONSTRATE THE POTENTIAL OF VISUAL COMMUNICATIONS PRODUCTS - BOTH CREATIVELY AND ENVIRONMENTALLY - TO A WIDER AUDIENCE

CHRIS GREEN, DIRECTOR OF VISUAL COMMUNICATIONS AT ANTALIS, SHARES HIS THOUGHTS ON THE IMPORTANCE OF PUSHING THE BOUNDARIES OF PRINT AND SEEKING OUT NEW OPPORTUNITIES WITHIN NEW MARKETS.

DIGGING BELOW THE SURFACE WITH INDUSTRY MOLE

Comments please to industrymole@imagereportsmag.co.uk

DOWN TO EARTH

I want to save the planet. Honest. Apart from anything else, I’d like Mole Junior to be able to continue to call the third rock from the sun home. That’s why, ignoring the grimace from my tech savvy offspring, I will shortly replace my venerable iPhone8 with a reconditioned version of a slightly newer edition. I read somewhere that if everyone in Europe kept their smartphone for six months longer than usual, it would be the equivalent of taking 1m cars off the continent’s roads, which is not too shabby.

Mole Junior didn’t seem unduly impressed with this titbit but I did note that, visiting him in his new flat, the dreaded utility bills had convinced him to turn off lights and not waste water.

I can understand his cynicism, to a degree. My efforts to save the planet at work have sometimes been frustrating. There is low-hanging fruit to be picked - electric vehicles (perhaps), eliminating (or more accurately minimising) use of nasty chemicals, and reducing waste. We’re

also looking to recycle more materials - and use materials that are easier to recycle.

The bit we struggle with is this ‘cradle to grave’ thing. Suppliers are very good at giving you the tactical info - that their substrate, ink or press is using X% less of this harmful stuff and is Y% more recyclable than it was - but ask them about strategic stuff - for example, how are you reducing carbon emissions across your entire supply chain? - and they can look blank or slightly evasive.

I assume that the people I speak to haven’t been briefed - and they’re hardly alone in that. Ask the tech giants about how renewable their energy sources are and you’ll usually be fed generic platitudes. But the cynical part of me wonders whether they just don’t want to knowor share.

Yet without this info, it’s hard to know if we’re progressing towards net zero. Many wide-format printers I know want to do more to protect the environment. Maybe we can start by consistently asking suppliers the strategic questions. One small step for us, but quite possibly a giant leap for Earth.

When?

16 - 17 May, 2023

Where?

CCD Congress Center, Dusseldorf, Germany

Cost?

185 Euro for a one day fair and conference ticket.

Who will be there?

The concept is to present solutions for combining print with digital and online strategies, and as such the speakers and exhibitors will come from a wide range of disciplines feeding into nine ‘theme worlds’ including interior/exterior design covering POP/POS and OOH.

When?

23 - 26 May, 2023

Where?

Messe Munich, Germany

Cost?

Various online and advance options. 80 Euro on the day at the event.

When?

6 - 7 June, 2023

Where?

Palexpo, Geneva, Switzerland

Cost?

£495, £564 with networking dinner.

When?

28 May - 7June, 2024

Where?

Messe Dusseldorf, Germany

Cost? TBD

Who will be there?

Pretty much everyone connected with digital large-format printand more - across 32,000m2 of exhibition space.

Who will be there?

Who will be there?

Should you go?

It looks ideal for those wanting to know about the future of comms and get an insight into how print can reposition itself as part of the mix. Check the language situation though.

Should you go? Yes

This is the first ever summit focused 100% on sustainable print technology, production, and strategic development. 200-250 delegates are expected, with the aim of creating positive change across the wide-format, commercial, label and packaging print landscape. Should you go? Yes, if greening-up means anything to you.

It’s so far ahead of the event that it’s pointless looking at the exhibitor list yet but, suffice to say, you can expect most of the major players to get involved.

Should you go?

Decide closer to the time, but it’s worth noting the dates.

PRINT AND DIG. CONVENTION ECOPRINT SUMMIT FESPA GLOBAL PRINT EXPO DRUPA

OVER TO YOU...

REBECCA COOPER PROJECT DIRECTOR, OMNI WWW.OMNICOLOUR.COM

For almost 30 years Omni, and sister company K2 Screen, have been producing printed products for major corporate clients, event organisers and high-end fashion retailers, as well as one-off original artworks for internationally renowned artists and institutions. I spoke with project director Rebecca Cooper about the rise of digitally printed wallcoverings as part of the company’s offering.

We hear a lot about the opportunities afforded large-format print companies, especially in the interiors markets, digitally printed wallcoverings being one of them. When, and why, did Omni first get involved in the wallcoverings market per se? Was it with digital print?

When Bob first set up the company in 1993 he was coming from an advertising background but soon started to get pulled in by the art scene that was kicking off at the time. Omni began working closely with some of the biggest artists at the time - Tracey Emin, Sarah Lucas, most of the Young British Artists. We were digitally printing fine art editions and wallpapers, as well as producing the accompanying exhibition graphics. Wallpapers

were seen as a great, cost-effective way to make a big impact at an exhibition and that continues to be the case now, possibly even more so.

I understand this is a part of the business that is enjoying real growth - can you tell us what’s brought that about?

There are 16 of us now and most of us are from an art or creative background. I think it’s that understanding and the level of empathy that we can share with the clients and artists involved that has been the main reason we’ve grown. We’re fortunate enough to be working with a lot

of the art galleries and museums in London now, which doesn’t come without its challenges but we absolutely love it.

Are there specific materials and/or printing technologies that are giving you particular leverage in this market?

The Digimura wallpapers from Papergraphics are our go-to for wallcoverings, especially the 2.1 Smooth and Tactile for longer-term projects. We’ve recently finished installing a lovely print on the Digimura Au Gold wallpaper for Sonia Boyce’s touring exhibition currently showing at Turner Contemporary in Margate. We’re running all of these on the new Colorado 1650 and the print quality and handling on site is everything that we could ask for. What’s even more exciting for us now is that the 1650 allows for a matt or gloss finish, and is capable of running both at the same time to give a spot gloss effect which we’re looking forward to using very soon.

What other markets are providing you with growth Rebecca - and how is Omni responding to the opportunities?

We’re also seeing the big corporate clients wanting to liven up their offices, so there’s a real push from them to commission artists to produce work for those environments, and naturally wallpaper is a favourite. We’re finding ourselves getting approached for bigger projects now too, which I think is down to the clients feeling assured that the materials will work well and that the project is being well-managed. Looking forward to the rest of the year and to everything that brings.

VITAL STATISTICS

WHAT DO THE UK’S GEN Z REALLY THINK? IT’S A QUESTION THAT BRITISH BOSSES NEED TO PONDER IF THEY WANT TO IMPRESS THIS DEMOGRAPHIC GROUP (USUALLY CATEGORISED AS BETWEEN THE AGES OF 13 AND 25) AS THEY EXERT AN INCREASING INFLUENCE AS EMPLOYEES (THEY ALREADY ACCOUNT FOR 30% OF THE WORLD POPULATION AND 20% OF THE BRITISH WORKFORCE), CONSUMERS (BY 2030, THEIR GLOBAL INCOME WILL APPROACH £3TRN) AND CUSTOMERS.

64%

This is the proportion of Gen Z Britons who have either already started their own business or intend to do so by the end of 2023. The research by the Association of Accounting Technicians found that being their own boss was the top career aspiration for this demographic. If you’re wondering how to attract and retain Gen Z employees, a Deloitte study says that, globally, their top three priorities are work/life balance (32%), learning and development opportunities (29%) and remuneration (24%).

46%

44%

Almost half of this global demographic is stressed all - or almost all - of the time, according to Deloitte. That’s higher than the stress level among Millennials (39%) and is probably not entirely unrelated to the fact that 46% of them say they are living from one pay cheque to another. Women in Gen Z are more likely to be seriously stressed (53%) than men (39%), a finding echoed in other studies.

This is the proportion of British Gen Zers who obtain most of their news and information from Tik Tok, according to a study by CM Group. YouTube appeals almost as strongly: Statista says that 65% of them spend an hour or more on this channel every day. This age group is also more averse to traditional advertising than any other demographic.

Globally, nine out of ten Gen Zers say they are already changing their lifestyle to combat climate change. Indeed, two out of three in the UK, according to New Scientist, believe that safeguarding the environment, ameliorating global warming and protecting biodiversity should take priority over economic growth (only 44% of Baby Boomers say the same). 90%

Better together

opportunity to expand our portfolio and grow and create new trading relationships and capitalise on our print and manufacturing expertise.”

DecTek also envisaged engaging more with its supplier base, offering branding and marketing products to promote and support new product launches and marketing campaigns for new products such as sustainable products awareness.

“Bringing our suppliers closer to the fabric of our business has had dramatic results. They understand what we need better than we do. So why resist change? Allowing them greater access has led to a more detailed understanding of our business and the opportunity for them with their equipment or consumables. This has been a wholly successful exercise for DecTek,” stresses Beese.

Strength in numbers is not a new concept but, during these times of economic uncertainty, more effective results can certainly be achieved if businesses work collaboratively with others. The proof’s in the pudding, and DecTek MD Mike Beese is happy to share the company’s recipe for success. Taking turnover from around £2m in pre-Covid days to an anticipated £4.5m this year is impressive, and he expects that to grow to about £12m by 2025. Collaborative working has a lot to do with that.

“By pooling resources, knowledge, and expertise, print businesses can achieve more significant results as a collective than they would be able to accomplish alone. No business can offer every solution, but at DecTek we’re aiming to offer our partners, client base, competitors, and suppliers, the ability to extend their product range beyond their niche,” he says, explaining that it has built a comprehensive ‘digital manufacturing toolbox’ to this end. It provides its trade partners with a zero-risk opportunity for them to leverage their relationships with their own customers and sell products outside their own manufacturing capability.

“In essence it’s drop shipping” says Beese. “Our collaborative approach enables print businesses to expand their product portfolio without any equipment or staffing costs. Furthermore, they access a team of industry professionals with a wealth of knowledge, knowhow and experience.”

He continues: “We introduced this new trading mindset post Covid in late 2020. We had realised that there were a great number of print companies looking to expand their product portfolio but unable to invest in new equipment to support diversity, and we saw this as an

He goes on to say: “DecTek’s collaborative approach has seen it rapidly expand its range of services and includes a diverse product offering including dyesublimation, banners, packaging, signage and corporate badging to name just a few. We also brought to market our print and manufacturing fulfilment services, which has been very successful, increasing turnover quite significantly and allowing us to further invest and grow our product portfolio - what I term a perpetual growth cycle.

“We are not shy to invest in our print fulfilment manufacturing range of equipment. For example, we were approached by an online ecommerce trading company to supply dye-sublimation full-colour mugs. We started low tech with a hand press. From this, and due to client demand, we now have our first fully automated mug robot delivering 200 full colour mugs an hour, generating over 3,000 sales per week - a great investment.

“DecTek has also secured contracts for additional products such as direct-print-to-garment (DTG) with its first T-shirt production line going live in early April. We expect great growth and activity in this market sector, which in turn will attract other associated textile product enquiries.

“DecTek is continuing to expand, with plans to invest an additional half a million pounds this year in production equipment on top of its impressive £1.2m over the past couple of years. Additionally, the business will expand its manufacturing facility to accommodate this growth plan.

“Part of our collaborative new growth initiative incorporates showcasing our production facilities on a weekly basis because we have learned that by opening our doors to both customers and suppliers we enrich our own opportunity.

“We do not have walls, drawbridges or barricades around DecTek, we have pure transparency on our production processes and equipment portfolio. We invite anyone to meet us and share experiences. There is always common ground. There are often common frustrations too, but these can lead to great opportunities. We would like to think that we are the greatest converts to business through collaboration.”

DECTEK MD MIKE BEESE EXPLAINS WHY HE’S SUCH A STRONG ADVOCATE OF COLLABORATIVE WORKING.

THERE IS ALWAYS COMMON GROUND. THERE ARE OFTEN COMMON FRUSTRATIONS TOO, BUT THESE CAN LEAD TO GREAT OPPORTUNITIES.

Josero is specialised in new and used wide format equipment sales and maintenance.

We are an authorised Agfa, Mimaki & Ricoh reseller as well as exclusive distributors for Triangle inks, Bubble Free applicators and Comagrav cutters. For expert wide format advice call the team on 01954 232 564 or visit our Cambridge showroom.

www.josero.com

Landor Phototex Self-Adhesive Fabric Peel and Stick Recyclable and Repositionable. Phototex is the no stretch, no tear, no residue, no surface damaging fabric that is easy to apply and reapply again and again and again. See for yourself - contact for a sample.

01252 624411 - info@landorUK.com

www.landoruk.com

Your Print Specialists (YPS) offer an impressive portfolio of wide format print solutions, finishing equipment and software. Located in the North East and with over 40 years of print experience, YPS can safely advise you on the very latest developments in print technology. Over the last 13 years YPS has built its reputation as a fast, reliable and service-led partner within the screen, litho and digital wide format printing industry.

www.yourprintspecialists.co.uk

Spandex supplies materials and equipment to the graphics industry. Our portfolio includes Avery Dennison, 3M, ImagePerfect, Arlon, Orafol, HP, Epson, Roland and more. Online store – training – next day delivery

www.spandex.co.uk

Enhance, Protect and extend the life of inkjet Prints with Landor Liquid Lamination

Easy to apply by handroller, brush or spray, Landor coatings ensure the longevity and durability of prints. Anti-Graffiti – Vehicles – Wallcoverings – Truck sides –

Anti-Microbial

01252 624411 - info@landorUK.com

www.landoruk.com

Airplac® foam board is made in the UK. The lightweight panels come in all formats up to 3050x1524mm. The polystyrene foamboards are rigid, white and extra light. A new 100% recyclable XPS panel Airplac®PRINTFOAM is perfect for environmentally responsible campaigns.

www.airplac.co.uk

Drytac has been a leading international manufacturer of adhesive-coated products, digital print media and protection films for the graphics and industrial markets for over 40 years.

www.drytac.com

Drytac has been a leading international manufacturer of adhesive-coated products, digital print media and protection films for the graphics and industrial markets for over 40 years.

www.drytac.com

Sustainable success with Fujifilm

Our award-winning UV ink factory in the UK generates solar energy, reuses and recycles 100% of raw material packaging, and has massively reduced on site waste.

Choose a partner that puts environmental issues at the heart of its operation. Take a fresh look at Fujifilm.

Craig Milsted, Sustainability Advisor, Fujifilm Speciality Ink S ystems