When evaluating a wide-format printer, too many users neglect to factor ink into the output equation. Yet, inks can play a significant role when it comes to quality of the final image as well as the production costs.
A lot of thought goes into the concept and design of your client’s graphics, and then even more effort is expended in ensuring that the idea is executed with “visual oomph” onto the media of their choice. But the project doesn’t end when the ink is dry, of course. In order to maximize its impact with the intended audience, consideration has to be given as to where and how the graphic will be displayed. After all, you wouldn’t hang a Monet with masking tape. So why display a high-quality digital image in a similarly careless manner?
There was a time when all tradeshow booths and exhibits were built of metal and wood, painted wall panels hung with vinyl banners.
That’s changing, thanks in part to some pioneering work in digital dye-sublimation printing undertaken by Fabric Images Inc. (fabricimages.com) of Elgin, Illinois.
Managing a conscious change process is difficult and not natural for people and organizations. It’s much easier to continue doing things the way they have always been done and not expend any effort on trying to act differently. Change can cause confusion, create stress, disrupt established patterns of communication, and generally be perceived as a pain by those who have to enact it.
A print-on-demand version of the 2010-2011 Printer Sourcebook is now available.
The 36-page annual reference from the editors of The Big Picture magazine provides information on an array of wide-format printers and RIPs, including comprehensive specifications on:
• More than 130 rollfed printers;
• 60 flatbed/hybrid printers; and
• 40 third-party RIPs for wide format.
Before we can begin applying graphics to vehicles, we have to successfully get the image on the vinyl (or other media of choice). Of course, many technologies are out there that can get this accomplished – from roll-to-roll solvent printers to UV flatbeds and hybrids and much more, all with a dizzying array of specifications. No matter which of these print technologies you choose for your operation or a particular job, one factor remains constant: Some images are easier to print than others.
Roland DGA has introduced the 54-in. VersaUV LEC-540 UV-LED wide-format inkjet printer/cutter. Based on the company’s existing VersaUV technology, the LEC-540 prints CMYK + white + clear, and can contour-cut substrates up to 1-mm (0.04-in.) thick.
In early September at the Jacob Javits Center, Canon kicked off Canon Expo 2010 New York, an invitation-only quinquennial event showcasing the company’s advanced imaging technologies. Featuring the theme, “We Speak Image,” the event highlighted Canon technologies in print production as well as consumer imaging products, office equipment, broadcast and communications, healthcare technologies, and security solutions.
Kevin Van Aeist’s photograph, Left Ring Finger, from his Fingerprints series, was created with the help of actual mustard and a slice of bread. Part of the Flash Forward Festival in Toronto showcasing photography’s future, Van Aeist’s work was a winner in the Flash Forward 2010 competition. His work also regularly appears on Eye Buy Art (eyebuyart.com), an online art gallery for emerging photographers and Flash Forward’s sister organization.
Large format piezoelectric printer manufacturer Mutoh will hold its final Hands-On School of Wrap Class for 2010 with well-known professional car wrapper Justin Pate, December 9-11 at the Mutoh Phoenix office.
The two-day beginner course will focus on proper tool usage, properties of film, and post-installation tips, while giving students the opportunity to completely wrap a vehicle from start to finish.
The one-day advanced course will integrate the complications of bumpers, deep recessed areas, increasing quality and lowering installation times.