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Sat, Apr

Are you entering the packaging market? According to Smithers Pira, it will have become a routine application for the digital wide-format community by 2021.

Go to Drupa 2016 and you’ll ‘touch the future’ according to the official show tagline. For ‘touch the future’ read ‘Print 4.0’ – meaning end-to-end digital workflows made possible by the intelligent networking of machines and systems, allowing for more individualisation and personalisation. And digital inkjet is key part of all that.

Scams affect every industry, but there are a couple of nasty ones targeting the large-format print sector right now. Scott Conway of Venture Banners highlights those he’s come across.

What’s having the greatest impact on your business at the moment?

I think the greatest impact on our business is yet to come, we have made a lot of investment in equipment recently which will keep us at the forefront of digital wide format printing, but with the European Referendum in the summer, and having over 800 customers from all business sectors, this has the potential to put the brakes on our continued growth, but hopefully not.

Walter Hale takes a look at how nontechnology is likely to impact the world at large, and the word of print in particular.

Epson has updated its solvent signage printers but how much of an improvement are they? Nessan Cleary went to find out.

At first glance there appeared to be a distinct lack of new large-format inkjet hardware at this year’s Fespa Digital show… but there were a few surprises tucked away. Nessan Cleary reports.

Targets can be very helpful, of course, but directors too often encourage their people to commit to a number - say, annual revenue growth of 7% - even though the path to achieving it isn’t clear. This can lead companies to chase growth in too many directions.

SMP is working with a number of manufacturers to find water-based UV-curable inks for the billboard sector. It’s just one of a number of innovative moves being made by the company as Mark Turner, director of digital print, and sales director Nick Stagg explain.

In January we received news that the purchase of two Mimaki flatbeds from CMYUK had set SCG on a new path - that the new technical digital print capability had prompted the company to team up with photographic artist Richard Osbourne to provide bespoke glass installations for interiors. Can you remind us of the key points in that diversification?