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FESPA announces the conference programmes and feature highl…

FESPA has announced the conference programmes and feature highlight for its 2026 events, taking place at the Gran Via, Fira de Barcelona, from 19 – 22 May 2026. While attending the six co-located FESPA 2026 events, (FESPA Global Print Expo, European Sign Expo, Personalisation Experience, WrapFest, Corrugated and Textile) visitors can also experience: The FESPA Conference and The Corrugated Conference and WrapTalks, as well as World Wrap Masters Europe and Finals. Sessions will be delivered in English and Spanish, depending on the topic, and visitors will also have access to live translations into Portuguese, French, German and Italian with via a translation aid. The FESPA Conference The all-new FESPA Conference (located in Hall 3, Stand B45), will allow visitors to develop a greater understanding of trends and opportunities across speciality print, signage, textile and personalisation. Those in attendance will learn about how they can capitalise on market trends and convert them into business growth. Confirmed session to date include: ‘Theory & Practice: Sustainability in Print’ with Klaus Reisinger, CEO, ClimatePartner. ‘Added Value Apparel: Surface Effects and Embellishment for Garment Decoration’ with Debbie McKeegan, FESPA Textile Ambassador and CEO of Textintel. ‘Print. The Original Influencer’ with Justin Cairns, Head of Offline Production, Ogilvy. ‘In Store Personalisation: Retail Case Studies to Convert Footfall into Revenue’ with Bart Olde Wolbers CEO, Artisjet. ‘La comunicacion visual en el arte y la’ with Natalia Dolz, Design and Prepress Manager, Lachrome. The Corrugated Conference The first edition of Corrugated will provide a platform for visitors to explore the latest trends, challenges and developments across the corrugated industry, supported by a free-to-attend ‘Corrugated Conference’ programme. The conference will include talks from experts on their experiences in corrugated production and how converters can adapt their business to keep up with evolving market trends. Speakers will explore the power of digitisation and automation, packaging regulations – and more. Confirmed sessions to date include: ‘The Cyber Landscape of the Packaging Industry: Where we are and where we’re heading beyond 2026’ with Stefan Liversidge, OT Security Production Owner, OPSWAT. ‘AI is the Solution to Assist in the Automation and Digitalisation of the Corrugated Industry’ with Thomas Orthax, CEO, Packitoo. ‘The Future of Corrugated Packaging: Revealing a Clear Pathway for Today’s Dynamic Industry’ with Ian Bates, Regenerative Packaging Pioneer, NOA Ltd. ‘Ukraine: How industry rebuilds after the conflict’ with Yura Bachurin, Operational Director, Paper Kite and Editorial Board Lead. WrapTalks programme Visitors to WrapFest 2026 can also attend the WrapTalks conference programme (Hall 2, A78), where they will have the opportunity to hear real-life success stories and develop their understanding of the entire wrap industry – from vehicles to interior décor. Confirmed sessions to date include: ‘Inside the Wrap: Creative Projects that Pushed Boundaries’ with Chris Edwards, Director, CVI Group, Shaun Winfield, Director, Dash Wraps and Tim Evans, Founder, Wrapper Mapper. ‘Pixels to Panels: The Wrap Production Pipeline’ with Martin Turecek, CEO, Wrapstock and WrapStyle, and Chris Edwards, Director, CVI Group. ‘Women in Wrap: Breaking Barriers, Building Futures’ with Paige Walton, CEO and Founder, The Vehicle Wrapping Academy, Jen Carney, Founder of Women Of Wrap, Megan Cadogan, Megan Cadogan, Director, Miss Wrapz ‘Beyond Vehicles: The rise of Architectural Film’ with Greg Forster, Managing Director of Embrace Building Wraps, and Christophe Aussenac, Co-Founder, ATC Group. Feature highlight: World Wrap Masters This year, WrapFest will host two live World Wrap Masters Competitions: World Wrap Masters Europe on 19 - 20 May, followed by the World Wrap Masters Final on 21 - 22 May. During the World Wrap Masters Europe Competition on days one and two of WrapFest, regional competitors will compete against one another in a series of timed rounds, wrapping a variety of special objects and vehicles. On the final two days of the event, regional champions will battle it out to be crowned the World Wrap Masters 2026 champion in the Finals of the global series. Alongside the competition rounds, visitors will be able to access a series of daily demos, delivered by global wrap experts, sharing their top tips and tricks for efficient and accurate installs. Visitors can also explore an array of wrap-focused technologies and solutions, including self-adhesive wrap films, software and design, tools and accessories, wrap, vinyl, PPF, window tint, architectural interior and detailing from leading brands and suppliers, as well as Printed Media Partner, Arlon, Colour Change PPF Partner, Carlas and PPF Partner, Terminax. Michael Ryan, Head of FESPA Global Print Expo, comments: “Each year, we strive to offer our visitors something new, and our three conference programmes will do just that. We’re confident that the programmes will facilitate knowledge sharing among our visitors, while giving them a platform to learn, network and maximise their business growth.” He adds: “In addition, the expansion of our flagship event portfolio overall – to include WrapFest, Corrugated and Textile under the FESPA 2026 umbrella – supports the growth of our global community by bringing together experts from speciality print and its related sectors. He concludes: “As ever, it’s a pleasure to be back in Barcelona this May, and I’m excited to see what the future holds for our biggest show yet!”

Editor in News March 30, 2026

FESPA announces the conference programmes and feature highl…

Editor in News March 30, 2026

Mimaki 3D printing brings colour to the “beauty” of anatomy

A revolutionary project sees a team of doctors and researchers from the University of Florence use Mimaki's 3DUJ-553 printer to create three-dimensional anatomical models with an extremely high and previously unattainable degree of colour fidelity What do anatomy and 3D printing have in common? As the science that studies the shape and structure of the human body, over the centuries anatomy has been the basis of medical and scientific knowledge and remains the common thread running through the training and professional development of every doctor. The focus of this discipline is to investigate and consequently produce figurative representations of the morphology of the human body, with a degree of realism and accuracy that has played - and continues to play - a crucial role in ensuring effective teaching and the dissemination of anatomical knowledge. And this is precisely where 3D printing comes in as a state-of-the-art technology that could mark a turning point in the anatomical representation of the human body. A major step forward in this direction was made in a recent Italian project involving the University of Florence and Bompan, Mimaki’s exclusive Italian importer, which leverages the passion, skills and determination of a team of visionary doctors and researchers, and the full colour and photorealistic capability of Mimaki’s 3D printing technology. A revolutionary algorithm for extraordinary graphical representation A shared passion for anatomy led Ferdinando Paternostro, physician and associate professor in the Anatomy Section of the Department of Experimental Medicine at the University of Florence, and Giacomo Gelati, doctor and resident, to explore new ways to fill the existing gap and make the definitive qualitative leap forward in anatomical representation. Due to a number of critical issues, such as the perishable nature of corpses and legal complications, the practice of dissection - the main method of anatomical investigation that has allowed us to gain knowledge and produce an iconographic representation of the structures of the human body - has become increasingly less practical. “During my medical studies, thanks to Ferdinando, who was my professor, I became passionate about anatomy. However, I soon became aware of a series of difficulties. Not only was it impossible to take part in anatomical dissection practice sessions (still the best tool available to learn about the morphology of the human body) but the iconography used (albeit based on photographs that showed realistic anatomical details and watercolours of great artistic value, despite relying on a schematic representation of anatomical structures), remained flat and static, and therefore not very usable”, says Giacomo Gelati. “For people who study anatomy or practise medicine, the opportunity to see the real light and colours of an anatomical specimen, and to test its consistency and relationship with the surrounding structures, can really make a difference”. It is precisely the desire to find a solution that prompted the young doctor to conduct a series of experiments, the result of which is a unique image implementation and integration algorithm that generates a faithful graphic reproduction of anatomical systems. “I had a clear objective and achieved it by combining several tools that yielded important results. I started with a scan and then added the photograph to introduce the colour. Finally, we needed detailed information on the internal structures, which I integrated using resonance. I was thus able to produce an explorable three-dimensional representation that was viewable from all angles - both on the surface and inside - and, above all, faithful in terms of light, colour, morphology and anatomical topographical relationships”. This algorithm, already patented by Giacomo Gelati, immediately aroused a lot of interest in the fields of both academic study and popular science. “Students reacted with enthusiasm because they finally had the chance to access realistic images and, consequently, understand the subject immediately and memorise it more easily. Presented at international medical conferences, our images were received equally enthusiastically by our colleagues, who encouraged us to continue with the project”, explains Ferdinando Paternostro. “It was a pleasant discovery both for me and for Giacomo: the aesthetically beautiful is also didactically beautiful and therefore useful”. The role of 3D printing Once the first goal had been achieved, the next step was almost inescapable, but the result was certainly not taken for granted. “We had beautiful and effective graphic images available, so we began to consider the opportunity to transform them into three-dimensional, manageable and imperishable objects. We immediately thought about 3D printing, focusing on colour fidelity, which is a crucial element for us”, says Gelati. This last aspect prompted the two doctors and researchers to turn towards Bompan and Mimaki's additive printing technology with realistic colours. “It was a challenge within a challenge. Graphic quality and print quality go hand-in-hand: without a good source file there will never be a good 3D printed object and, conversely, without a good 3D printer, a source file will lose its quality in the printing process. This is why we decided to team up with an excellent 3D colour printing company". The team from the University of Florence and Bompan therefore worked together to 3D print a first organ - a heart - using the Mimaki 3D UV LED 3DUJ-553 printer. This 3D printer is distinguished by the use of colour profiles and a UV-LED curing method, which allow a range of over 10 million colours to be reproduced - in CMYK 4-colour, white and transparent - with photographic quality. The result of this pilot project was very positive and encouraging: according to Parternostro and Gelati, Mimaki's printer allowed a three-dimensional heart to be produced with good dimensions and detail definition, and above all excellent colour fidelity. “We were impressed by this technology which truly offers full colour printing with a very wide range of colours, thus enabling us to achieve a fundamental milestone in anatomical study. Although various 3D technologies exist to obtain morphologically faithful reproductions, we are working hard to reproduce colour quality”. The reason why colour is so important is explained by Ferdinando Paternostro: “The various anatomical structures we come across when performing surgery or in the dissection room have their own specific colour and are surrounded by a topographical context of various different colours. Distinguishing structures in their anatomical topographical context is not particularly easy, and colour plays a crucial role”. Colour knowledge is therefore essential when learning and, consequently, when recognising the structure during a surgical or anatomical dissection. And this is the team's goal: to exploit the colour quality, replicability, and durability of 3D printed objects in medical practice. “The objects we make by combining our algorithm with Mimaki's 3D printing technology are chromatically and morphologically realistic, measurable, repeatable. Using this method, we could potentially cross further frontiers. In pathological anatomy, for example, we will be able to create a 3D organ that shows the anomalies caused by a specific disease - thus providing a very useful tool for preparing any surgical intervention and for communicating with the patient.” According to the team at the University of Florence, 3D printing can effectively contribute to transforming the world of teaching and medical-scientific research. “We are still at an early stage, but we are confident that we are on the right track. We have the opportunity to replace anatomical models and plastinated anatomical parts - both of great value, but delicate, perishable and therefore only usable in certain contexts - with 3D printed anatomical pieces, available to universities, research institutes, hospitals and clinics”. “Going back to what I was saying earlier, I like to take inspiration from “kalokagathia”, the Greek concept of health and beauty, according to which the aesthetic perfection of the body and the internal functional wonder of the individual organs are closely linked. Health is beauty and vice versa. A beautiful anatomical model is functional to learning, communication, medical and surgical practice”, concludes Paternostro. Andrea Ferrante, 3D Specialist at Bompan comments: “We are excited about this collaboration with the team at the University of Florence. This project demonstrates and confirms the superior qualities of our 3D printing technology: the 3DUJ-553 printer has proved to be the most suitable solution, in fact the only one capable of achieving high colour fidelity and consistency, as well as an ultra-realistic definition of the details required for these applications. We are convinced that this technology will be widely used in a variety of different fields and the opportunities will be boosted by the imminent arrival of the 3DUJ-2207 - a version with a more compact and more accessible design but equipped with the same technology as the 3DUJ-553”.

admin in News July 22, 2022

How to implement automation in printing operations

It is becoming necessary in printing operations to automate as much as possible to gain efficiencies. But before you begin your planning processes, look at your current state to ensure that you understand how works happen today. Kodak, a global technology company focused on print and advanced materials and chemicals, explains the vital role of automation in printing operations and how to do it properly. Read on. Single system of record that reliably gathers data from business and production systems If you have that system of record, you are in the perfect state to take on end-to-end automation. If you have multiple points of data collection that have never been integrated, there is still a path to automation. Still, your planning may take longer to accommodate identifying the required data and the processes that use them. Standard processes for order taking, job specification, and order management When there are standard processes, planning for automation can leverage them to speed implementation. When the procedures to take orders are different for every sales channel, it is hard to standardize order intake. When the process of capturing job specifications varies by sales team member and orders are managed without a strategic view into machine usage and job deadlines, some work will be required before automating and making those processes more efficient. How many spreadsheets are used to track jobs, components, or processes? Every business has some ad hoc processes tracked on spreadsheets, whiteboards, and notepads to keep mission-critical items front of mind. There is nothing wrong with them, but when they become the sole source of truth about a job or a process, they add risk to production. Some organisations justify using spreadsheets by putting them onto shared-access servers so that all authorized constituents can easily access them. It sounds like a great idea, but over time you may find that copies are sitting on individual desktops, and the shared copy is no longer the reliable source of information. Knowing what you have as you plan for automation will help you size the effort. Moving to that automated environment creates a single system of record that is reliable and can be integrated into adjacent business and Enterprise Resource Planning (ERP) systems. Planning for automation You could find some processes that appear easy to automate, add some new tools, and call that your automation plan, but there is a better path. It starts with knowing what is possible. New options in cloud-based workflows bring the same powerful options to smaller shops as the largest shops enjoy. With minimal investments and immediate implementation, shops with a single digital press can build an efficient workflow that will scale using the same technology as a mid-size shop with a mix of offset and digital devices. And these modern cloud-based production workflow solutions can help in any segment, whether the work you produce is graphically-rich static content or uses data-driven processes to execute variable content targeted to a specific recipient. Today’s automated production workflows are built to integrate MIS and ERP tools, Web-to-Print solutions, and e-commerce options. This approach should be high on your list as you consider automation options because it brings a robust IT infrastructure to the table. Automating individual processes glued together with manual interventions isn’t the accomplishment that brings the most benefit. Considering automation requires a dive into every action involved, from the point of estimation and sale to the final delivery to the customer. Planning is the active event designed to identify the touchpoints and the best approach to reviewing each step, the people involved, and the current tools used. Start by articulating your strategic goals for 2022. You may be looking to expand into a new industry or print segments. Your current workload may require more capacity. You may want to acquire more capabilities, either through buying more equipment, optimising workflows, or buying a company. As you consider your strategic plan, itemize the candidate processes for automation to move you toward those goals. Don’t be surprised if you identify current manual processes as critical roadblocks. Strategic goals are long-term and inform the way the business runs. There will be some work to do to build the bridge from strategy to implementation, and that is where tactical planning becomes essential. Tactical goals are more than solving today’s bottleneck. They work within the strategy to consider implementing new software and processes while keeping production moving. Think of it as changing the tires on a car while it’s in motion. There will be practical concerns as current processes are replaced by automation, including how and when to move off tools that are no longer providing value. Tactics should support the strategic goals and solve the business' specific challenges without adding more hurdles to creating an automated environment. Build the strategic plan for automation to consider the practical implication of automating the current processes, including goals for gaining buy-in from the team members in each department, who may be asked to change how they do their jobs or change positions to accommodate the planned process modifications. Look for onramps to the fully automated business environment for every element in the tactical plan that enables lower cost and higher margins. A part of tactical planning includes your approach to daily operations. To create an efficient environment in 2022, consider a standalone Operational Plan to document the expectations for each department, interface points between departments, and the key performance metrics that will help everyone stay on the strategic course. Automation does not eliminate the need to understand the production touchpoints. The best practice is to document what should happen if you lose access to the automation, too. The last step in planning for automation is to build the appropriate contingency plans. Cloud-based automated workflows protect you from onsite server disruptions and mitigate much of the risk associated with onsite installations when paired with a disciplined backup strategy. What to do next If you plan to automate your print workflow in 2022, look for scalable and easy platforms to integrate with your core business systems. Ensure that your chosen technology partner lets you automate each task within prepress and production and then map those automated tasks together to ensure that each type of job takes the correct journey through each process. Learn your options, and then create a plan that works for you.

admin in News July 22, 2022

Estimable estimators

If they were lucky, the human estimators had an adding machine or desktop calculator to help with the figures. A busy medium-sized printer might have 10 or more full time estimators. Finding and keeping that many specialised estimators could be tricky, as the work was exacting but hardly exciting. Computers were an obvious solution, but the knowledge of how to program for such specialised calculations wasn’t. One of the first UK companies to crack it was what was to become Imprint Business Systems, which is still going strong after 42 years. Today its customers in print and packaging run into the hundreds and many of them have used Imprint systems for at least 25 years. Like most of the early MIS developers, Imprint grew out of the needs of a particular print company, which then used the experience gained to sell to a wider circle or printing and packaging companies. The late 1970s and early 1980s saw a lot of computer estimating start-ups, often with printing company roots. Some of Imprint’s original UK competitors from 40-odd years ago have also survived and prospered independently, such as Optimus (originally Optichrome Computer Systems Ltd, or OCSL), DDS (Accura) and Tharstern, while others were taken over by the ever-expanding EFI empire (such as Prism, Radius, Shuttleworth and Technique). A few others have either merged, or closed, or both. Imprint itself was founded in 1978 by Glennys Bourne and Jonathan Richards. Originally the pair had worked together at the art book printer Shenval Press in Harlow. Richards was general manager, later a director of Shenval, but had learned programming skills at college. Bourne went on to run the nearby Caterpillar Press. Bourne says that the reason for writing the original computer estimating program was a shortage of the trained human variety. “You could not get estimators for love nor money,” she says. So the first estimating program was written to suit the needs of Shenval Press and Caterpillar Press. Bourne saw the potential for Imprint beyond the needs of Shenval and Caterpillar, so the latter was sold to concentrate on the new business. “The Imprint name describes the company well and has stood us well over the years,” says Richards. “As for why the name was chosen, it just seemed a good fit at the time.” Both are still very much involved today. Bourne is CEO, while Jonathan Richards says he’s “allowed to be chairman on high days and holidays”. However, time marches on and their children Will Richards and Nick Bourne have also joined Imprint – the latter now being MD. Today Imprint is based in High Easter, in the countryside between Chelmsford and Bishop’s Stortford, handily close to the M11 and Stansted airport. It employs 16 people in an often overlapping mix of management, programming and customer services roles.

admin in News July 22, 2022

Agfa Avinci CX3200

Avinci CX3200 is 3.2 m wide dye sub textile printer capable of printing on polyester-based textiles What is it? Agfa’s Avinci CX3200 is a highly reliable and convenient soft signage printer that can print directly to fabrics and onto transfer paper. It uses an off-line calendar unit to ensure perfect fixation. Agfa’s dedicated dye sublimation roll-to-roll printer will enable you to create vibrant, high-quality prints on polyester-based fabrics up to 3.2 m wide, including a broad range of in- and outdoor soft signage applications, as well as interior decoration. The Avinci CX3200 boasts a rich color gamut and delivers deep black, perfect solids, accurate spot color mapping and smooth tonal rendering that is particularly noticeable in skin tones. The Avinci inks are characterised by their flexibility, image longevity and outdoor resistance. They offer stable jetting performance and deliver the same high-quality results, batch after batch. An off-line calender unit fixes the color deeply into the structure of the polyester-based fabrics while evaporating the carrier fluid. When was it launched at what are the target markets? It was launched on June 22, 2021, and aimed at soft signage industry, sports wear, fashion industry and home décor. Avinic CX3200 is a 3.2 m wide Dye Sub Textile printer capable of printing on polyester based textiles. Does it replace an earlier product? It replaces the earlier model of DX3200. The Avinci CX3200 is driven by Agfa’s Asanti wide-format workflow software. Color accuracy is provided by the easy-to-use color management. Using their Calibrated Print Mode feature, new media can be calibrated and profiled in less than 15 minutes, after which the new profiles can be used to guarantee print quality. Asanti controls and automates the entire printing process from file intake to finishing, maximising productivity. Its comprehensive integration of file handling, color management and preflighting guarantees smooth and error-free jobs. The web-based Asanti Production Dashboard offers a view on your running production. It summarizes the jobs produced and reports on quantity printed, media usage, ink volumes enabling you to control your production and to manage your print shop optimally. What is the USP? It allows you to print directly on textiles and capable of print on transfer paper media as well. Single person media loading and low inks consumptions are another features. High productivity and a robust design for reliable printing at all times, vibrant prints and a wide color gamut; fine detail rendering; extensive applications scope; low ink consumption; convenient operations and a fast changeover between jobs are another features. Avinci produces good results with a minimum of jetted ink. This low ink consumption is based on Agfa’s renowned Thin Ink Layer technology: a smart combination of particular ink characteristics and our Asanti workflow software algorithms that tune the ink quantities perfectly to the required image quality mode. What training and support are available? Full in house training and support available from Agfa UAE and Belgium. Complete and integrated solution are available for printer, inks, workflow software, worldwide service and applications support. How productive is it? It prints at speed of 250 Sqm per hr on express mode. Being able to print directly to fabric is easy and ideal for fast handling and for special applications such as flags, where print-though is needed. Transfer paper allows for super sharp prints, eliminates any set-off, and limits media waste to a minimum. In addition, it extends the application scope to sportswear and fashion garments, as well as home décor prints on non-coated polyester fabrics. What does it cost? How is it sold? The recommended retail price (RRP) is approximately $220k stand alone printer and requires a separate calendaring unit. How many are in use? Currently, the latest CX3200 are around 11 units around the world. Specifications 3.2m Dye sublimation Printer Kyocera print heads 4 colour printer CYMK Direct to garment capable to print on transfer paper Max speed of 250 sqm Stand alone printer Resolution up to 600 x 1800 dpi Media types: Polyester-based fabrics, or transfer paper used to create banners, indoor wall graphics, shop decoration, outdoor advertising, light boxes, trade show displays, flags and high polyester-based blends “Agfa Avinci CX3200 was launched in June 2021.”

Aug. 2, 2022

Epson – SureColor SC V7000 Flatbed Printer

Epson's first UV large format printer offers exceptional image quality, Shihab Zubair What is it? The SureColor SC-V7000 is Epson's first UV large format printer, offering exceptional image quality. The V7000 is ideal for printing eye-catching retail and outdoor signage, window displays, hoarding panels, packaging, promotional goods, and décor products. It includes Epson’s Micro Piezo printhead with ten newly developed original inks, for accurate colour reproduction for spot and corporate colours. It allows businesses the flexibility to print on a range of media up to 80mm thick including acrylics, polycarbonates, PVC, glass, aluminium, metal, polyester, foam board, styrene, wood and stone. The printhead layout enables simultaneous high-speed printing and, with the 4-zone vacuum system, it offers real flexibility for production environments. When was it launched at what are the target markets? The Epson SureColor SC-V7000 was launched in April 2021 within the Middle East region, building on the success of Epson’s award-winning range of SureColor S Series signage printers. The V7000 allows sign and display makers to expand their portfolio of products, to deliver high quality, fast and reliable results on a variety of different media. Does it replace an earlier product? The SureColor SC-V7000 proudly marks Epson’s entry into the UV flatbed signage print market. As Epson’s first UV large format printer, it provides unique features to differentiate and enhance our offering to the signage market. Every feature of the Epson SureColor SC-V7000 has been designed with the customer in mind. This is a robust and affordable UV LED flatbed signage printer capable of fast and quality printing on a wide range of media – any type of surface, despite the size, thickness, or weight. This is in addition to Epson’s successful product solutions such as the Epson SureColor SC Series of eco-solvent and resin ink printers. For instance, for environmentally friendly organisations, Epson’s SureColor SC-R5010 Series has the capacity to include a resin ink solution, offering print service providers and creative design agencies the ability to produce a wide range of signage in a more sustainable way, without compromising on the results. For a larger ink capacity, Epson offers the SureColor SC-R5010L. What is the USP? The Epson SureColor SC-V7000 provides exceptional image quality, productivity, usability, and safety. With the unique Epson Micro Piezo printhead, the printer has ten newly developed original inks and 3-layer high-speed printing. It helps print with ease and safety with automatic measurement of media thickness, a multi-zone vacuum, and a printhead crash prevent function, Epson Edge Print, proximity sensors. What training and support is available? Epson manufactures all the components for the SureColor SC-V7000, including printheads, inks and software, in order to reach the consistent quality levels that our customers expect. The Epson Cloud Solution PORT is a cloud-based system from where you will be able to monitor equipment across several sites, or several printers across one site, from the production floor or remotely, and assist the control of production. This enables efficient production planning, increased uptime and enhanced support. Epson Production Monitor is part of the Epson Cloud Solution PORT suite of apps and allows you to examine the production status in real-time. If an issue occurs, it can be corrected efficiently with minimal disruption to the print run. How productive is it? The SureColor SC-V7000 enables businesses to print at high speed with a maximum print area of 2.5 metres by 1.25 metres. The printhead layout enables simultaneous high-speed printing, with white ink and varnish, without losing productivity. What does it cost? How is it sold? The recommended retail price (RRP) is around AED 330,563 (US $90,000) and it is sold through authorised partners in the Middle East. How many are in use? Currently two printers have been installed in the UAE, and we are scheduled to install a few more in December and further into 2022. Specifications UltraChrome UV 10-colour inkset Printing resolution of 720 x 1,440 DPI Outstanding print quality High-speed simultaneous printing even when using white, colour and varnish Printheads, ink, firmware and software with an ink tank capacity of 1,000 ml Price from AED 330,563 “Epson SureColor SC-V7000 was launched in April 2021.”

Aug. 2, 2022

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