In this series of reports on what vendors are doing to help educate creative and other potential users of wide-format print we talk to Martin Johns, Market Development Manager, Prographics, Epson UK.
Promoting the many creative applications of digital large-format printing technology to creative and interior designers - as well as the general public - is a major element of Epson’s PR and marketing activities. The intention is not only to generate demand for digitally produced print but to inspire creatives to consider buying their own large-format print equipment.
Epson promotes the quality and versatility of large-format printing to the ultimate print buyer in a variety of sectors and in a variety of ways. Firstly, it works closely with its resellers to support their own marketing activities such as advertising, open houses and promotions. And of course, you will see Epson at key print industry exhibitions but also at shows such as The Retail Technology Show, Packaging Innovations and The Photography Show, displaying the myriad applications its printers can produce.
These shows draw many end users who are looking for inspiration and exploring new techniques. At Fespa last year, for example, the company showed printed aluminium which was just amazing quality and attracted huge interest. “We spoke to many designers there who were looking at new ways of producing printed décor items and we know we stimulated new ideas as a result,’ said Martin Johns, market development manager, pro graphics, Epson UK.
He adds: “Because PSPs and their customers provide the best source of inspiration we produce case studies highlighting examples of the incredible diversity of print that can be produced using Epson SureColor printers. Recent case studies have profiled how Rolls-Royce used wall coverings that feature silver ink in a visitor centre; how Yr Store produce user designed personalised T-shirts on-site and on-demand at Topman Oxford Circus and Liberty London stores; how Supersize Prints is producing life-size personalised cut outs; and how Nottingham Playhouse is producing sets.”
When fashion designer Kansai Yamamoto developed his latest haute couture designs - many using textiles printed by Epson printers - the best place to showcase them to the fashion world was on the catwalk at the V&A. News about the event, the designs and the technology used to print them was sent to the fashion magazines and bloggers along with live streaming video of the event. “Where we see applications that will interest specific vertical markets, designers and the ‘man in the street’ we issue news items to newspapers and relevant consumer magazines,” adds Johns.
“Today, multi-channel communication is important so that we reach both PSPs and consumers through the medium they prefer. In addition to advertising and sponsoring special promotions within the specialist printed and online magazines that targets designers, marketing managers, architects, interior designers, artists, photographers etc., we are very active online. On our website we highlight the range of potential applications and share the experiences of other creatives and our YouTube channel again will show how creative ideas are turned into reality.”
Through its support of the arts, charities and photographers in the UK Epson also shows the world at large how its technology can add value and make creative ideas a reality. For example, the Epson Suite at the Royal Academy Schools has been used for many years by students on Europe’s only post-graduate diploma course in fine art. The students experiment with unusual materials and effects. “It’s a symbiotic relationship – we learn from them and they learn from us,” enthuses Johns.
Understanding more about what drives the use and evolution of large-format graphics has led Epson into conducting research into industry and consumer trends. One of these, the ‘Epson 2020 Vision’ campaign in 2012, interviewed 500 retail brand and marketing managers to evaluate the retail industry’s use of in-store print and electronic POS signage today, and how it will change up to the year 2020. “We not only shared the results with the print industry press, we also highlighted interesting social trends with the national press and magazines read by creative designers, ad agencies, brands and retailers. The aim was to change the perception of the power of print and promote its flexibility,” Johns explains.
“More recently, in January this year, our ‘Winter Blues’ research throughout the UK revealed that 9.6 million work days are lost each year in the country as a result of employees suffering from the ‘winter blues’. When asked what measures would improve the mood of employees in the office, 27% of workers wanted a more colourful workspace and one in five (20%) would like to see more creative visuals and colourful presentations. Again we told the national press, specialist décor, design, architect magazines and included with information about how colourful wall and glass graphics can be created and changed with ease and the positive impact it can have on workforce attendance.
“Ultimately, our aim is to educate and inspire everyone involved in the print chain.”
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