With DirectSmile now in EFI’s domain, should it become part of yours too? Sophie Matthews-Paul considers its place in the wide-format arena.
Nessan Cleary talks to Asanti user Barry Laver of Wincanton Print about his experiences with this wide-format workflow solution.
As wide-format printing continues to grow, so too do the individual service providers with most now having multiple printers. That usually means having to manage multiple Rips, which can complicate the workflow. We've taken a closer look at some of the issues around workflow and the various software options available elsewhere in this issue, but for this story we'll concentrate on just one of these - Agfa's Asanti - which was formally announced at the London Fespa show in June 2013 and has been shipping with most Agfa wide-format printers since the start of this year.
Mimaki launched this solvent printer at the last Fespa Digital show but it’s only recently started appearing in the UK. Here’s how Nessan Cleary found it when he put it to the test.
Solvent technology still dominates the market for roll-fed wide- format printers, mainly because it’s a proven performer that offers good quality results at a reasonable price. So this month we’ve been testing Mimaki’s latest solvent printer, the JV300.
The ability to link different parts of the production process together with a degree of automation is becoming increasingly important in wide-format print production, but there are several different approaches. Nessan Cleary investigates.
It’s long been argued that improving your workflow and automating as many processes as possible is the key to realising greater efficiencies and hence higher profit margins. Given that wide-format covers such a huge gamut of print producers, there's no one size fits all approach and, to complicate matters, ‘workflow’ means different things to different people - from simply ganging jobs together right through to orders that come in via a Web-to-print system being automatically fed through to printing, finishing and fulfilment.
The Korean built Jetrix printers appear to offer good value for money, so how did this Jetrix model fare on test? Nessan Cleary reports.
Inktec, which was founded in 1992 in Korea, is best known as an ink manufacturer but has also developed its own range of Jetrix UV flatbed printers. It has a European office, based in Witney, Oxfordshire, which has installed some 35 printers in the last three years. Last year Inktec launched the first of its KX series, which now include the compact KX3, the mid-range KX5 and the much larger KX7, which we've tested this month.
The Onset S40 promises high productivity but does it justify the cost? Nessan Cleary asks the question.
Until a few years ago people thought of digital printing as being only for short run until a couple of high production flatbeds appeared on the scene to challenge offset and screen printing. This month Image Reports looks at one of these, the Onset S40i, developed by Inca Digital but sold by Fujifilm.
This month Nessan Cleary tests the latex printer that marks Ricoh’s first foray into wide-format printing.
The market for latex printers has been completely dominated by HP, despite a challenge from Mimaki. Now Ricoh, which supplies the Gen5 heads used by Mimaki, has entered the fray with the L4100 printer, available in 1.3 and 1.6m widths. Ricoh has rebadged Mimaki's JV400 LX series, and there's no discernible difference between the two apart from the sales and servicing, with Ricoh targeting its existing customer base of commercial printers and corporate print rooms.
These days everything can be personalised. So how useful is this HP solution? Nessan Cleary asks those who have bought it.
Home furnishings and interior decoration are rapidly becoming popular wide-format print applications, with wall coverings high on the list. There’s a good range of wallpaper substrates available now and HP has built a complete solution around its latex printers that also includes design software, called Wall Art.
Epson's first foray into wide-format printing was with a series of aqueous ink printers that established a good reputation for photographic and proofing applications. But Epson was slow to get into display graphics, preferring instead to sell its printheads and inks to other vendors on an OEM basis. However, in recent years Epson has made a determined play for the display print market, with both solvent and dye-sub printers as well as a newly-launched brace of aqueous CAD/ graphics machines.
The two most common ink technologies in use in wide-format today are solvent, which continues to offer good performance at low cost, and UV-curable, which will work with a wide range of media and can print direct to board. But now we are seeing a new type of ink emerge that combines the best of both of these ink technologies. The new inks are a hybrid technology with both solvent and UV-curable components. Essentially, the solvent is used in very small quantities to soften and key the media surface so that the pigments can penetrate into the media. The UV element then immediately cures the inks so that they are ready for immediate use, with no waiting around for the prints to out-gas. These type of inks typically have a bright colour gamut and a lower film thickness than with UV-curable inks.
Nessan Cleary takes you through the key printer developments of Fespa Digital 2014.
Fespa Digital 2014 certainly delivered in terms of product launches, especially when it came to new printers, a large number of which were shown in Europe for the first time. That said, many were really incremental upgrades to existing models, developments largely to address the demand for a better cost/productivity balance.
In terms of mid-volume production printers, several new machines shown at Fespa, including Canon’s new Arizona 6100 series, and the Fujifilm Acuity F (see panel).
The prototype shown at Fespa 2013 was impressive, so Nessan Cleary went to see if it’s living up to its promise.
Last year at Fespa 2013 in London both Screen and Fujifilm showed a version of a new mid-range flatbed printer that had been developed by Cambridge-based Inca Digital. Screen, which owns Inca Digital, subsequently launched the machine at the end of last year as the Truepress Jet W3200UV. So far two of these have been installed in the UK, and the machine that we tested - at Ipex - was due to be installed at a Dutch printer shortly afterwards. Martijn van den Broek, sales manager for Screen’s wide-format products, says that the company is still in the process of setting up a distribution network for the rest of Europe.
The trend in laminators is toward entry-level models but there’s still a need for top of the range laminators such as this model say users.
Since the advent of UV printers and their ability to print direct to board substrates we don’t tend to hear much about laminators. Yet, they are still essential for finishing solvent and aqueous prints. The obvious use is to mount these prints to boards, which a great many people are still doing. Laminates are also used to add protection to a print, usually from the effects of UV light, but also protection from weather for outdoor signs, and from scratching and vandalism for displays in general. But there is a wide range of laminating films for different effects. This includes changing the texture of a print or adding a glossy or matte finish. On top of this laminates can also be used to enhance the colours in an image, or to add special effects such as frosting.