Marco den Engelsman
CHILI publish (www.chili-publish.com) introduces key novelties to flagship product CHILI publisher as a pre-launch to SPICY talks 2018, the company’s community gathering, taking place March 7-9, 2018 in Amsterdam, The Netherlands.
The CHILI publisher novelties
Increasing personalization and customization trends are raising the bar for online document editing solutions. As brands discover the ease-of-use of integrating such a solution, CHILI publish upholds its frontrunner position by improving the original online document editor with following features:
- High definition rendering – document rendering is optimized for retina display.
- Editing – action editor overhaul where additional business rules enable any admin to build better templates faster.
- Inline image cropping – images can be scaled and cropped directly in the document.
- Preview generation – quick previews can be generated client-side, whenever required throughout the creation process.
- Sizing – working on or with large files is facilitated to smoothen all processing activities.
- UI – improved UI secures a better user experience in an appealing, customized and user-friendly manner.
- Customization – each UX applies a custom font set, regardless of language of preference. This complies to any language selection.
- Backoffice – the complete works
- Full html conversion of all functionalities
- Increased flexibility in actions, (pre)views and navigation
- Visual make-over for a more appealing interface
Ward Delanghe, CTO at CHILI publish, comments: “CHILI publisher has never stopped adjusting to the market needs. As we’re on the cusp of the next big thing in creative and marketing assets, we’re speeding up our time to market and prefer to release today what is needed for tomorrow. The novelties were introduced first during demonstrations at C!Print and have been well received by customers worldwide, with registrations for best practices webinars are rolling in.”
#SPICYtalks18 – the creative market shift revelation
The 2018 edition of the SPICY talks community gathering is labeled as the “Market Shift Edition”. The creative paradigm is evolving rapidly for designers, printers and brand owners alike. In order to assess and respond to this shift, CHILI publish is offering its community and partner ecosystem a SPICY talks platform to discuss trends, solutions and future developments. CHILI publish has arranged for triple tracks on business, tech and deep tech to run in parallel, presented by the CHILI publish team, customers and influencers. Companies joining with multiple team members can truly immerse themselves in all elements of integration and discuss strategy, implementation and business rollout on site with CHILI publish management, developers, customers and market influencers.
“We want to bring everyone together to truly analyze, assess and evaluate the current market shift. We’ll be unveiling how printers, designers and brand owners can tackle this shift with the right self-servicing, lights-out solutions.” Kevin Goeminne, CEO of CHILI publish explains.
To validate the claims, CHILI publish has relied on following, reputed influencers and respected customers to assess the CHILI solutions and present their findings to the audience at #SPICYtalks18:
Influencers:
– Sean Smyth, Smithers Pira – “Can CHILI publish revolutionize artwork? Opening new routes to market for high-quality labels and packaging.”
– Theresa Regli, DAM expert – “The elevation of today’s MarTech applications – driving the multichannel repurposing engine.”
– Deborah Corn, PrintMediaCentr – “The EvoYOUtion of print business – relations are about to get real personal.”
– Pat McGrew, Infotrends – “Customizing commercial print? The influencer’s inside insight perspective.”
– Marcus Timson, Pure Digital Show – “Leading the future of digital print: the market shift for creative designers.”
Customers:
– Jason Frueh, MyCreativeShop – “Making money creatively – long-term success formula for integration.”
– Nico Potvin, KAN – “How Axalta drastically reduced the label production cost at KAN design.”
– Jonathan Stuart, Paragon – “The many faces of online variable documents – integrating leading composing engines.”
– Michelle Bengermino & Amer Mallah, Demandbridge – “Brand management at scale – empowering enterprises with dynamic digital outputs.”
Goeminne concludes: “We want to make cross-pollination happen for our community and ecosystem at SPICY talks and look forward to unveiling the next steps in next-gen creative asset handling. We’re not just aiming at raising standards, we plan on setting some new ones.”
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Mediaconsumptie versplintert en de wereld wordt nooit meer zoals hij was, zo laat de nieuwe Media Standaard Survey zien.
Zo luistert bijna een op drie mediaconsumenten in Nederland radio via zijn televisie (28%). En de mobiele telefoon is voor iedereen tot vijftig jaar het voorkeursmedium om de krant digitaal te lezen.
De in VINEX verenigde online exploitanten publiceren de nieuwe, jaarlijkse Media Standaard Survey richtig hun achterban als ijkpunt van mediaconsumptie voor een jaar (pdf). Meer dan in eerdere jaren laat het rapport een beeld zien van verre digitalisering van het medialandschap. En ook zijn er nóg meer mensen online gegaan in 2017.
Leek iedereen al lang op internet te zitten, nu blijkt er toch nog ruimte voor groei. Het is vooral de groep 65+’ers die toetreedt tot de digitale tijd. Internetpenetratie groeide in die groei van 72,5 naar 76 procent. Een kleine veertig procent van de gepensioneerden heeft ook internet op zijn telefoon. De tweede groep waar de internetpenetratie in 2017 groeide, was onder laagopgeleiden, van 76 naar 78 procent. Met mobiel internet lopen zij nog achter op midden en hoogopgeleid (82 en 89 procent).
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Kodak announced the Spring 2018 availability of the KODAK Nexfinity Digital Press.
Kodak said the $885,000 press is designed for lower running costs, higher speed and higher imaging quality. It is targeted at high-volume printers that focus on direct mail, marketing collateral, short-run publishing, short-run labels and tags, retail signage and POS.
Press release:
Kodak Launches the NEXFINITY Digital Press Platform, Dramatically Improving the Versatility of Digital Printing
Building on its investments in digital printing technologies, Kodak today announced the Spring 2018 availability of the KODAK NEXFINITY Digital Press. The NEXFINITY Press, which builds on the success of the award-winning KODAK NEXPRESS Platform, is set to become the most versatile sheetfed digital press on the market. The platform’s low running costs, higher speed and dynamic imaging will change how printers evaluate what can be run on digital.
The entire NEXFINITY Platform is designed to make it easy for printers to operate in a much more dynamic print marketplace. It’s built with Dynamic Imaging Technology, a patented Kodak innovation for digital printing. The technology works by applying algorithmic adjustments to specific areas of an image, which optimizes image quality and consistency based on the image content in each area. The result, for example, produces crisp text, hard lines, soft skin tones, and beautiful skies on the same page, whether it’s for one print or millions. Featuring a new high resolution and multi-bit LED writing system, the press produces the broadest range of applications, including direct mail, commercial print, publishing, and packaging. Seamless integration into workflow and finishing solutions means the press is optimized for a printer’s production workflow.
“With NEXFINITY Press, printers get a robust digital printing platform that delivers offset quality while driving down costs and equipping them with the flexibility and speed to handle an expansive range of applications for their customers, whether it’s an order for a few hundred or millions of impressions,” said Chris Balls, General Manager, Equipment and VP, Print Systems Division of Kodak.
Superior Image Quality, Speed and Flexibility
Kodak’s NEXFINITY Press delivers the industry’s highest information density at more than 1.8 billion pieces of image information per square inch1 and it ensures smooth flat fields and excellent image detail in the printed product. For example, the system can reproduce fine details on the fly, like highlight areas and consistency in mid-tones by adjusting the exposure levels for incredibly high levels of print quality. The LED writing system provides 256 levels of exposure on the imaging cylinder, compared to laser systems that only are on or off, which means it provides excellent, consistent quality, utilizing closed-loop process controls that maximize uptime and lower running costs. NEXFINITY Press also delivers speed and flexibility, with an increased range of 83 to 152 ppm expanded sheet lengths up to 48 inches and capable of handling stocks up to 24pt. When all of this is combined with the machine’s color sequence flexibility that allows for dry inks to be printed in alternative orders or combinations required by specific print jobs, the creative possibilities to help printers grow their business are extensive.
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Kodak heeft aangekondigd dat de Nexfinity digitale pers in het voorjaar van 2018 beschikbaar wordt.
De 885.000 dollar kostende professionele printer heeft een hogere snelheid en een beter afdrukkwaliteit dan alle andere printers op het Nexpress platvorm.
Press release:
Kodak Launches the NEXFINITY Digital Press Platform, Dramatically Improving the Versatility of Digital Printing.
Building on its investments in digital printing technologies, Kodak today announced the Spring 2018 availability of the KODAK NEXFINITY Digital Press. The NEXFINITY Press, which builds on the success of the award-winning KODAK NEXPRESS Platform, is set to become the most versatile sheetfed digital press on the market. The platform’s low running costs, higher speed and dynamic imaging will change how printers evaluate what can be run on digital.
The entire NEXFINITY Platform is designed to make it easy for printers to operate in a much more dynamic print marketplace. It’s built with Dynamic Imaging Technology, a patented Kodak innovation for digital printing. The technology works by applying algorithmic adjustments to specific areas of an image, which optimizes image quality and consistency based on the image content in each area. The result, for example, produces crisp text, hard lines, soft skin tones, and beautiful skies on the same page, whether it’s for one print or millions. Featuring a new high resolution and multi-bit LED writing system, the press produces the broadest range of applications, including direct mail, commercial print, publishing, and packaging. Seamless integration into workflow and finishing solutions means the press is optimized for a printer’s production workflow.
“With NEXFINITY Press, printers get a robust digital printing platform that delivers offset quality while driving down costs and equipping them with the flexibility and speed to handle an expansive range of applications for their customers, whether it’s an order for a few hundred or millions of impressions,” said Chris Balls, General Manager, Equipment and VP, Print Systems Division of Kodak.
Superior Image Quality, Speed and Flexibility.
Kodak’s NEXFINITY Press delivers the industry’s highest information density at more than 1.8 billion pieces of image information per square inch1 and it ensures smooth flat fields and excellent image detail in the printed product. For example, the system can reproduce fine details on the fly, like highlight areas and consistency in mid-tones by adjusting the exposure levels for incredibly high levels of print quality. The LED writing system provides 256 levels of exposure on the imaging cylinder, compared to laser systems that only are on or off, which means it provides excellent, consistent quality, utilizing closed-loop process controls that maximize uptime and lower running costs. NEXFINITY Press also delivers speed and flexibility, with an increased range of 83 to 152 ppm expanded sheet lengths up to 48 inches and capable of handling stocks up to 24pt. When all of this is combined with the machine’s color sequence flexibility that allows for dry inks to be printed in alternative orders or combinations required by specific print jobs, the creative possibilities to help printers grow their business are extensive.
De activiteiten van rotatiepersen- bouwer Goss en van Manroland Web Systems worden samengevoegd. De inkjetactiviteit van Goss Contiweb zal als zelfstandig bedrijf verder gaan.
De fusie zal naar verwachting midden 2018 volledig zijn.
De twee fabrikanten van rotatiepersen waren tot voor kort hevige concurrenten. Door de krimpende markt zien ze zich nu genoodzaakt de activiteiten te combineren, om op deze manier efficiënter te kunnen produceren. Met name in service en onderhoud is er voor partijen veel te winnen in de fusie.
Goss International’s printing press business and Manroland Web Systems are to combine, with Contiweb set to become a standalone company.
The merger is expected to be completed by the middle of 2018.
The two web offset press manufacturers – previously arch rivals – said they are planning to combine their businesses to benefit from their complementary geographic footprints, create extensive synergies, ensure long-term viability, and provide “value-oriented solutions”, particularly in the area of aftermarket services.
Both companies have faced significant challenges due to the shrinking market for large-scale web offset and newspaper presses.
Subject to regulatory approval, the merger is expected to be completed by the middle of 2018. It will not impact any current business of both companies.
The current shareholders of Goss International and its owner American Industrial Partners, and Manroland Web Systems and its owner Possehl Group, will continue to co-own the combined company.
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Massivit showed off its Massivit 1800 3D printer.
At first glance there may not be much crossover between wide format and 3D printing. But there is some synergy in the different technologies, and several vendors that we normally associate with wide format have exploited this. More importantly, the kind of people that run wide format printshops tend to be highly entrepreneurial and open to new business opportunities.
There are a number of different ways that 3D printing, or additive manufacturing, as it’s more properly called, can be used. The technology was originally used to produce prototypes, including those with different degrees of functionality. But it’s also used to make moulds and tooling and increasingly for producing short run parts.
3D Printer Options
There are many different types of 3D printers, requiring different levels of skill and investment. This includes desktop printers that can be used in any office environment through to industrial plant machinery. There’s plenty of scope within this for wide format print shops, both alongside the existing display business and as a way of diversifying into new markets.
This includes, for example, some opportunities to use 3D printing as part of a visual display. This could be as an advertising model, such as a large model of a drill outside a shop selling tools, or a small model of a wine bottle inside a supermarket to point customers to the wine section of the shop.
The most obvious proponent of this type of display is the Israeli company Massivit, which has developed a very large 3D printer, the Massivit 1800, specifically for this type of work.
It’s a big machine, with a printing area of 1.5m x 1.2m x 1.8m, easily big enough to produce large objects, such as life-sized statues. It prints a photo polymer acrylic-based material that solidifies with exposure to UV at room temperature. This is a gel-like material that is squeezed out like toothpaste from a tube to build the object up one layer at a time. The machine can be fitted with two extruders to produce two models side by side.
Once hardened the material is quite brittle but dimensionally stable so that there’s little need to print any supports or in-fill, depending on the shape of the object. The objects are quite light and easy to move around. They are not inherently outdoor resistant but can be coated to add weather resistance.
Mimaki has developed this 3D printer and the associated software that goes with it.
3D Promotional Items
Wide format print service providers often produce promotional items and this is another area where 3D printing could be applied to produce a complete promotional item rather than just printing a graphic onto an object. This could include anything from beer bottle openers to bookmarks. Mimaki, for example, has cited this application for its first 3D printer, the 3DUJ-P. This uses a form of LED UV-curable ink to create the 3D objects. It prints in six colours – CMYK plus white and clear – so that the objects have the full colour gamut that we would normally associate with a UV printer with over 10 million colours. Mimaki claims that it can reproduce 84 percent of the Fogra 39L colour gamut, which is considerably more than most other 3D printers.
The ink cures layer by layer to form an acrylic resin modelling material. The printer also lays down a dissolvable resin to support the object while it’s being printed, which is also cured by LED UV light. Once the object is printed, the support can be dissolved in a water wash and the UV object peeled away. There’s no need for any further cleaning or polishing. The objects are solid enough that you can insert screws to them without risk of breaking them. It has a build area of 500 x 500 x 300mm.
Other Applications
Probably the most obvious crossover between wide format and 3D printing is for those companies that specialise in CAD work. This is mainly because the type of customers that want engineering designs printed, such as designers and architects, also see the value in having 3D models made. It also helps that the software necessary for producing 3D models has developed out of CAD software and so these printers are used to handling these files.
There’s a developing industrial market for 3D printing as manufacturers turn increasingly to 3D printing to produce moulds and tooling and even some short run parts. This includes relatively small parts that can be done with a desktop printer all the way up to bigger machines that can produce large parts or many small parts together.
Adding & Substracting
Roland sells both a desktop milling machine for subtractive manufacturing, and a 3D printer for additive manufacturing, which are often sold as a complementary pair. The 3D printer is the ARM10, which uses digital light processing or DLP, whereby the object is first split into slices or layers and each layer is then projected onto a vat of photopolymer resin; where the light reacts with the resin, it hardens to form the layer. The base is then lowered and the next layer is projected on top of this until the object is built up one layer at a time. The bed is 70 x 130mm and objects can be 70mm tall. This is complemented by the SRM20 milling machine, which can handle a wide range of materials such as modelling wax, wood, acrylic and ABS.
At the other end of the scale, HP has developed its own Multi Jet Fusion 3D Printers. The process works by laying down a very fine powdered plastic and then jetting two liquid agents to modify that powder through standard thermal printheads. One of these fluids is a coalescing agent that causes the powder to be fused when it’s hit by a laser, while the second adds other properties such as colour. Each part is printed one layer at a time and a laser is then used to fuse the plastic powder according to the shape defined by the coalescing agent. The unused powder is brushed away and can be re-used and the next layer is printed. There are several models starting with the 3200, which has a build speed of 3500 cm3/hr and is aimed mainly at prototyping. There’s also a 4200, with a build speed of 4500 cm3/hr, which targets short run production, and the most recent addition, the recently launched 4210 that can handle slightly longer production runs.
There’s no question that manufacturers are increasingly turning to 3D printing, both for developing new products and for producing short run parts and tooling. But there is a shortage of 3D print service bureaux that are able to handle the CAD-like files used for 3D printing. So 3D printing should represent a good opportunity for wide format service providers, albeit that this market is still developing.
– Nessan Cleary
Nessan Cleary has spent two decades writing about digital printing, covering everything from commercial printing through to packaging and wide format. He is interested in how things work, the way that each print technology matures and develops as well as the different uses that people make of these advances.
He is an experienced journalist, editor and photographer. Nessan is also the editor of Spindrift.
The Wild Format guides are intended to expand awareness and understanding of the craziness that can be created on wide format digital printing devices, from floors to lampshades and everything in between.
These guides are made possible by a group of manufacturers working together with Digital Dots.
This article is supported by Efi (www.efi.com), HP (www.hp.com), Mimaki (www.mimakieurope.com), Roland (www.rolanddg.eu) and Digital Dots (www.digitaldots.org). Together we hope you enjoy the articles and that you put into practice what you learn. If you want to talk about it, go to our LinkedIn group at https://www.linkedin.com/groups?home=&gid=8178178
Ford is now the official GUINNESS WORLD RECORDS title-holder for the largest billboard in the world after unveiling a 5,265 m2 advertisement – equivalent to 20 tennis courts – for the new Ford EcoSport sports utility vehicle (SUV) on the iconic Espana Building in central Madrid, Spain.
A GUINNESS WORLD RECORDS official adjudicator inspected the 2,000 kg installation and verified the largest billboard GUINNESS WORLD RECORDS official attempt was successful – exceeding the previous record established in Dhahran, Saudi Arabia, by 241.93 m2.
“Our GUINNESS WORLD RECORDS title for the largest billboard demonstrates the creativity that drives our company,” said Elena Burguete, director of Marketing, Ford Spain. “Ford’s message is: ‘Go Further’, and that’s what we aimed to do with our campaign for the launch of the new EcoSport. It’s a great way to deliver the message ‘Life is out there, are you?’ to as many people as possible, right in the heart of Madrid.”
The billboard will remain in place until the end of February, after which it will be donated to the Apascovi Foundation employment centre for people with disabilities, where a second life will be given to all of the materials used.
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Ford is nu de officiële GUINNESS WORLD RECORDS-titelhouder voor het grootste billboard ter wereld, na het onthullen van een reclamebord van 5265 m2 (het equivalent van 20 tennisbanen) voor de nieuwe Ford EcoSport op het markante Espana Building in het centrum van Madrid.
Een jurylid van GUINNESS WORLD RECORDS heeft de installatie van 2000 kg geïnspecteerd en vastgesteld dat de officiële GUINNESS WORLD RECORDS-poging voor grootste billboard is geslaagd en het vorige record, gevestigd in Dhahran in Saoedi-Arabië, met 241,93 m2 heeft verbroken.
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Hillenaar Outdoor kondigt opnieuw uitbreiding aan. Het bedrijf is vanaf 1 maart eigenaar van een mega board op het Museumplein in Amsterdam. CEO Jeroen Hillenaar is trots op deze toevoeging aan zijn netwerk. “Het is een echte eyecatcher op een toplocatie. Adverteerders bereiken er direct een groot en relevant publiek mee.” Amsterdam is belangrijk voor Hillenaar Outdoor: “We zijn ambitieus en vergroten ons netwerk snel. Ook in de hoofdstad.”
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Guest Blogger – Jill Geens asks why are there not more women in the Print and Graphics World?
I have to admit, since I know “Straffe Madammen”, founded by Elke Jeurissen, I tend to look around on meetings, in companies, on seminars and search for other women. Usually we’re not numerous. Are we really a minority? Are other women not interested? Or don’t get the chance …
In numbers
In some numbers, we match men. 50% of the world’s population is female. Well, that’s nicely dived. But then numbers start to look pretty bad for us women:
• 5% of the world leaders
• 10% of the world income
• 75% of all people in poverty
• 66% of all illiterates
In facts
Are these numbers representative for my – graphic – world? Yes, they are! Last January I faced the facts myself at the “VIGC* trapt af”-event: 70 attendees of whom only 4 were female (one of them being a speaker): 5%. Why are there so little female entrepreneurs in graphics?
Are we incapable?
On the contrary! A study of McKinsey & Company “Women Matter” from 2014 teaches us this about women’s equality in the economy: “Women’s economic equality is good for business. Companies greatly benefit from increasing leadership opportunities for women, which is shown to increase organizational effectiveness. It is estimated that companies with three or more women in senior management functions score higher in all dimensions of organizational effectiveness.”
It is a proven fact that companies with women in charge gain more profits than companies with an all men board. A lack of talent doesn’t seem to be the problem.
Is it our family situation?
This factor seems one of the main reasons. Women are still in the “caring” position so you tend to assume that women choose family over career.
Company management tends to hire men more easily for a key role in their company because men don’t go on maternity leave or ask for a part-time job after they become a parent. 1/3 of women in management positions have children to 2/3 of men with similar jobs.
Figures show though that becoming a mother is not necessarily the sole reason. In Denmark men and women get to divide one year of paid leave when they have children. Yet only 30% of all Denish managers is female.
Is it the needs of the business ?
As a graphic designer, you need to burn the midnight oil from time to time. And sharp deadlines don’t care about sick children, husbands stuck in traffic or other family emergencies. I would be surprised if this was the case. Tough deadlines appear in all kind of jobs. Not only in graphics.
Then what is going on?
Good news is these graphic gazelles, they do exist! In the U.S.A. as much as 54% of graphic designers are female! YES! In the U.K. 70% of the graphic design students are female. Great! The Nike swoosh was designed by a woman in 1971 and Susan Kare is responsible for quite a few original Apple interface elements. And still, I can’t stop thinking that something is off balance here.
• 11% of creative directors are female in the U.K.
• Barely 13 women in the “The Drums” top 100 “designerati” (2015, U.K.)
• In the U.K. 80% of all purchases are decided by a woman, while in advertising 83% of creatives is male. Such a missed opportunity!
Is it the men?
There is less coverage for female top designers. In “The Dictionary of Graphic Design and Designers” that spans the period from 1840 until now, only 25 women are mentioned on a total of 357 designers. (7%)
“Men writing about other men”, you know.
In 2018 there are still quite a lot of talented designers finding themselves trapped under the glass ceiling. The typical division of roles that pushes women in the position of caregiver has got to go if we want to see more women in management roles. The “houseman” is still not established. Creating awareness about gender inequality remains necessary. We need more female role models. It’s the only way to tip the scale and get it into balance. It would be a win-win situation in so many ways.
Is it only the men ?
Definitely not. There is another important culprit … Women themselves !
Sheryl Sandberg (Facebook CEO) describes the problem very clear in her TedTalk “Why we have too few women leaders.” (A real eye opener that you have got to watch !)
We place ourselves in second position. We have to put ourselves on the table at meetings. It’s time we find our opinion valuable enough to speak our mind. And when asked as a speaker, we need to put ourselves beyond our fears and grab the opportunity. We don’t do this enough!
We have to stop being so modest. We don’t get anywhere with that modesty! Men jump on tables to claim their success. Women call their success “being lucky” or have a colleague taking part of the recognition. Rarely taking credit for themselves. Who gets promoted ? Who is the subject of the paper? Not these women, that’s for sure!
We have to get our promotion machine working. After a big success, we just continue business as usual. So wrong ! We have to draw attention to that success more. How can other people or our management know what we have accomplished if we don’t speak about it? They can’t! The world doesn’t exist out of clairvoyants.
It is in our nature to underestimate ourselves. Men are more confident. Women keep on doubting, are afraid to take the challenge. A promotion? We don’t have all skills so we don’t apply. Men have 6 out of 10 qualities and they just go for that job.
We hold back. We want children and a family. The moment we realize that we start getting our foot off the gas of our careers, even before that family is really there.
When we finally reach a key position, most women are not likely to help other women climbing up the ladder because they’re afraid of the competition. Successful women in typical male environments are even harder for other women than men are.
Perception. A man that knows what he wants, is someone with character and discipline. A women with the same characteristics is described as bossy, unpleasant, a bitch.
Yet there is hope !
More women seek and find their way. “Women have created, perhaps inadvertently, a parallel industry of accessible talent. Many practice as independent designers operating out of their homes or sole proprietors of small firms often with one or two assistants.” – Moira Cullen [2] I can affirm that completely. Since January 2017 my company evolved from my second job to my fulltime job. More and more I see other women in my surroundings becoming an entrepreneur. We get to choose our own clients, play by our own rules and search for fulfillment without depending on an employer. The zeitgeist is finally starting to change and so are we. We stop putting ourselves in the corner and we take our destiny into our own hands. Margaret Thatcher noticed during her days in politics: “In politics, if you want anything said, ask a man. If you want anything done, ask a woman.” But oh … Thatcher was bossy wasn’t she?
Jill will be speaking about the ‘World of Design and Print’ at the Pure Digital event on Tuesday 17th April at 3.30pm.
You can register for free at www.puredigitalshow.com
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Connecting design and digital print – the key to future digital print innovation and growth at Pure Digital 17-19 April, RAI, Amsterdam
Pure Digital enters into collaboration with Building Holland, the leading trade fair for the construction and architecture market in the Benelux region, and with BNO, the most prominent association and community in Dutch Design. This triumvirate underlines the importance of creativity in the growth process from vision to reality for digital print and design for interior decor and other applications. Pure Digital will give visitors and exhibitors a uniquely immersive experience where creative vision, technical expertise and practical applications come to life.
Pure Digital – Bridging the gap between print and design
Results from recent research, conducted by Pure Digital, proved that the biggest barrier to growth for digital printing is the continued gap between the printing and creative industries. To help to solve this problem, Pure Digital will provide a bridge between the creative and printing sectors.
Frazer Chesterman, Co-Founder of FM Brooks explains: “Traditional print shows tend to focus on one thing, selling machines. Until now, none have really tackled the biggest issue in print, which is how to inspire creatives and designers. Personalisation is a fundamental consumer and business trend that is not confined to home decor but also a reality in retail, hospitality, leisure and work environments. That is why we want to create a platform where exhibitors and visitors can come, to both understand and embrace the full potential of digital printing.”
Pushing boundaries – Creative freedom for design
In contrast with analogue printing, Digital printing provides designers with more freedom. With digital printing, a designer can trial ideas quickly, and start the process again without the risk attached to printing large stock inventories typical with analogue. Creative freedom stimulates endless unlimited innovation – a key theme of Pure Digital.
To achieve this, Pure Digital brings together the best of the best in one location:
1. Printers – Pure Digital focuses on quality and has attracted some of the biggest players, including HP and Durst. Large formats on special materials, special applications in unusual locations – no creative boundaries need be obeyed.
2. The Content programme at Pure Digital, with support from BNO, will focus on inspiring designers and creatives by hosting keynote presentations that will inspire digital print innovation.
3. Building Holland – the co-located show will allow visitors to enter both shows and thus experience the holistic experience. From architectural concepts, construction, finishing and personalisation; from idea to delivery.
Pure Digital encourages the following visitor groups to leave their comfort zone and explore digital printing:
1. Architects, interior, and production designers – a new world of interior decoration opens with new applications, textures and experiences for their customers.
2. Creative directors and designers within packaging and commercial printing – digital printing allows creative freedom for sophisticated marketing campaigns and in-store decoration projects.
3. Printers – learn how new applications can generate new business. Exploit the potential and generate more profits with digital printing techniques.
Consumer Trends meet with Digital Print Capability
Mass production is no longer the dominant factor as individual self-expression continues to define how society behaves, how we spend our time, and where. Such is the pace of technological innovation in digital print, designers have the capacity to transfer just about any image onto any substrate. The possibilities are there, it is now up to the creative printer and designer to create and print.
BNO, Building Holland, Pure Digital and HP already see the potential:
Freek Kroesbergen, Communications Manager of BNO, explains: “BNO is the leading Dutch community of designers, ranging from brand and corporate design to packaging design, and from retail design to interior design. We are delighted to be partnering with Pure Digital Show. Through this co-operation we can help our members and the wider creative industry realise a new perspective faster. The innovative exhibitors at Pure Digital will show very clearly how digital printing technology can stimulate creativity and provide the tools to create unique experiences and designs that make a difference.”
Richard Klein, Managing Director, Building Holland, “We are happy that the Building Holland Exhibition and Pure Digital is collaborating by having our events so close together – this makes sense because the attendance for both shows is mutually beneficial. Building Holland is now established as the premier event in the Benelux region for construction and architecture, and there is an interest in the possibilities of digital printing for décor. I think that both events are set to gain value from the other. Being open minded to do this enables new possibilities, and we look forward to the positive results.”
Marcus Timson, Co-Founder of Pure Digital, points out: “Design is not an isolated process. Designers need creative input from printers and developers to help them bring their vision to life. With Pure Digital, we do not only want to stimulate co-creation, but also really make it possible. With the support of BNO, Building Holland and our exhibitors and sponsors, we are confident that we offer visitors serious added value.”
Terry Raghunath, Business Development Manager – Printed Interior Decoration at HP, concludes: “Everyone can cook, but the quality of the chef and ingredients makes the art. The digital print market needed a platform that brings together idea, creation, technology and reality. Pure Digital is the perfect initiative to get all parties involved in the same location and evangelise the digital creative realisation. ”
Registration opens March 5. For further information contact marcus.timson@mackbrooks.com
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