Digital print transformation in the corrugated industry has been a promise waiting to happen for many years. Part of the reason for the delay could be the industry has been perceived as having one monolithic set of needs and digital print has been promoted as one generic solution to fit all of those needs. However, all corrugated needs and digital print solutions are not the same.

The reality is much more nuanced. There has been some progress in several use cases and sub-markets including high quality graphics, samples, mock-ups, displays, short-run, large format, double-sided print, and supply chain efficiency including turn-around time, but there are still a few other use cases like personalization and variable data that haven’t yielded transformation. Digital print still only addresses a fraction of the overall market for printed corrugated packaging. For this to change, we must address the existing gaps in the overall solution set.

Digital print solutions do not adequately address all substrate, board combinations, and form factors. Special requirements of the printed product like ink holdout, colour, overprint varnish, coefficient of friction, durability, and gluability play a part in what can or cannot be done by any given digital print solution. Specific press limitations might mean something can be done in limited quantities or certain situations but cannot be done at scale and remain cost effective.

Digital print solutions do not adequately address all substrate, board combinations, and form factors. Photo © Drupa

The promise

Digital print was and still is supposed to simplify, streamline, and accelerate the overall graphics, print process, and product development for the corrugated industry. Digital print in corrugated has been most successful in areas in need of disruption including samples, mock-ups, displays, and ultra short runs. However, to get at the bulk of the market, digital needs to contend with what analog printing does well day-in and day-out.

Analog has been incrementally fine-tuned to provide the quality, productivity, reliability, equipment life expectancy, and cost structure that the market recognizes today. Digital print must do something better or different to provide more value than analog.

Finally, digital printing must consider the macro trends and needs of tomorrow. These macro trend requirements are fast turnaround, short run lengths, supply chain efficiency, e-commerce, lightweighting, sustainability, and automation.

The predominant issue with digital print is the production costs for a given run length compared to the analog alternative. For digital to win more broadly, it must look beyond just consumables cost and at reducing overall value chain costs including running costs, maintenance, capital, useful life, and any other steps or parts that can be streamlined.

It is encouraging to see there is a next generation of solutions being developed that will hopefully help make some of the necessary improvements to expand the segments of the market where digital can add value.

For those of us who have been championing digital print and what is possible to transform the corrugated industry, the pace of progress is both encouraging and disappointing. There are pockets of great success, but there is also a lot of work to do to get us to the full transformation that all members of the value chain need.

Robert Seay is the vice-president of digital print strategy and growth at Georgia-Pacific. This article, a part of Drupa’s Essential Series of Print, appeared in the January/February 2024 issue of PrintAction.

The EU-1000MF is offered with a choice of ink configurations – 6-colour (CMYK + high-opacity White + Gloss) or 4-colour (CMYK only). Users have the option of choosing from multiple versions available with either six or four printheads in a staggered, two-row configuration (offered at different price points). Both versions feature two selectable print modes – standard or high quality – to suit varying media and production needs.

“By introducing the new EU-1000MF, Roland DGA is giving customers exactly what they’ve been asking for – an advanced, high-volume UV flatbed at an affordable price,” said Roland DGA’s UV printer product manager, Jay Roberts. “The EU-1000MF and its cost-effective E-US inks will allow users to create customer-pleasing output, expand their product offerings, and take productivity and profitability to a whole new level.”

The J-throne 29, a B2 inkjet sheetfed digital press, is designed with Komori’s image-forming technology that delivers a printing speed of 6,000 sheets per hour (sph) for single-sided printing and 3,000 sph for double-sided printing.

The J-throne 29 joins Komori’s portfolio of digital printing solutions that include Komori’s Impremia IS29s, a 29-in. sheetfed UV inkjet digital printing system, and the Impremia NS40, a 40-in. sheetfed nanographic printing system.

“We are thrilled to unveil the J-throne 29 at Drupa 2024, showcasing its market-leading features, along with our new eco-friendly offset presses,” said Mark Milbourn, executive vice president of sales and service at Komori America. “Komori’s theme at the show, ‘Connected Automation,’ highlights our expertise in offset and digital print, postpress and the technology to connect them all. It supports Komori’s ongoing focus on delivering solutions that maximize customer value and are friendly to both people and the environment to make the future sustainable.”

Commercially available at Drupa 2024, the new Landa presses also offer a PrintAI module, which automates colour matching.

Gil Oron, CEO, Landa Digital Printing, said, “We’re delighted to announce the launch of the Landa S11 and S11P. Following the success of our customers with current Landa S10 and S10P models and based on deep understanding of the industry’s future needs, we are taking nanography to its next level. The new Landa models enable printers and packaging converters to not only increase print quality, but also elevate productivity and profitability while further reducing job turnaround times.”

The new Landa S11 and S11P models include a new ink drying system that enables transfer of dry ink from the blanket to the media, at the higher speed of 11,200 SPH. The new presses can be customized to the exact requirements of every customer. This means that each new press comes with a choice of four or seven colours, a continuous printing capability, an optional in-line coating unit, and the opportunity to purchase the 11K module and/or the PrintAI module.

“We’re committed to unlocking profitable and sustainable growth for our customers,” said Haim Levit, SVP and division president of HP Industrial Print. ” Our LEP, LEPx, and inkjet technologies have improved in terms of quality, versatility, productivity, sustainability, and economics and our commitment and significant investment into continuous innovation has enabled over 8,000 printers and converters to expand their businesses and grow sustainably. HP has been a digital transformation leader for more than 30 years, and our digital printing technology has established the gold standard in commercial print and labels and packaging production.”

The newly launched HP Indigo 120K Digital Press reduces human touchpoints and enables multi-press operation by a single operator. The new press is set to deliver offset-matching image quality, flexible job routing between offset and digital, and an ECO mode option for reduced carbon footprint.

The new HP Indigo 18K Digital Press handles a wide range of print applications with a single B2 digital press. It has advanced AI features like auto recovery and proactive alerts.

The HP Indigo 7K Secure Digital Press enables workflows tailor-made for security production lines.

“As the printing industry embraces automation and digitalization, HP Indigo empowers customers with unprecedented levels of productivity, efficiency, versatility, quality, and cost-effectiveness,” said Noam Zilbershtain, VP and GM, HP Indigo and Scitex. ” Our portfolio defines the industry standard for automation and sustainability, reflecting HP’s vision for the print production floor.”

“We’re also excited to announce that today HP will roll out general commercial availability of the HP Indigo V12 Digital Press, the fastest narrow web digital press on the market and first press to utilize new innovative LEPx technology7. Commercial availability comes after successful beta site installations including Brook + Whittle, a leader in sustainable packaging and digital printing in the U.S.,” added Zilbershtain.

HP also introduces an updated print production automation ecosystem with HP Indigo PQ Maestro wizard to optimize press performance; Preflight, an AI-based decision-making tool that automatically predicts the suitability of the best-fit print mode by learning customers preferences; and AAA 2.0 (Auto Alert Agent) advanced, a machine-learning algorithm that increases print productivity with zero human intervention.

“By using AAA 2.0 we experience a significant reduction in production time, saving 1 hour for every 80,000 impressions. This not only enhances our operational efficiency, but also drastically reduces customer complaints and returns by five to seven per cent,” highlighted Andreas Organzidis, head of color digital printing, Elanders.

HP introduces Autonomous Mobile Robots (AMRs) in collaboration with MoviĜo Robotics to automate media transfer.

HP also unveils enhancements to its PageWide Plus Package, which includes a Performance Economy Color (EC) Mode that uses less colour ink and on press colour profiling. HP also announces two new additional capabilities to the HP PageWide Advantage 2200 web inkjet press. Printers can use thicker substrates up to 320 gsm/18pt. Another capability is magnetic ink character recognition for transactional print systems.

The daylong conference offered a snapshot of Landa’s business priorities, which were neatly encapsulated by the event theme of ‘Run More’.

CEO Gil Oron opened the event with a short summary of Landa’s business performance to date: the company has doubled its business YoY in the last three years. They’re also building an ink plant in the U.S. to “be close to their customers.”

The company now has three investors. Besides the company’s founder Benny Landa and German entrepreneur Susanne Klatten, the Rausing family of Tetra Pak fame has invested in Landa.

“They’re enabling us to continue our development and growth as well as adding new capabilities,” said Oron.

The additional investment from the Rausing family has supercharged the company. They’re focused on offering “more presses, more business, and more technology” to clients.

Sharon Cohen.

Company overview

The company has 300 nanography-related patents. It sold more than 50 presses worldwide. Over 20 of them have been installed in the U.S. In Canada, Mitchell Press, Burnaby, B.C., owns a Landa press. The company has 600 employees with operations in North America, Europe, and China.

They currently have two products – Landa S10 for folding carton applications and Landa S10P for commercial, publishing and POP/POS applications. The Landa presses can be used in publishing, direct mail, folding cartons, calendar printing etc.

The S10 prints at a speed of 6,500 SPH on substrates that are 1.6 to 32 pt. (40-800 μm) thick. The S10P can print 6,500 SPH (single-sided) and 3,250 SPH (double-sided). Both presses can match 90 per cent of Pantone colours and are in B1 (41 in.) format. There’s no need for make-readies or plates with the Landa presses due to a unique, proprietary technology.

Technology

After selling the Indigo inkjet press technology to HP, its founder Benny Landa became interested in nanomaterials research. His research eventually led to the development of water-based nano-inks, which as the name suggests are nano-sized droplets of ink particles.

In a Landa press, billions of these ink particles are ejected onto a heated image conveyor blanket. The droplets blend to form the desired colour. When all the water has evaporated, you’re left with an ink image in the shape of an ultra-thin (500 nanometres) dry polymeric film. The film bonds with the substrate immediately upon transfer, leaving no residual ink on the blanket. These nano-ink images can be transferred onto diverse substrates including coated or uncoated paper or plastic. Since the images are dry, the printed sheets can be coated inline with UV or water-based coatings and then processed in finishing equipment right out of the press.

The Landa presses are designed for short as well as long runs.

Customer response

Landa’s customer-centric focus was the underlying theme of the whole event. Landa’s COO Sharon Cohen stressed on how “Landa always saw the world from its customer’s perspectives,” so that they could run more jobs, business, products, substrates etc. “Over 20 per cent of consumers have decided to buy a second press. This is the strongest validation for us.”

A panel discussion with Landa consumers was enriching. On the panel were Cheryl Kahanec, CEO, Quantum Group; Tara Duckett, sales manager, Southern Champion Tray; Paul Hudson, owner-CEO, Hudson Printing; and Bob Neff, president and CEO, Neff Packaging. The key takeaways from that discussion were Landa’s commitment to service. All the panelists had access to a Landa field engineer onsite to troubleshoot any issues that may arise.

Quantum had bought their first Landa press in December 2022, and is now buying another one. Southern Champion Tray, a folding carton manufacturer, also invested in a Landa press in December 2022. Hudson Printing purchased their first Landa in 2021. They currently have two Landa presses.

“Long runs and variable printing were taking too long on our other presses. We have web presses where the runs were too short. We thought it’ll be more efficient and cost-effective to run them on a Landa,” explained Hudson.

According to Duckett, Southern Champion Tray didn’t have much flexibility in moving jobs between digital and offset. They do short runs of food packaging with multiple SKUs, which was inefficient on offset. Duckett said that the Landa has given them the flexibility of doing business with emerging CPG brands who only need short runs. Heavy SKU jobs with 80,000 sheets that were killing throughput in offset have now moved to the Landa at Southern Champion.

For Quantum, Landa gave them the opportunity to combine jobs. Neff Packaging primarily serves the pharmaceutical market. The Landa has made their operations faster, but not necessarily cheaper. They’ve managed to pick up more than 10 new clients in food and software industries.

Hudson Printing found new product opportunities in variable printing. Landa broke down the barrier between offset and digital for them.

“Everybody is about serving the customers and doing the job right. Landa has some unique abilities like dry transfer, nano-ink, B1 size, etc.,” added Hudson.

When it came to integrating the Landa press into existing workflows, all the panelists adopted unique approaches. Neff intentionally housed the Landa in a separate room to test out the new technology and smooth out any bumps that may arise. They also hired a fresh team to work on the Landa. The Lanada was their first foray into digital printing. It has been so successful that they’re buying another Landa press.

At Southern Champion Tray, a previous digital experience had made employees slightly cynical about hybrid presses. “It took a bit of convincing, but now people love it,” said Duckett.

At Quantum, a fire at the plant around the time the Landa press was being installed changed everything.

“It removed sales resistance and employee resistance. The wall between digital and offset has gone. We’re getting opportunities we didn’t anticipate. We’re also moving things from offset,” said Kahanec.

Having prior digital experience was helpful for Quantum, Hudson, and Southern Champion Tray because the workflows are different. However, for Neff, prior mechanical experience was sufficient to man the Landa.

All in all the panelists were very pleased with the presses and the services being offered by Landa.

Market trends

At the conference, Dr. Sean Smyth, Smithers analyst and consultant, offered a keynote presentation on the future of digital printing. He said companies are changing the way print is manufactured by integrating digital technologies into the process. Some of the mega trends he highlighted were:

• sustainability;
• economic development;
• demographic shift;
• changes to the retail sector;
• regulatory changes (g. front of packaging rules for Canadian CPGs);
• staffing issues;
• rise of technologies like automation and artificial intelligence; and
• drive towards low run lengths.

PSPs must provide more designs and personalization to engage consumers, he recommended.

Dr. Smyth mentioned inkjet is replacing a lot of traditional analog materials and that there’s a move from serial to parallel printing as well as the development of automated finishing systems. This can be attributed to performance of machines in the market (think high speeds, automated make-readies). Print on demand is also reducing inventory and waste. He highlighted that in direct mail, full coloured variable printing is driving higher response.

Looking ahead

At Drupa, Landa will have fourth largest booth. At the 32,000-sf booth, expect to hear more about Landa’s new offerings, especially on how the company is using artificial intelligence and perhaps a new model with higher speed – they hinted at 11,000 SPH at the conference.

The JFX600-2531 printer includes nine vacuum zones that can be manually opened or closed with a turn of a valve. The larger bed size of the JFX600-2531 printer can also accommodate oversized sheets with a total printable area of up to 98.4 in. (2500 mm) wide x 122 in. (3100 mm) long and up to 2.36 in. (60 mm) thick. This capability accommodates a 5 x 10-ft board. The JFX600-2531 printer is expected to be available for order this summer.

Additionally, Mimaki USA unveils the CFX Series of production flatbed cutters in three table sizes. The CFX Series can achieve a tool moving speed of up to 60 m/min (39 in/min), and acceleration of 0.7G that reduces machining time. Four tools can be used simultaneously. Two types of controls are selectable: a pressure control with a maximum of 30 kg (294 N), and a position control that enables high-quality cutting and ruled lining. The ball screw on the Z-axis allows pressures from 5 to 30 kg (49 to 294 N). Two processing modes can be selected for ruled lining: pressure-controlled mode and position-controlled mode, depending on the material. Based on the pre-measured flatness information of the table surface, the tool height is automatically adjusted according to the table position to reduce the occurrence of over-cutting and left-over cutting. The CFX Series of cutters is also expected to be available for order this summer.

“We are thrilled to unveil our transformed and enhanced inkjet printer portfolio, where proven wide-format inkjet technology meets the power of three brand-new beasts,” says Arnaud Calleja, vice-president, Digital Printing Solutions at Agfa. “Our overarching ‘Powerful by Nature’ portfolio theme emphasizes that the performance of our printers stems from the way they have been designed. Whatever environment a printing company operates in, whatever its markets or applications, whether seeking high productivity, quality or versatility, there’s an Agfa printer that will deliver impressive results and give their business a boost.”

The following inkjet printers have made their global debut.

Jeti Condor RTR5200 HS 
The Jeti Condor RTR5200 is the latest addition to Agfa’s inkjet printer lineup. This roll-to-roll inkjet printer with a 5.2-m wingspan can print up to 672 m²/h. The Condor handles a wide variety of flexible substrates at up to three rolls simultaneously. It is field-upgradable with light colours and features white and varnish for increased design and application options

Jeti Bronco H3300 S 
The hybrid Jeti Bronco H3300 is 3.3 m high-end UV LED inkjet printer that prints a variety of sign and display jobs in six colours plus white, with optional primer. It offers continuous board feeding as well as independent dual-roll printing. In the first stage, the Bronco will be available with two rows of print heads. However, its horsepower is field-upgradable to a four-row version.

Anapurna Ciervo H3200 
Since the introduction of the first Anapurna over 20 years ago, the family has kept evolving. The new 3.2 hybrid Ciervo brings enhanced print quality and a much higher productivity than its predecessor – boasting an almost 70 per cent increase in printing speed in production mode. The continuous board feeding capacity enables printing on rigid materials, at up to four boards simultaneously.

For the first time in North America, Fujifilm will be showcasing its new mid-sized Acuity Prime Hybrid printer, specifically developed for wide format printing on a variety of substrates. The inkjet printer is a mid-range LED UV wide format press capable of printing both rigid and roll substrates. It allows for printing on flexible and rigid material up to 2 in. thick and roll media up to 6.5 ft wide. It has the ability to print up to 1,518 sf an hour.

“The ISA International Sign Expo is a must-attend event for graphics professionals, and we’re very eager to engage with creative sign professionals and show our latest innovations,” said Hidetoshi “Toshi” Kino, general manager, Fujifilm North America, Graphic Communication Division. “ISA and Fujifilm share a unique fun fact: we’re both celebrating milestone anniversaries this year, with ISA touting 80 years, and Fujifilm celebrating 90 years of excellence and innovation. Something else we have in common is our strong commitment to this industry, a tradition we look forward to continuing.”

Digital Pro Plus has a standard web width of 13 in. (330 mm), and a 1200 x 2400 print resolution, equivalent to 3600 DPI. It is capable of production speeds up to 76 ft/min (23 m/min) on a variety of substrates from paper to supported films and foil.

“We genuinely see it as a clear roadmap for growth as its capability can be scaled up as and when required. It’s the right press for high-quality CMYK printing roll-to-roll but is easily and affordably upgradeable to a full-scale inline production tool that can include flexo printing before and after the digital unit, cold foil, lamination, semi-rotary die cutting, slitting, scoring, sheeting, and delivery onto a stack conveyor – it really is a great all-rounder,” said Mark Andy’s newly appointed product manager for digital presses Ben Luly.

“We are excited to bring these new printers to market,” said Todd Zimmerman, SVP/GM Display Graphics & OEM Ink of EFI. “Vutek printers have been the leader in the hybrid category in signs and display graphics for more than two decades, with more than 300 installations worldwide. The Vutek h+ series answers some of the key pain points for our customers, all while improving ease of use and offering the LED environmentally friendly benefits you expect from EFI Vutek technology.”

Media handling improvements are some of the most notable enhancements in the Vutek h+ series. An upgraded vacuum table allows for better control of thicker media and thin-light-edged materials, thanks to double the vacuum strength on the print table.

For more information about the EFI Vutek h+ series and other sign and display graphics printing solutions, visit www.efi.com.

Yet, if we want to envision a sustainable and harmonious future, we must change our attitudes and discourse, offer new solutions that embody the challenges of tomorrow, disrupt deeply rooted habits, approach growth differently, and recognize that there is not just one way of doing things.

Digital technologies, which commercial printing and the label industry have embraced for a long time, will inevitably contribute, whether we are convinced or reluctant, to providing new perspectives in service of projects and needs. Behind digitalization lies not only the printing aspect, which is often seen in opposition to conventional approaches like offset or flexography, but also a world of finishing, including embellishments such as varnish and foil stamping, as well as cutting, automated workflow management, and enhanced prepress control that bridges the gap between clients and production.

To embrace and perhaps anticipate these technologies, the key is to evolve the mindset, adopt a holistic approach, reconsider the relationship with clients and the market, and thus transform the company culture, allowing new capabilities to permeate and impact all levels of society.

Digital synergies

Web-to-print, continuously evolving in its approach to the market, anticipating needs, and delivering highly refined customer experiences, has directly benefited from the new capabilities offered by digital advancements. It certainly would not have revolutionized the market without this contribution. However, we must not forget that web-to-print and digital technologies mutually leverage and feed off each other to progress and gain market share, forming a virtuous spiral.

In turn, web-to-pack benefits from the capabilities provided by digital means dedicated to the packaging and point-of-sales industry.

This, in turn, justifies the development of new equipment and solutions by manufacturers. The combination of digital and web-to-pack undoubtedly contributes to democratizing access to simplified packaging solutions that were previously reserved for experts with minimum volumes.

It now allows any brand or project holder to launch, test the market, make mistakes, backtrack, and avoid imposing heavy commitments.

Rapid web-to-pack market growth

All of these factors contribute to the rapid growth of the market share captured by web-to-pack without impeding the traditional business conducted on a personal basis. Moreover, the increasing number of new product launches, special and limited editions, and the incredible trend of offering numerous variations of the same product—to cater to individual consumers’ preferred flavour, colour, etc.—all contribute to the explosion of demands that require online solutions coupled with digital production technologies. If these numerous packages are produced locally, directly within the workshops connected to the web-to-pack platform, the loop is closed.

We are witnessing the development of more or less advanced and transparent web-to-pack offerings, indicating that these solutions seem like El Dorados. However, let us not be mistaken. The production of packaging, even with digital equipment, requires well-controlled processes and technical know-how that are acquired over time, sometimes through setbacks. Some platforms simply act as intermediaries, selling products produced by local or exotic manufacturers, while others make the radical choice of controlling their processes and production in-house, despite the constraints and difficulties this process entails. However, they retain all the added value within their own company.

As with any epic journey, we are witnessing the creation, consolidation, disappearance, and rapid growth of companies until the market structure solidifies. In the meantime, ingenuity and creativity know no bounds, naturally pushing the boundaries.

The remarkable ability of human beings to invent and reinvent themselves gives us hope for a promising future, albeit different from what we know today. Ultimately, one question remains: Do we wish for something better tomorrow, or can we become better ourselves? That is quite a program.

Fred Corbo is CEO and owner of SmilePack.fr, a web-to-pack platform. A part of the Drupa Essentials of Print Series, this article was published in the November/December 2023 issue of PrintAction.

The VibraHue line of UV printers are available in flatbed, roll-to-roll, and hybrid formats and in a variety of sizes and printheads. Direct Color Systems will be handling the sales and marketing for the product line, while Team EPS will be managing the installation, training, technical support and service.

Steve Mills, global VP of sales and marketing at Direct Color Systems, said, “The VibraHue product line compliments our Direct Jet line of printers. We are not just expanding our product range; we’re enhancing the capabilities of our clients. Customers involved in traditional point of purchase printing can now enjoy a more comprehensive offering, right alongside our Direct Jet products.”

Tom Kaplinski, Direct Color Systems, President, added, “The launch of VibraHue aligns perfectly with our strategy to continuously evolve and provide superior technical products. It is not just about adding new printers; it is about new possibilities like roll-to-roll printing, an area we are excited to explore. Our collaboration with TeamEPS and their world-class service organization marks a new chapter in our journey.”

Print remains adored by people of all ages. Vividata’s SCC Study of the Canadian Consumer (2023) found that in an average month, 66 per cent of Canadian adults read print or digital magazine content. More importantly, among magazine readers, 42 per cent only read the print version and 17 per cent do so in combination with more than one digital device. Why? In our digital-driven media landscape magazines are refreshing celebrations of independence, niche passions, and creativity.

To better understand how magazines reach and connect with readers I interviewed Dan Thompson from Italic, a print service provider in Toronto, and Nicola Hamilton of Issues Magazine Shop, Toronto.

Print and digital co-exist

Although newsstands have declined, Magazines Canada identifies General Interest and (Other) Niche Publications as two of the best performing genres in 2023. Consequently, around the globe are shops that sell independent publications, including MagCulture Shop in London (U.K.), Casa Magazines in New York, Under the cover in Lisbon, Issues Magazine Shop in Toronto, and Atlantic News in Halifax.

Thompson and Hamilton both highlight the physical enjoyment and tactile experience as a major reason for print’s continued success.

Hamilton points out, “We’re still really wired to absorb information that is in print.”

Although digital devices have decimated our attention spans, print magazines combat screen fatigue and free us from the continuous onslaught of digital notifications.

Thompson echoes the sentiment. “[Print is] the most efficient media format ever invented. It doesn’t need a battery. It doesn’t take any internet bandwidth. It lasts forever. It is one of the only media types that will last the ages because [it is] not in a format that technology will forget about as it advances,” he says.

It is a medium that one engages with intentionally. There is no clickbait. Ironically, independent publication production and readership have grown because of the internet.

The world wide web has enabled people of shared interests to congregate. Communities are no longer hindered by geographic borders to connect. This allows niche networks to organically share ideas and subsequently utilize crowdfunding platforms to support and create passion projects uninhibited by the publishing industry.

“We are seeing it more and more where publishing happens when the money is allocated on a small level…People who have like-minded tastes can then fund it and grow these niche publications out of an idea,” observes Thompson.

Independent magazines that are striving to be different helps set them apart from commercial titles and attract engaged readers. Photo © Sabrina Sisco

A 2016 Pew Research report stated that magazine-related projects made up 20 per cent of all funded projects in the Journalism category on Kickstarter. According to Maris Kreizman, Kickstarter’s former publishing and journalism outreach lead, in 2016, 40 per cent of those projects met their crowdfunding goals. Hamilton points out there are many success stories that highlight how these independent publications offer something different and desired compared to their commercial counterparts. For example, Dan Crowe’s and Matt Willey’s Inque. “They raised £175,000 [on Kickstarter] to create an [ad-free] publication…The goal was to build a literary magazine that would document the decade so it would exist for one issue a year for 10 years and then it would go away forever,” recalls Hamilton.

Another thing to remember is that the digital issue supports growth. While more established titles might still be growing through traditional means, subscribership can also be digitally driven. Thompson sees digital editions as a powerful addition to magazines’ longevity.

“[There exists] this whole idea of digital [issue] to physical then physical back to digital. It’s a really great loop. People leverage the power of print but also leverage the power of the digital magazine versions as well; the magazine exists in both places. You can read it quickly online but then if you want to spend time with the story…you have that option as well to go deeper with the printed piece,” he explains.

Magazines celebrate independence, niche passions, and creativity. Photo © Justin Ming Yong

Production and distribution

Today, print shops of all sizes continue to print independent magazines. One of the greatest boons for publications has been the technological improvements in digital presses and inline finishing. This has made short-run, high-end production affordable and timely. Thus, enabling small independent publishers and creators to produce gorgeous colour reproductions with high-end finishes. At Italic, Thompson observes, “All those embellishments…are key to making these publications stand out. The readers are buying it sometimes just for those reasons because they want a piece that looks great. They interact with it, and it lasts over time in their home.”

Independent magazines striving to be different (and sumptuous) helps set them apart from commercial titles. This is partially what attracts Hamilton’s clientele.

“Independent publishers are just investing more time [in things] readers actually value, like design and production quality…where[as], I think, over the years commercial titles have prioritized relationships with advertisers.” Independent magazines prioritize interesting concepts, unique designs, and well-rounded editorial.

Once produced there are several ways a magazine can reach its readers. Small to large print shops can use Canada Post to send publications directly to subscribers or they can package them in batches and distribute them through various channels to other end-point destinations.

Hamilton has also observed printers who do a lot of publication design are, in some cases, providing single-copy fulfillment.

Issues employs several methods used to acquire their magazines. First are direct to publisher relationships. Independent titles and publishers may opt for this to keep costs down by cutting out the middle person. Second, are distributors.

“We work with a handful of distributors both here in Canada and abroad. The benefit of a distributor is that you’re managing one relationship for hundreds of titles,” Hamilton explains.

Positive tactile experiences continue to drive the growth of printed
magazines. Photo © Shlomi Amiga

The future

According to Vividata’s SCC Study, Gen Z are more likely to only read print than millennials or Gen X. Gen X are the least likely to read both print and digital, going one way or the other.

Hamilton sees this daily as she has anecdotally shared that Issues clientele are primarily creatives aged 25 to 40 years old.

The desire for community is one of the primary reasons for the longevity of independent magazines. At Issues, “there’s a sort of magic moment where you [find] a publication devoted entirely to [something you are passionate about]…One of our favourite things to witness is when people come in and they find something that speaks to them in some way. They actually hold the title closer to their chest instead of holding it and putting it down.”

Like the book which has not disappeared in the face of digital counterparts, magazines continue to thrive. People value and collect magazines for a myriad of reasons. Whether it is a special issue, the content, or the object itself. The combination of a unique concept or topic and creative execution make these magazines into art objects just as much as editorial collections all while illustrating the communities you belong to. In Thompson’s opinion, “There is a resurgence to get back to analog…like the resurgence of records that have that tactile collector feel. Short-run publications are of the same note. People are missing from their general lives these days something that sits around their house for slow digestible content. Short run and small [are] just what people want whether it’s a lack of local content in a specific market or a real niche interest. These types of jobs are hanging around because they are making an impact in the communities in which they serve.” Never is this more apparent than now with the reduction of accessible local news.

Further, there is trustworthiness in the printed word. While online offers convenience, in our reality of generative AI, digital media is more questionable, and information is harder to vet. Thompson elaborates that “digital information is becoming more and more valueless because we can’t authenticate the source. We are seeing that in spades right now where people are choosing print because it is one of the only channels left that holds authenticity.”

Conclusion

I’d like to close by sharing a final thought from Hamilton. “[Magazines] are things we’re keeping… A lot of people’s energy and effort goes into creating that publication.”

Whether they live on our shelves for a few days or years, magazines are objects of beauty with an innate connection to their readers that, unlike a book with finite pages, continue to release issues and adapt. As cultural artifacts and curated objects, there is so much joy to be found in them. Out there is a magazine for everyone on every subject.

The biggest hurdle is exposure. While newsstands have diminished, the Internet has stepped in to fill that gap. Social media and forums have nurtured a digital-print feedback loop helping readers find their publication and by extension a community. This demand for community is why we are still creating and printing publications and why shops like Issues exist. I encourage everyone to see what’s out there in the stacks. You will be surprised. 

Olivia Parker teaches visual communication and media production. She can be reached at olivia.ovp@gmail.com.

“Both the BD-8 and BY-20 are small enough to fit on your desk, yet they’re capable of doing very big things,” said Roland DGA’s product manager of digital print, Daniel Valade. “Plus, they are priced to suit the budgets and workflows of start-ups, smaller print shops, retail stores, and home-based businesses. The addition of these advanced devices to our VersaStudio lineup complements the series’ existing selection of compact, powerful inkjet printers, cutters, engravers, metal printers, and foil transfer devices, expanding the creative options for our customers.”

The BD-8 is capable of printing on substrates and three-dimensional objects, up to A5 size and 4 in. (102 mm) in height. With a BD-8, you can produce a wide range of items, including customized smartphone cases, notebooks, and cosmetic items. The BD-8 uses EUV5 inks that are available in CMYK and White.

The BY-20 desktop direct-to-film system lets you produce customized apparel and accessories.

The industry is pegged among the worst polluters in the world. According to the World Economic Forum, fashion and textiles make up 10 per cent of the world’s carbon emissions. If that weren’t bad enough, more than 85 per cent of all textiles produced go into dumpsters each year.

The Harvard Business Review notes the industry is actually moving backwards, with reports indicating the call for sustainable fashion hasn’t translated into action during the past two decades. The manufacturing of shorts and shoes creates more waste than ever before, with 75 per cent of items produced ultimately being burned or buried in landfills.

What’s wrong?

So, why is material change not happening? Clearly a lack of widespread legislation to incentivize or force change is a key gap. One sliver of light is the recently proposed New York Fabric Act mandating the industry shape up or suffer the consequences. If passed, the legislation will require fashion retail sellers and manufacturers to fully disclose all environmental and social diligence policies.

A digital ID, a unique code existing as a twin both on the garment and in the cloud, allowing for universal traceability of products to slow down waste in the fashion industry is emerging in France.

Another good news is that the demand side of the market is likely to become a major driving force simply because mass customization, the velocity of changing consumer preferences, and the need to respond immediately will force more nearshore and onshore production.

Digital production is helping legacy fashion houses adopt nearshoring and eliminate supply chain disruptions.

Match the speed of culture

With the world experiencing a digital transformation like never before, culture is leading the way in change across industries. The digital-native generation has come of age, and their revolutionary mindset is making its presence felt.

Custom-designed fabrics provider called Spoonflower—now a subsidiary of Shutterfly—once spoke of an “Etsy army” that had populated their design library with 1.8 million digital creations, each of them ready to print on demand, to be fashioned into any number of do-it-yourself products.

Customers demand immediacy, capturing the moment as it’s experienced. Unfortunately, the one industry that has yet to catch up is fashion and apparel. That’s due to an analog supply chain built for the old way of production. At a popular fashion and textile sourcing event in New York, William Brenninkmeyer, global sourcing manager and lead of innovation at C&A, noted, “Chasing trends is impossible with an analog supply chain, where the lead time is six to eight months. But digital production technologies now enable on-demand fulfillment, so you can bring concepts to production to consumer in two days. It’s incredible.”

This new model is driven by digital production. Digital on-demand production are empowering producers to channel digital creator and consumer data encompassing buying behaviours, social media listening, and more into a fulfillment strategy – answers demand for a digital supply chain with greater agility and efficacy than the traditional 18-month forecast cycle. Further, it answers the sustainability imperative by aligning supply with demand, thus minimizing the waste that inevitably comes from forecast-based production. The approach also makes it possible to unleash customization and personalization for micro-communities and even the individual.

At the same conference, Aaron Day, CEO of Amaze Software, echoed these thoughts: “The analog supply chain was built to meet a certain need at a certain time, but that world has been disrupted by a cultural shift. When you account for all the associated costs, I think we’re nearing a tipping point where an on-demand t-shirt can be produced cheaper than one produced using a traditional printing press.”

For those entering the industry, adoption of digital processes might not be that difficult. Companies leading with digital production can fully embrace the power of ‘phygital’ technology, which bridges the gap between digitally created imagery and physical fulfillment of those concepts.

While these exciting technologies are a natural partner for brands with a considerable e-commerce footprint, the challenge is far greater for retailers whose sales model stays tethered to the fortunes of the physical, brick-and-mortar store. Consider European-based retail powerhouse C&A. Founded more than 180 years ago, with more than 1,200 physical locations worldwide, C&A embodies every attribute of powerful retail production. Yet, it is still vulnerable in the age of a web-driven ‘retail apocalypse.’ Counterintuitively, such a business sees considerable upside in web technologies. According to Brenninkmeyer, C&A is investing in digitization to drive ‘rightshoring’ for tailoring fulfillment strategies based on the most effective means of serving different customers and brands. Directly addressing the needs of a creator economy, on-demand, digital production makes it possible to digitize key pieces of their supply chains to adopt nearshoring more rapidly.

The same shift is playing out industry wide. Look no further than legacy brands like Nike and Gucci that are going all-in on NFTs and artificial intelligence. These brands realize this culture shift is demanding change in the way creators engage and produce. For them, it may not be a matter of adopting digital supply chains, but rather adopting pieces that work best for them. Companies are evaluating all new options on the table to avoid wasting time on things that won’t work, and zeroing in on technology that moves the needle the most.

The growing ecosystem of available digital technologies provides brands – from the designer who came of age in a digital world and dreams of establishing their own fashion label to the legacy retailer established before the advent of streetlights – with the capabilities to join and profit from the creator economy; deliver brilliant, uncompromising, high-quality physical goods; and better align demand with supply, eliminating overproduction waste. They can make the products people want, getting it into their hands faster, and minimizing the risks associated with today’s globalized marketplace. Finally, fashion is moving at the speed of digital culture.

Don Whaley is vice president at Kornit Digital Americas.

At an exclusive event for packaging converters and print service providers, Agfa unveiled its SpeedSet 1060 inkjet printing press for the packaging market. 

The label functions as a tracking device connected to a cellular network. Reelables has achieved the ability to mass manufacture thin, flexible smart labels that can be printed in volume from off-the-shelf barcode printers. The underlying technology is a reel-to-reel, thin-film manufacturing process.

“This is a major breakthrough when it comes to supply chain visibility and automation,” said Brian Krejcarek, CEO and co-founder of Reelables. “Achieving mass production and pervasive deployment of these thin film wireless smart labels will change how businesses track items, reduce theft and loss, and demonstrate accountability to their customers.”

“Pictures and graphics have become synonymous with big events, memories and milestone achievements,” said Aaron Brill, associate product manager, Professional Imaging, Epson America, “The SureLab D1070DE supports a variety of businesses, including on-site photographers, photography labs and graphic artists with fast, outstanding single and double-sided photo applications for creating tangible mementos.”

“Engineered with our deep understanding of corrugated and display converters’ needs for precision, the Kongsberg Ultimate promises to redefine standards and usher in a new era of productivity and innovation, delivering a fast return on investment for convertors of corrugated board,” said Kongsberg PCS president and CEO Stuart Fox. “Enhancing operations and providing a significant competitive advantage, the platform sets a new industry benchmark and is set to drive the future of corrugated production for years to come.”

The Kongsberg Ultimate offers an acceleration rate of up to 2.74G and a cutting speed of 168 meters per minute.

The DBM-700 is engineered to accommodate print outputs from multiple presses. It can create square spine booklets and thicker books.

The Ricoh Pro VC80000 builds on the success of the Ricoh Pro VC70000 and is designed for the production of direct mail, colour books, catalogs, magazines and commercial print applications on coated media up to 300 gsm.

The machine measures less than 32.8 ft (10 m). It can achieve a maximum resolution of 1200 x 1200 dpi and maximum speed up to 492 fpm (150 mpm).

“The Ricoh Pro VC80000 is built on what made the previous generation a customer favourite and is a testament to our commitment to helping customers solve their challenges. It sets a new standard in automation and data-first intelligence to increase productivity and usable output with consistency across operators and shifts,” said Gavin Jordan-Smith, senior vice-president and general manager, head of Global Sales Strategy Division & Ricoh Graphic Communications North America Sales, Ricoh Graphic Communications.

The Ricoh Pro VC80000 high-speed inkjet press is available from early 2024 across the U.S. and Canada.

The solution can encode UHF and HF tags based on information from the database or synchronize with printed serialization codes read by the camera before (barcode, QR code, data matrix, or OCR). This ensures the visual and code inside the RFID tag matches.

First step of the solution is imprinting codes and inserting RFID tags on the Gazelle rewinder with a 90-degree inserting option. Step two takes place on the Leopard 300 rewinder with Lake Image’s Discovery RFID serialization suite to encode UHF and NFC/HF tags from a file or the Infinity inspection camera, decoding UHF and NFC to file (logging), sequence check to master file, and check for double encoding to a master file.

The camera with UHF encoding can reach high speeds up to 40 m/min (depending to data) or 25000 tags per hour and up to 20 m/min or 12500 tags per hour with NFC encoding. UHF decoding up to 50 m/min or 35000 tags per hour and NFC decoding up to 40 m/min or 25000 tags per hour. A database matches the camera verifier and RFID read.

“With this new solution, we offer a powerful full suite for RFID label serialization and testing,” said David Rosas Wolf, managing partner of Rosas Maschinenbau. “Rosas has specialized in customised RFID decoding and encoding solutions for many years including high-frequency, ultra-high frequency, and near-field communication with read/write and database synchronisation in combination with optical vision systems.”

The press will be officially available for public orders in North America as of November 15, 2023.

In June 2022, Heeter Printing, a Pittsburgh area full-service secure marketing provider for highly demanding industries like insurance, retail, and gaming, teamed up with Ricoh to serve as the official beta site for the B2 sheetfed inkjet press platform.

“There’s a significant gap in the industry today when it comes to the size of jobs that are most efficient to run on offset, continuous feed inkjet and cutsheet digital production platforms,” said Kirk Schlecker, president, Heeter Printing. “The RICOH Pro Z75 is like a multitool for our operation. It gives us flexibility in how we produce customer jobs by bridging that gap, with the productivity to take on work from our traditional 40-in. offset, inkjet web and cutsheet toner devices. It combines the image quality, efficiency, print size, substrate flexibility and economics that allow us to say ‘yes’ to more jobs, and ultimately deliver a better customer experience for our clients. With the support Ricoh provides and their commitment to stand behind their products, the Ricoh Pro Z75 makes a compelling case for any print service provider looking to achieve what they once could have only imagined.”

The RICOH Pro Z75 offers print speeds of up to 4,500 sheets per hour (SPH) in straight printing or 2,250 SPH in duplex / perfecting printing. Stainless steel piezo print heads bring 1,200 dpi native resolution at all speeds with 4 colour (CMYK) pigment-based inks. The RICOH Pro Z75 also expands substrate flexibility, handling uncoated, inkjet treated and offset coated media up to 400 gsm (24 pt) with a max sheet size of 23 x 29-in.

“As shorter runs and increasing demand for data-driven communications push print service providers to adapt their production strategies, we are helping them leverage the latest hardware, software and data to become indispensable to their end customers with the Ricoh Pro Z75 as a powerful example of that commitment in action,” said Gavin Jordan-Smith, senior vice-president and general manager, head of global sales strategy division and Ricoh Graphic Communications North America Sales, Ricoh Graphic Communications. “The result is a new level of performance that enables easier, faster and more profitable production of applications like direct mail, postcards, marketing materials and other commercial print work.”

This printer offers a larger bed size, up to three rows of industrial printheads for maximum productivity, an electromagnetic carriage drive system as well as field-upgradeability. It offers up to 1800 dpi print resolution and speeds up to 3,875 sf/h.

Jim Peterson, COO and founding partner, Vanguard Digital North America, said, “The VK3220T-HS is the culmination of years of technological advancements and our response to the demands of the market. We are dedicated to delivering the best printers available, and through our innovation and commitment to our customers, we have created the new benchmark for speed and quality, with a focus on productivity and efficiency. The VK3220T-HS symbolizes the start of a new chapter for Vanguard Digital, and we are so proud to share it with the North American market.”

The VK3220T-HS can print on nearly any substrate up to 4 in. thick and is driven by an electromagnetic drive. Other features include auto height detection, one-touch pin registration, front-to-back and back-to-front printing, water-cooled LED curing technology, and ionization bars.

The UCJV330 Series of cut-and-print UV-LED roll-based printers builds on previous Mimaki models for signage and graphics applications. It will be available in two sizes: the 54-in. (137 cm) UCJV330-130 and the 64-in. (162 cm) UCJV330-160 models. Both models will be equipped with standard CMYKLcLm plus White and Clear LUS-170 inks for printing onto a variety of media including translucent, transparent, white or coloured base media, PET, PU (polyurethane) and other resin films, cloth, and paper (including uncoated paper). The UCJV330 Series is expected to be available for order at the end of October 2023.

The UJV100-160Plus UV-LED roll-based, entry-level printer will make its debut at Printing United Expo, October 18-20 in Atlanta, Ga. The 64-in. (162 cm) UJV100-160Plus printer will be equipped with standard CMYK plus white and clear LUS-170 UV-LED inks. It is expected to be available for order at the end of October 2023.

The Ricoh Pro C7500 utilizes Ricoh’s specialty colour toners that include white, clear, invisible red, gold, and silver. Its new neon colour profile gamut expansion enables the Pro C7500 to generate blush pinks, deep purples, and radiant yellows.

New to the Ricoh Pro C7500 is an elastic intermediate transfer belt that enhances support for rough or uneven textured media. It can handle a wide range of grammages from 40 gsm to 470 gsm and has been strengthened to support duplex printed long lengths up to 1030 mm. These developments will enable PSPs to broaden their range of applications with, as examples, light packaging, greeting cards, and wedding stationery.

“The Ricoh Pro C7500 exemplifies our dedication to empowering print service providers with innovative technology and cutting-edge software to continually advance their production environments,” said Gavin Jordan-Smith, senior vice-president and general manager, head of Global Sales Strategy Division and Ricoh Graphic Communications North America Sales, RICOH Graphic Communications. “With its expanded colour capabilities, support for various media types, and user-friendly controls, the Ricoh Pro C7500 brings a new class of production class hardware to the industry that not only elevates print quality, but also opens up new possibilities for our customers, helping them to deliver on the evolving demands of their clients.”

The Ricoh Pro C7500 will be available to order in Canada beginning in October 2023.

QR codes are a type of two-dimensional barcode that store information as a series of pixels in a square-shaped grid. They can store over 7000 characters. They can be scanned in either direction (transverse or longitudinal), making them more versatile and easier to use for supply chain and inventory management purposes.

While their use in Asia is near ubiquitous, as they are a popular method for payments, their acceptance in North America has been more fraught. When they were first introduced in the 2010s, these boxy barcodes were seen as a hassle because you needed a smartphone, access to the internet, and a separate app to scan them. The lack of education in their use and versatility was a misstep in their implementation.

The renaissance

QR codes experienced a renaissance during the pandemic. In the pandemic-induced touchless reality, these little boxes, as mobile-first technologies, became lifesavers. They appeared on menus, posters, and stored our health information. They easily integrated into our everyday lives because, as of 2017, QR code scanners had been incorporated into most smartphone cameras. Plus, according to Pew Research, 84 per cent of Canadians own a smartphone. Our desire to experience a world outside our bubbles increased their mainstream acceptance in design and communication, thereby creating a meaningful way for organizations to connect with customers.

However, three years later we still have a complex relationship with these unsexy boxes. As our society adjusts to a post-COVID-19 world, the QR code’s use continues to be polarizing. With increased familiarity, QR code scams have become more common. Some uses, such as on menus, have become less popular. For example, in the span of two years, the New York Times published several articles praising QR codes only to spell their doom in May 2023.

We have come full circle. Society knows what and how to use QR codes but cracking the right use-case scenario is still unclear. Since Denso Wave does not enforce their patent, QR codes are being developed to solve unique problems like NaviLens for the visually impaired. However, for marketing purposes, the primary thing to remember is they can store information and, therefore, do a lot of different things. Unlike their one-dimensional counterparts, they can: 

• direct consumers to a website, redeem a discount, or subscribe to your marketing communications;
• post on social media;
• link directly to download an app on the Apple App Store or Google Play;
• authenticate online accounts and verify login details;
• access wi-fi by storing encryption details such as SSID, password, and encryption type;
• send and receive payment information; and
• build augmented reality experiences, etc.

Any one of these could be a great addition to marketing strategies, as QR codes can amplify every stage of the consumer journey, from initial awareness to brand advocacy. Their popularity has indeed grown. According to Statista, in 2022, approximately 89 million U.S. smartphone users scanned a QR code on their mobile devices, up by 26 per cent from 2020.

Here are some considerations if a client wants to use a QR code.

Purpose

What value will the QR code be adding to the customer journey? Is it practical? QR codes on subway cars or billboards can be problematic if there is no internet access or a risk to public safety. QR code menus have fallen out of favour, as restaurants and meals have the societal expectation of non-technology zones. Choose applications that are appropriate and add value.

Design

Put yourself in your customers’ shoes when considering placement and size. Ensure your code is easily accessible and big enough for phones to scan (and leads to a mobile-friendly landing page). As a barcode, contrast is important; inverse or low contrast colours can make it unscannable. Simplicity is also key. For long URLs, consider using a link shortener so fewer characters need to be encoded. One of the unique properties of QR codes is some generators will build in redundancy so that even if part of the code is damaged or removed (such as placing a logo in the centre) they will still scan. However, the more complex the QR code the bigger it will need to be for the pixel pattern to read.

Dynamic vs. static

There are multiple methods to create a QR code from online paid or free generators to application-based solutions like InDesign or XMPie. Consider though that many of these options create static QR codes. The problem with this form of QR code is that when a link changes, the barcode becomes obsolete. When possible, use a service providing dynamic QR codes. A dynamic QR code has an editable final destination URL, thus continuing the longevity of the media on which it is printed.

Security

Humans cannot read QR codes, so it is easy for hackers to alter a QR code. Attackers can embed malicious URLs containing custom malware or direct a user to a phishing site. In 2020, Denso Wave improved the original design. Their new QR codes include traceability, brand protection, and anti-forgery measures. Also consider using a secure QR code platform as well as a custom domain and SSL.

Data collection

QR code generating software can offer analytics. The data collected can include location, the number of times the code has been scanned and at what times, plus the device which scanned the code. More tech-savvy users can add UTM parameters to website URLs to track and perform in-depth analysis of campaign performance. Understanding which communication channels are reaching customers is invaluable in marketing campaigns.

Future of QR codes

In 2013, marketing experts Scott Stratten and Alison Kramer wrote the book, QR Codes Kill Kittens: How to Alienate Customers, Dishearten Employees, and Drive Your Business into the Ground, where they said, “we are using QR codes to show that we’re using QR codes.” Some may say we are doing the same again. However, according to a study by the Drum and YouGov, 75 per cent of consumers have said they plan to use QR codes going forward.

The widespread adoption of QR codes provides businesses with information to help grow and enhance customer satisfaction. Educating your customers on the versatility of QR codes and how they are quick and simple to implement could be just what they need to help ease their concerns and build value-added user experiences.    

Olivia Parker teaches visual communication and media production. She can be reached at olivia.ovp@gmail.com. 

This article originally appeared in the July/August 2023 issue of PrintAction.

“With HP 2600 as the latest addition to our solvent ink portfolio, big brand manufacturers can continue to reduce maintenance costs and gain production efficiencies that drive higher uptime on their packaging coding lines” said John Meiling, director of marketing and category management with HP Specialty Printing Solutions. “HP is committed to delivering outstanding print quality throughout the life of the print cartridge, helping brands realize low maintenance coding and marking, while also making progress towards their sustainability goals.”

HP also introduces a thermal inkjet (TIJ) 108-mm bulk printing solution for coding and marking on secondary packaging. This TIJ technology enables direct printing on the outside of packaging boxes, improving recyclability by avoiding glues and other adhesives required with traditional labelling processes.

With the addition of a second print head, the new TxF300-75 demonstrates an increase in productivity by 300 per cent compared to the existing model.

This DTF printing system enables intricate designs on an expansive range of fabrics, from cotton, mixed textiles, polyester, and even darker shades.

“The Ricoh Pro C9500 marks a significant advancement in empowering production printers with innovative technology to transform and broaden their production capabilities,” said Gavin Jordan-Smith, senior vice-president and general manager, head of Global Sales Strategy Division & RGC North America Sales, Ricoh Graphic Communications. “Built on a proven foundation and supported by a range of software options, print service providers can achieve greater control and automation of their workflows in a complete production ecosystem that’s a gateway to new business and impactful results.”