IFS managing director Eric Keane

In 2024 there will be a continuation of the pressures felt during 2023 – high interest rates, high inflation, labour and skill shortages, and some disrupted supply chains. There will likely be an accelerated trend in mergers and acquisitions for ambitious print companies to make either strategic acquisitions of their competitors, or in order to secure diversity in their product offering, do this through acquisition of other companies.

The sector will continue with consolidation and this will drive more investment in more technology and automation. The latter, in particular, was an accelerating trend in 2023. Most leading print companies have been looking to increase investment in more automated print finishing systems. This in turn has enabled IFS, in collaboration with our partners Horizon and Tecnau, to be at the forefront in supplying innovative, automated print finishing systems, that meet this demand to reduce operator touch points, improve output speeds and utilise less labour.

With the world around us so uncertain, trade fairs like drupa really do bring the business communities together. Business people do mix, and with that entrepreneurship and enterprise flourishes.

Phil McMullin, head of sales for Commercial & Industrial, Epson UK

Continuous improvements with sustainability considerations at their core will remain a significant focus for print production environments and suppliers in the short-to-medium term. Epson strives to build technologies that last and support responsible and efficient production. As we develop our own printheads, print hardware, and print software, we’re able to deliver a very customer-focused portfolio that responds to increased demand for product longevity and reduced energy and waste. We can also help operations explore the most effective options as well as offer support, advice, and guidance when it is needed. 

Ease of use is crucial for both operational efficiency and the ability to move into new markets. Simple and fast setup via user-friendly touchscreen ensures operator confidence and quick throughput to maintain agile and responsive production. These are key persuaders for businesses considering their next steps towards successful growth, and  empower operations to expand their offerings. This is important to help them capitalise on the growth opportunities of markets such as personalisation, where production needs to be right the first time, and every time.

Martyn Train, managing director, Duplo UK

With a steady 2023 under our belt we turn our sights to 2024 and the future of print, which appears to be thriving with resilience and innovation. Despite digital communication’s prevalence, our industry is undergoing a renaissance, embracing cutting-edge technologies to enhance its relevance to add value to the consumer, especially in sectors such as education, greetings cards and the recovery of in-plants.

This resurgence is fuelled by a growing appreciation for tangible, tactile experiences as well as the enduring appeal of high-quality printed products. As we have always said, print in its various forms continues to play a pivotal role in communication and the purchasing experience, offering a unique and timeless way to engage audiences.

At Duplo we are really excited about drupa and some of the new products we’ve been itching to show the industry. This includes upgrades to our range, brand new products that will take Duplo into new areas, as well as some innovations that will show how we are preparing for the future of our industry.

Yale Goldis, director strategy, commercial products and solutions at HP PageWide Industrial

As traditional print volumes decline, digital print will continue to grow. Commercial printers adopting the latest high volume production printing capabilities find better economics for themselves and their clients. They will also redefine their offerings and reimagine applications that bridge digital online and physical media.

Publishers are moving towards sustainable, targeted production. Shorter, frequent runs in the market are replacing large, centrally produced orders to mitigate supply chain risks and reduce book miles. Publishers are also adopting ‘gap’ printing, using POD production from the onset of a book’s life cycle, to meet unpredicted demand. 

Direct mail will continue its renaissance in 2024 as marketers rediscover the performance and value of print in the overall marketing mix. While postal and paper costs pressure overall mail volume, digitally printed, personalised, impactful and relevant mail will see healthy growth. 

Business models such as web-to-print meet growing consumer demands for convenient online ordering, customisation and improved customer experience. Closer integration with large data warehouses and powerful marketing engines enable true multi-channel campaigns executed across online and print media.

Will Mansfield, director, solutions marketing, Kodak

In 2023, the pursuit of production efficiencies was paramount. Advances such as higher quality faster inkjet presses, smarter workflow platforms and more automated CtP systems have significantly streamlined production. These innovations have reduced labour requirements and also improved the accuracy and consistency of printing, thus reducing waste. The economic landscape was again characterised by uncertainties and inflationary pressures. To adapt to these challenges for our plate customers, Kodak continued to invest in regional manufacturing as well as technology innovations.

Kodak is anticipating drupa 2024 as a unique opportunity to connect with printers from around the globe and debut new solutions. The show provides a valuable platform for Kodak to engage with customers and prospects and gain deeper insights into their evolving needs. We are excited to showcase our latest innovations in high-speed inkjet, workflow and offset solutions, demonstrating our commitment to advancing the industry. We are committed to being a strategic partner to our customers, helping them navigate the challenges and seize the opportunities that lie ahead.

Duncan Smith, country director, production, Canon UK & Ireland

As customers are expecting faster turnaround times and higher quality products than ever before, we at Canon have seen an increasing demand for cutting-edge inkjet technology in 2023.

Alongside quality and productivity, businesses are starting to realise that inkjet also delivers many economic and environmental benefits. With reliable equipment that harnesses automation, businesses can save on total cost of ownership with reduced power consumption and streamlined workflows. Additionally, inkjet enables print solution providers to broaden their media capabilities and branch out to a variety of markets, such as retail, manufacturing and interior décor.

We’re excited to return to drupa next year alongside some of the key players in the industry. We see this as a huge opportunity to not only showcase new technology, but also celebrate our achievements over the last few years. We expect to see a lot of conversation around the advancement of inkjet technology when it comes to production and wide-format print and are excited to share our developments in this space.

Andy Kent, general manager, Fujifilm UK

Sustainable and energy-efficient machinery and practices were key factors in 2023 when printers were looking at suppliers for equipment or consumables. The market has also seen many mergers and acquisitions as companies join forces to reduce fixed costs.

Energy costs remain a problem but other costs are stabilising, or even going down in some cases. With interest rates moving upwards, we initially saw some reluctance to invest in new equipment in 2023. I think this was because people felt it might be a temporary situation, but are now accepting that the higher rates appear to be here to stay for some time.

Analogue processes are increasingly transforming to digital, particularly in the packaging space where the market is still growing. I expect this to be one of the main trends and biggest opportunities in 2024.

I see AI as another trend with complimentary technology for making quick decisions in time-limited situations. I expect drupa to be well-attended because we will see new sustainable products and services that will inspire print businesses looking for an extra edge.

Charlotte Tueckmantel, GM Enterprise Print & eCommerce, eProductivity Software

2023 in many ways was the reset of the new normal. Coming out of Covid we saw a huge resurgence in our customers’ businesses, and record numbers in many areas. While 2023 took a slight step back it was still well above the Covid years, despite increasing costs across the board. This included the rising cost of people/talent; difficulty attracting new talent is a challenge that the industry has seen for a few years now and we will continue to see in 2024.

The rising costs of people, materials and energy will continue to drive higher levels of automation, supported by the emergence of actionable insights and AI starting to appear in the industry.

For 2024, we see a trend towards more remote or hybrid work in the front office driven by the need for greater flexibility and the challenges to hire skilled people. This shift, enabled by technology and coupled with the arrival or more automation, actionable insight, API integrations and AI will continue to change the landscape.

The post Past and future appeared first on Digital Printer.

Quinn has been a long-time proponent of Epson’s dye-sublimation technology, using a SureColor SC-F9200 printer, and has won the H&M Design Award and the inaugural Queen Elizabeth II Award for Design, presented by her late majesty in 2018. His Autumn/Winter 2023 collection again heavily featured dye-sublimation’s role in fashion and was enhanced with the runway’s Secret Garden-inspired decor.

Digital printing also played a role in the surrounding, with Epson’s SureColor SC-R5000 resin printer being used to print the black and white diamond-patterned floor graphics. Using water-based resin inks, the printer imaged onto scuff and tear-resistant PVC-free polyester floor graphics containing 40% recycled material, provided by adhesive-coated products manufacturer Drytac and installed by specialist Max Media Prints. The Epson inks offered a durable solution for the catwalk and make the substrate recyclable and free from environmentally harmful substances.

The catwalk in use as one of Richard Quinn’s dye-sub printed designs is modelled

This is the second year running that digital textile and signage printing have helped bring to life Mr Quinn’s fashion collection and catwalk themes respectively.

Phil McMullin, head of sales for ProGraphics at Epson UK, commented, ‘t’s always a delight to see Richard Quinn’s designs brought to life through digital textile printing and I’m pleased that this has also offered such a great chance for our signage printing technology to shine. The SureColor SC-R5000 takes all the proven technology of our successful SureColor printer range and adds our new resin ink set to deliver improved abrasion resistance without lamination as well as enhanced recyclability. In combination with the Drytac media it provides a perfect result for this application.’

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It seems as if we have been living through one crisis after another – a pandemic, extreme heatwaves, drought due to climate change, inflation, political instability, war, and an energy crisis. But to panic is never good advice in any decision-making. To determine the new future of this industry, it is important to step back, reflect and look at the broader picture.

Right off the bat, eProductivity Software’s vice president of product management, Nick Benkovich, said, ‘The most obvious trend in growth areas for digital print is the emergence of digital. ‘Emergence of digital’ seems like a strange prediction, but 2023 will be for many the tipping point on digital printing and digital workflow. Multiple digital press vendors are now delivering presses that many of us only ever dreamt of. ‘Print differentiation will also continue to increase as the number of finishing options available to a buyer is at an all-time high and printers will take advantage of ‘increasing print differentiation’ through value-added services and finishing options.

These digital, paperless workflows that supports an average of 40% increase in number of jobs from five years ago, connected, automated with reduced human touch points from order acquisition to delivery to reduce cost of sales, production and billing will be the keys to profitable growth in 2023 and beyond.’ Phil McMullin, sales manager at Epson, predicts, ‘There are several global, technological and market factors that are, and will continue to be, shaping the large-format print sector in 2023 and beyond. Among them is the acceleration of digital transformation that supports hybrid and remote working while also driving greater automation in systems and solutions. Technologies such as artificial intelligence, the internet of things, virtual and augmented reality and cloud computing are all impacting connectivity, responsivity and flexibility.

‘Digital transformation is helping address another market trend set to dominate 2023 – a shortage in skilled workers. Employers are under pressure to ensure they are providing fulfilling, attractive careers in a nice working environment with the flexibility of hybrid work.’

Affirming this view is Jamie Nelson, director of Compass Business Finance: ‘Following the Autumn Statement, it’s clear that the country is set for a recessionary period, costs will continue to rise and businesses will need to keep innovating. Some may find the right opportunity to exit the market, whilst others will take the opportunity to invest. Mergers and acquisitions, as well as MBOs continue to take place at the same elevated rate they have been for the past two years, without sign of ceasing. Businesses should be thinking about cashflow, ensuring debts are structured as favourably as possible; efficiency, to keep energy, material and labour costs low; and sustainability, to protect their long-term future.

‘The skills shortage also needs addressing. Attracting and training young people to our industry is vitally important, not only can they help get the work done but they also bring a fresh perspective and new ideas to our businesses, helping to drive us forward.’ The energy crunch There has been a huge amount of instability in 2022, with businesses across every industry facing economic pressures due to the increasing cost of living and energy prices. The print industry is no exception with labour shortages adding additional pressures for many PSPs. Stuart Rising, head of commercial print at Canon UK, says, ‘In order for PSPs to ride the wave of financial pressures, choosing technology which is future-proofed, energy efficient and built to last has become a key consideration. With the economic challenges we have seen in 2022 set to persist next year, it is important that PSPs go a step further to offer the expertise and customer service that will help build their reliability credentials and develop long-term relationships with their customers.’

Isabella Jelinek, marketing manager at HP, adds, ‘We used to buy everything we wanted outright. But today, you can even rent your car with a subscription service. This shift from a transactional to a subscription-based, ‘everything as a service’ economy, is being driven by millennials, who like things easy, flexible and based on their actual usage. And we’re seeing new business models emerge that put the customer at the centre of a multichannel service experience that gives them customised solutions, continuous updates and a trusted relationship with their service provider. Marc Artigas Roig, sales director at Roland DG, shares similar views. ‘Today, all those associated with the printing industry are hitting the same iceberg – a challenging economic climate – and the need for cost-saving measures as businesses look to survive inflation. In this stead, we will see an accelerated shift in focus towards low energy consumption printers as businesses look to sustain growth in 2023. At Roland DG, we see UV printing continuing to grow in popularity next year.’

Sustainability isn’t going away There is increasing pressure from government and customers for every link in the manufacturing supply chain to progress its environmental capabilities and print will play a key role in the eco transformation. Sustainability is a keyword. But what does it actually mean to be sustainable in the printing industry? Are companies who claim to be sustainable doing the work to fulfil those claims? In fact, can the print industry, which essentially uses materials and creates something, become fully sustainable soon, or in the long run? Many believe 2023 will see companies ensuring their environmental, social, and governance (ESG) processes are central to their strategy. Here are the thoughts of Kevin O’Donnell, head of marketing at Xerox UK, who says, ‘ESG and sustainability will continue to be a big play for printers as clients set higher expectation on suppliers to have clear programmes and measurements in place that manage their carbon emissions, as well as their social impact in the communities in which they operate.

‘With energy costs and costs of services also rising, we’ll likely see printers lean towards the use of technology to rebalance. With this, I’d expect to see an increase in the use of automated and integrated workflows driven by AI which will enable companies to maintain levels of service while working to reduce costs. Warren Werbitt, print consultant at The Print Whisperer, said, ‘I’ve always maintained that everything is constantly evolving in life and in our industry. So when I think about printing trends, I think about the growth of digital inkjet, colour management, automation, print embellishments, targeted direct mail using variable data, and so on. All this will make our industry better, but printers must make a concerted effort to learn the new technology. ‘As far as predictions, I don’t have a crystal ball, but I believe that print is here to stay. I see large format growing – especially wayfinding and directional signage. Digital label printing and print embellishments are also on fire.’ Predictions and trends As usual for this time of the year, our collective minds start wandering to next year and thinking about what the future will hold for our businesses and the wider industry in general.

Lews Evans, product marketing manager at Vivid Laminating Technologies, said, ‘I predict that direct mail will continue to grow. For our industry in finishings, we’re going to be moving further into the personalisation age and more into an engagement age. Printed product needs to not just hold the attention more than digital, it also needs to be interactive. So if you are receiving something printed whether it’s a scratch card foil or a link with a QR code to win a prize via direct mail, it has to be within this new engagement age. ‘In digital print I’d like to see a link to wide format print with some unique projects in direct mail and packaging. They are the two that have grown a lot this year and will continue to grow throughout 2023. I think the low profit, high quantity products don’t even need to wait till next year as it’s clear it didn’t work.’

Ms Jelinek shared HP’s thoughts, ‘Online shopping has risen dramatically in the last few years. E-commerce is now mainstream, both globally and locally. And this growth is accelerating. Right now, 21% of all global sales are online, and that number is predicted to rise to 24.5% by 2025. Our customers know that they have to get on the bandwagon before it’s too late. Being online is no longer an option, it’s a necessity.

‘In recent years, sustainability has gone from being a ‘nice to have’ to a key purchasing driver. 81% of global consumers believe that companies should help to improve the environment And 85% of people say their purchasing behaviour has become more sustainable in the last five years. So, brands are reacting to this increased demand for sustainability, as well as to investors’ sustainability concerns and new regulatory requirements.’ SOS technical support manager Omran Anwar concluded, ‘We foresee continued growth in 2023 for large format, for flexible and especially rigid media. The sign and display market continues to grow, and unlike some of the more saturated print markets, there is room for it to grow further.

‘We are seeing a trend towards diversification: the modern printer is a ‘superprinter’ who can handle several processes under one roof to reduce outwork and exploit as many market niches as they can. So many of our customers who buy flatbed machines are doing so for the first time. ‘The cost can be daunting when taking the plunge into a new market, so the emphasis is on cost effective investment. It makes sense to look beyond ‘big name, high price’ equipment, and SOS have found flatbed machines which offer high quality and performance for a relatively low price point – Gibson is positioned as a premium brand, producing a range of flatbed and hybrid LED-UV printers.’ It’s clear that while we will continue as an industry to be presented with plenty of challenges, both unpredictable and foreseen, there will also be a range of solutions and ideas to help tackle them.

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The meeting was described as ‘constructive and helpful’ and the GPMA anticipates that there will be a resolution that is both logical and workable for the graphic arts industry.

The meeting included representatives of the British Printing Industries Federation, the British Coatings Federation, the Independent Print Industries Association and the Printing Industry Confederation as well as two suppliers, Epson and Hybrid Services. It also included two officials from the Home Office and one from the Department for Business, Energy & Industrial Strategy (BEIS).

Charles Jarrold, GPMA Chair, said, ‘We understand and support the Government’s intent to legislate to prevent the misuse of GBL and BDO but we needed to find a fair, sensible and workable way to do that without being detrimental to the printing industry and other sectors. We appreciate the support we have had from BEIS and from the Home Office, who listened to our feedback and have indicated that they intend to respond in such a way that the graphic arts sector can continue to operate effectively moving forward.’

Phil McMullin, head of sales Commercial & Industrial Printing,  noted, ‘Epson has worked in collaboration with GPMA on this matter and is pleased with the progress that has been made so far. The GPMA has lobbied rapidly, with conviction and unity to raise awareness of the unintentional but potential damage the current legislation could bring to the UK print industry. Government recognition of the need to protect our industry, and our customers from the proposed legislation is greatly welcomed and will allow UK print businesses to focus on rebuilding after the pandemic. We will continue to work with them closely to resolve this matter.’

Brett Newman, managing director at UK and Ireland Mimaki distributor Hybrid Services said, ‘Given the positive direction in which the discussions are heading, I now believe that there is light at the end of the tunnel. Hybrid Services will continue to work alongside other industry suppliers and the GPMA to jointly lobby the government to protect the industry and ensure that there will be minimal impact on businesses within the print and graphic art industries.’

Industry responses from manufacturers are listed and updated here as Digital Printer receives them.

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‘CMYUK has a reputation for quality, and for understanding the needs of a wide range of printers from the smallest company to the largest organisations,’ commented Phil McMullin, sales manager, Pro Graphics Products, at Epson UK. ‘Its leading position in textile consumables brings exceptional benefits to the Epson dye sublimation products – we know that higher quality fabrics used in production result in better print quality.  It makes every sense for us to partner with a company that has the credibility and a complete offering.”

‘CMYUK has a strong reputation for textiles,’ added Robin East, sales director at the company. ‘We have been servicing the dye sublimation market with high-quality paper,  direct-to-textile printers, and heat presses for many years. We also offer extensive ranges of stunning digitally prepared fabrics. Partnering with Epson enhances our service offerings even further, and we are particularly excited about its latest desktop dye sublimation printers that will certainly satisfy the pent-up demand of the flourishing small home business sector.’

The extensive SC-F range includes the following machines:

SureColor SC-F100 
Epson’s first A4 dye sublimation printer, described as perfect for textile producers who want to create bespoke products including small bags, aprons, lanyards and cushions.

SureColor SC-F500
A 24-inch tabletop dye sublimation printer, designed to expand business opportunities with high quality printing on a wide range of gifts and promotional goods. 

SureColor SCF-6300
A roll-to-roll printer withwidth of 44-inches, the SCF 6300 is designed to need no specialist tools or knowledge to operate, this printer is designed for textile producers, promotional goods businesses and photographic studios.

SureColor SC-F7200 
Marketed as a complete solution for printing highest quality textiles and soft signage, this printer is designed for single-operator material loading with automatic tensioning. 

SureColor SC-F9400
This printer has been developed primarily for fast, high-volume printing for clothing, textiles and soft signage, as well as other printed merchandise. It has a maximum speed of 108sqm/hr for fast turnarounds. 

SureColor SC-F9400H
A new innovation in the series, giving Epson its first genuine fluorescent ink, paper dye-sublimation solution. The SC-F9400H allows customers to print hard to miss yellow and pink to create striking sportswear, workwear and get-you-noticed fashion.

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It’s impossible to say precisely how much damage the global textile industry does to this planet. You can get different statistics from different sources, but everyone agrees it’s horrendous. Indeed at times it seems those different sources seem to be competing to see who can make the situation sound the most egregious.

According to American news site Vox, 8 – 10% of all global greenhouse emissions come directly from the fashion industry, more than the aviation and shipping industries combined. It goes on to claim that the fashion industry produces between 80 and 150 billion garments in any given year, of which three-fifths are destined for an incinerator or landfill.

If you prefer, take your information from EcoWatch, a site devoted exclusively to keeping people up to date with environmental news. It says that the clothing industry is the second largest polluter in the world, behind only oil. It adds that cotton, the world’s most commonly used natural fibre, is one of the most chemically dependent crops we have. While only 2.4% of the world’s cropland is planted with cotton, it consumes 10% of all agricultural chemicals and 25% of insecticides.

Just to hammer the point home, Business Insider says that ‘fashion production makes up 10% of humanity’s carbon emissions, dries up water sources, and pollutes rivers and streams. What’s more, 85% of all textiles go to the dump each year. And washing some types of clothes sends thousands of bits of plastic into the ocean.’ Business Insider reports that the equivalent of one rubbish truck full of clothes is burned or dumped in a landfill every single second.

Digital printing

The good news, such as it is, is that digital printing is becoming ever more important within the textile market, and those involved with digital are insisting that both the technology as a whole, and their own innovations in particular, are building a chance to make textiles greener.

‘Fashion is one of the most environmentally unfriendly industries on the globe,’ Epson’s UK sales manager Phil McMullin says. ‘Digital technology is helping businesses take responsibility for this impact and drag the industry kicking and screaming into the 21^st century. Sustainability has been one of the underlining foundations for Epson’s dye-sublimation, direct-to-garment and direct-to-fabric digital printing technologies.’

It’s a view echoed by some of the other major players in the digital textiles space, as EFI Reggiani’s Adele Genoni explains, ‘We are seeing a definite rise in green awareness and that fits in with our own vision of becoming more productive, more efficient and more sustainable. Logistics chains are getting shorter and production is being moved closer to the consumer. Overall it’s a great opportunity to promote quality printing that uses less water and has less waste, it all suits digital.’

Epson’s Phil McMullin

HP’s Johan Spies, WW & EMEA low volume product manager, textiles, adds, ‘2020 saw design professionals at the forefront of environmental consciousness; and now consumers and regulators are also placing higher value on sustainable credentials making it a trend that is set to shape the year ahead.’

The truth

This all sounds good, but can digitally printed textiles really meet the quality demanded by leading brands and consumers, whilst being more sustainable at the same time?

It is hard to get precise figures, and digital is still a relatively new fish in the textile pond, but the initial evidence suggests the answer is yes. Some of the most significant advantages digital boasts over its rivals, most notably screen and rotary printing, are its lack of waste. There is water, where literally dozens of litres can be saved per square metre printed – according to Fespa, the growth of digital textile printing saved in total over 40 billion litres of water worldwide in 2018 – and there are ink, energy and media benefits as well.

Digitally printed textiles, whether they use pigment inks or water-based inks, can claim to be more environmentally friendly by being either used in smaller amounts (the former) or not producing any residues (the latter). On top of this, with digital printing only the actual fabric needed for the garment itself needs to be printed, reducing waste.

Naturally all the companies in the sector appreciate the issue, and, equally naturally, they all have their own unique solutions. As a textile printing specialist Polyprint has considerable experience when it comes to all aspects of this area, so if their experts there are keeping an eye on something, it’s a good idea to pay attention.

Irida Gogolou, a chemist and quality control expert at the Greek company, outlined some of specifics Polyprint is focusing on. ‘Mass customisation, personalisation and the desire for eco-friendly products have driven demand for DtG over the past few years,’ Ms Gogolou said. ‘Digitalisation and sustainability are currently in the spotlight for the textile industry. Repurpose, recycle, reinforce and revive are the key words you should look out for in the future.

‘This means repurposing existing fabrics and giving them a new use and that recycled fabrics will be the new norm in order to protect the environment. Reinforcing textiles allows for them to become stronger and resilient through time and reviving textiles, while repairing/mending them will be seen as a creative method of expression in the near future.

‘All of the above trends will contribute to a more sustainable future. Covid-19 has also forced technology into researching antiviral/antimicrobial fabrics that are safe for consumers. Organic biodegradable fibres will be the center of our attention.’

HP also has its own priorities, as Mr Spies explained when asked what he would be watching for in the near future. ‘An active example [of how important sustainability is to those involved with textile printing] is the increasing use of recycled polyester in fashion and interior decoration. A recent survey found that 79% of large-format users worldwide considered environmental sustainability a priority. In 2021, we are likely to see companies increase their development of large-format consumables with sustainability integrated throughout the design process.’

Trends

On top of all of this, we can’t ignore changing consumer behaviour, as Polyprint’s sales and support supervisor, Kostis Gounaris, explains, ‘Younger generations are more sensitive to sustainable, eco-friendly technology and therefore turning to DtG printing. Their desire to lower their carbon footprint is great and the demand for green products with environmental certifications is increasing. DtG printing enables the production of short-runs using water-based pigment inks, easily accommodating seasonal demands and encouraging waste reduction.’

He goes on, ‘Polyprint’s target market has been small/medium production companies that have a production volume of a few shirts per week to a few hundred per day. These companies are easily adaptable to ongoing change and therefore, due to recent events, there has been a vast increase of new DtG customers who attract orders through digital channels. We are working on providing several automated solutions for our customers that can be integrated in their order-production phase to make their workflow simpler.’

Whereas, in the past, a company might ship thousands of identical garments from the Far East to Europe, the modern consumer doesn’t value fashion in this way. Millennials and Gen Zedders prefer unique clothing that is personalised to their taste. They also value provenance and are prepared to pay significant premiums to ensure their clothes are produced in an ethical and environmentally-friendly way.

HP’s Johan Spies

This also means that garments can be manufactured closer to the place where they will be sold.

‘Digital technology has a had huge part to play in offering just-in-time production,’ says Epson’s Phil McMullin. ‘This enables manufacturers to make only as much as the seller can sell, meaning less waste and staying more in tune with the focus of sustainability, which 2021 will likely bring closer to the forefront. Epson has closely read the market and our continued array of new product launches, which have not been derailed despite the difficulties of 2020, are designed to meet the increasing demands around onshoring and personalisation.

‘Unless you’re aiming to print what you know you need and what you know you need to sell, you’re relying on too much going into landfill or being sent abroad for disposal, and by then you’ve become a part of the problem.’

When asked about the concerns of HP’s customers Mr Spies adds, ‘Our customers are conscious of sustainability and we strive to make it as simple as possible for them to be sustainable. The HP Stitch is compatible with recycled fabrics such as polyester, and the digital nature of the system means fabrics can be produced on demand, therefore eliminating waste. HP Stitch revamps the entire production workflow with features that slash maintenance downtime and shrink lead times from around 12 weeks to a few days.’

Finally, one person who can barely hide her passion about the topics is EFI’s Ms Genoni. She waxes lyrical about the way her company couples trends, such as the demand for personalised sportswear, with people’s desire for more sustainable production. There is a certain symmetry between a healthy lifestyle and healthy planet after all.

She says that green concerns really are central to the ongoing development at EFI Reggiani, this includes advances to their DtF (direct to fabric) offer, pigment solutions, products designed for those just entering the segment and polymerisation. ‘We are always working on innovative projects, developing our DtF offering, our pigment solutions, our polymerisation methods and more,’ she says. ‘We are driving digital technology but we are also doing so sustainably. Our pigment solution is really sustainable, it’s a shorter process that uses less water and less waste and less energy.

‘For new businesses entering print it’s a more sustainable solution and it’s a less costly investment for them. Our USP is our complete range, we can create a full solution, offering an entire menu for people to choose from. Our polymerisation can be done inline, people don’t need all the other equipment so there’s less investment required.’

It’s a lot to take in, and at times it feels like short changing sustainability to squeeze everything into a single feature. Still, it’s clear that the subject is only going to become more important in the years to come and the good news is that people are taking it seriously.

The post Sustainable clothing appeared first on Digital Printer.

Commercial print has had a difficult year, but that doesn’t mean it has been devoid of all hope. Textile printing has proven that it can remain buoyant amidst a sea of troubles and there is plenty of expectation that the market will keep growing across 2021.

One company which has a ‘very promising pipeline,’ in place for next year is EFI and its Reggiani operation, based in Northern Italy. Due to its location the company was among the very first outside of China to feel the effects of Covid-19. Still, as Adele Genoni, senior vice president and general manager at EFI Reggiani, explains, this wasn’t necessarily a disadvantage. ‘We had to weather that storm straightaway,’ Ms Genoni says. ‘As early as March we were looking at a ‘new normal’ and preparing to find opportunities in the crisis. Throughout the pandemic we haven’t stopped innovating, and we’ve put new processes in place to keep delivering our solutions to our customers.’

Ms Genoni says that it should be an exciting year for digital textile printers as, ‘Supply chains are getting shorter, with products being produced nearer to the consumer. When you consider digital’s environmental advantages, short run capabilities, efficiency, compatibility with online retail and ability to personalise and customise, it is the perfect fit.’

These themes, reshoring, personalisation, sustainability and increased online activity are ones that are clearly at the forefront of many people’s minds, but the growth of decor products has also caught the eye. Brett Newman, managing director at Hybrid Services, Mimaki’s exclusive distributor for the UK and Ireland, says, ‘2020 has undoubtedly been very challenging for everyone but we’ve seen growth in décor and personalisation, with more people engaging in DIY and home improvements throughout Lockdown.

‘We’ve also seen an increase in crafting and furnishings, with people taking time to make their houses into a homes. This growth in consumer demand has set a trend that we fully anticipate to carry on into 2021. People’s buying habits have been forced to change through not visiting bricks and mortar retail, they’ve discovered more creative products online, and that in turn has driven demand for personalised and bespoke products.’

Trapped inside during Lockdown, people have been turning their houses into homes

This trend of applications growing in popularity in 2020, then maintaining that new status in 2021, is one that has also been recognised by Phil McMullin, sales manager, ProGraphics at Epson. ‘The increase in personalisation and web ordering that we saw over the course of Lockdown looks like it will only continue to develop further as we move into next year,’ he explains. ‘The myriad of businesses now offering personalised T-shirts, mugs, photos, keyrings and more has reinforced the importance of reliable, on-demand digital printing.’

Clearly interior décor and personalisation have really come of age over the course of the crisis, they are highlighted again by HP’s Johan Spies, WW & EMEA low volume product manager, textiles. ‘This year most of us have experienced how our home became a place to work, educate our children, exercise, and relax, and as such we have seen the interior decoration market grow accordingly,’ Mr Spiers says. ‘We’ve also found that this year an increasing number of customers want their print jobs to be personalised.

‘Demand for digital and personalised printing is growing at a rate of 7.2% every year as consumers and businesses tailor their print jobs to their needs. In response to this trend, print service providers who can meet this demand will win the marketplace.’

For his part George Benglopoulos, CEO at Polyprint emphasizes how demand for DtG products has remained strong despite the pandemic. He says that due to this, and a surge in one off and online orders, companies have been forced to operate on-demand, without stock. ‘Flexibility is the key here’ Mr Benglopoulos explains. ‘The DtG print-on-demand business model is ideal for web driven operations. Covid-19 has altered the market, accelerating the shift to e-commerce, challenging traditional business methods and creating an evolution in the textile industry. It really comes down to cost per print, uptime on your printer and quick ROI with minimal investment costs. Demand is off the charts, but supply is the tricky part, as global shipments have been reduced.’

Rob Goleniowski, head of sales at Roland DG, UK and Ireland, is also watching this shift towards e-commerce. He says, ‘Covid-19 restrictions caused consumers to flock online to make purchases and for interactions, and this trend is only set to continue. As a result, it has become vital for print businesses to strengthen their online presence to capture the increasing online market and to tap into the growing personalisation market which is set to reach £1 billion over the next 12 months.’

New customers, new applications

Textiles was obviously better placed to endure the pandemic than many other parts of the digital print market. There was nothing those dependent on hospitality, exhibitions or tourism could do when those sectors were closed down, but, as we have seen, demand stayed strong for décor, clothing and related items. We’ve touched on aspects of this already, but what applications will continue to drive the growth in the sector, and what customers will they be marketed at?

One obvious area, highlighted by Polyprint’s sales and support supervisor Kostis Gounaris, is products inspired by Covid-19. ‘People’s need to stay safe and protected during the pandemic has compelled the mass production of face masks,’ he says. ‘Masks infused with virus inactivation technology are widely researched around the world. Our need to express ourselves through these difficult times, has created a mask personalisation trend, where they are printed with amazing designs. These customisation trends will move beyond traditional garments in the near future to  accessories like socks, belts, ties, bags and purses.’

PersBiz, Roland DG’s digital online store, enables print providers to start selling online and provide personalisation options to consumers

Hybrid’s Mr Newman highlights products that have been given a boost by lockdowns. ‘Home décor, personalised garments and customised soft furnishings have seen growth already and that trend will continue,’ he says. ‘Items used around the home that are customised to the buyer’s requirements will also continue to grow in popularity. Customised options and the ability to create unique colourways of existing designs that are then digitally printed and ordered in short runs engage the buyer in the creative process, for which a premium can be charged, just as you may pay more for a made-to-measure suit from Saville Row than one bought ‘off the peg’.’

It seems these markets are the ones everyone is keeping an eye on. Ms Genoni also points out the growth in home décor and sportswear, which she says was previously driven by a global rise of a middle class and athleisure lifestyles, and has been accelerated by Covid and consciousness on health and wellbeing. She adds that, ‘When this is combined with the desire for personalised products, digital is the answer. Other trends we are keeping an eye on for similar reasons include the technical textiles sector and sportswear, this is where we are promoting our sustainable processes range like direct sublimation as it makes very good sense to combine sports, and therefore physical health, with sustainability.’

HP’s Mr Spies says that, ‘Personalised textiles in all segments are growing in popularity, particularly those sold via online stores. Our network of PSPs report that short runs, customisability and fast delivery are the most important factors to their customers, and this consumer behaviour will continue to drive growth in the sector. Personalised sports textiles and custom collections will continue to grow and being able to deliver this on a semi-industrial scale will be crucial to success.’

Mr Goleniowski adds that Roland’s ‘target market has not changed over the past year, but we have adapted to expand our focus and develop more solutions for not just dye-sub, but DtG and other interior decor applications. Interior decor has shown promising resilience in these difficult times, relative to other printing categories, and the market is in double digit growth and forecast to reach $7.8bn by 2023. We can expect to see an ever-expanding range of digitally printed household items in 2021, from curtains to tablecloths to cushions.’

Mr McMullin says that Epson’s priority is taking advantage of the ongoing reshoring of textile production. He expects to see continued growth in local production across the UK, particularly across fast fashion, as manufacturers look to gain greater control over their supply chains.

‘We’re targeting local producers in the UK,’ Mr McMullin explains. ‘Where previously they were printing textiles abroad and finishing locally, we’re shifting their businesses away from this and towards local manufacturing to give them better control of their production in terms of time, quality, cost and waste. The restraints Covid has had on supply chains across different sectors has forced a lot of companies to consider how reshoring can change their business for the better.

Epson says its commitment to textiles is reflected by the opening of a new factory in Japan, manufacturing the Monna Lisa range.

‘If you’re in the textiles business, you might order 3000 of the same garment from China to get the right price. But the market doesn’t want 3000 of the same garment but rather wants one personalised item per customer, therefore companies need to plan how they can keep up with this trend in 2021.’

Cornerstone

The textile market is consistently predicted to be one of digital printing’s leading growth areas, driven by its sustainable credentials, demand for personalised products and its relatively simple path to entry. But with so many other parts of print being better established, how important is textiles to print’s leading companies? The answer is an emphatic and resounding, ‘very.’

‘Textiles were always central for us,’ Ms Genoni says of EFI Reggiani. ‘We have always been aware of the strategic opportunity and the potential of digital transformation. As such we’ve renewed all of our digital printers in recent years, single pass having changed the rules. Our commitment has been proven recently by our winning an InterTech Award, the first ever handed out for a textile solution, and by the growing popularity of our BOLT in markets like Italy and Pakistan, where a fourth EFI textile printer was recently installed.’

Mimaki can boast similar longstanding credentials. ‘Textile solutions have been part of our business strategy since the 1990s,’ said Mr Newman. ‘Mimaki was instrumental in the enablement of digital textile printing and this sector continues to be an important focus for the company, with new products added in recent months including the hybrid Tx300P-1800MkII dye-sub/direct-to-textile printer.’

For Mr Goleniowski Roland demonstrated its commitment ‘through our investment to bring to market the ZT-1900, EJ-DECO, XT-S and further back the RT-640M. All these products offer choice and flexibility to the textile producers across a wide range of applications. These customers in many cases also sell other products that can be produced on other Roland DG machines, so our investment is about allowing our customers to use more of our machines across more aspects of their business. It’s win win!’

Mr McMullin points out that, ‘Approximately 5% of the world’s textiles are digitally printed and Epson sees a great growth opportunity in shifting the market further, which is reflected by the opening of our new factory in Japan, manufacturing the Monna Lisa range. We’ve had some bigger pieces of kit for some time now and with the launch of the new Monna Lisa ML-8000 we have an entry level industrial production device that we believe will appeal much more to the smaller companies that are producing textiles more locally.’

Adele Genoni with EFI’s InterTech Award, the first awarded for textile printing

It is DtG specialist Polyprint that can boast the most timely confirmation of textile’s growth, announcing the creation of its subsidiary Polyprint USA, based in North Carolina, only this month (December 2020). ‘This new entity will be operating fully staffed and stocked to better serve Polyprint’s current and future equipment users, generating a closer bond with its US customer base,’ finishes Mr Benglopoulos. ‘Polyprint’s strategic growth throughout the USA with carefully selected dealers will contribute to streamlining its efficiency by delivering leading local customer support and producing business opportunities for all parties included.’

Exciting times indeed.

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Digital presses are usually reasonably (and sometimes very) substantial investments, but around £3000 is enough to get you started with an entry-level CMYK single-garment pigment printer or dye sublimation heat transfer system, while £10,000 to £20,000 gets you a really good and productive setup. For an existing printing company that’s used to handling image files and organising workloads, it can be a useful bolt-on business to offer to existing clients or online to B2C customers. If it doesn’t take off you won’t have lost much, but if it does, the profits can be reinvested in more sophisticated printers for greater productivity and extended functions.

There seems to be an almost limitless demand for printed garments, with the most immediately obvious being the timeless cotton T-shirt or the related sweatshirts and hoodies, plus baby wear, caps, branded workwear and in some cases denim trousers and jackets. This year’s must-have printed garment is a brightly patterned printed face mask, for obvious reasons.

‘A lot of the enquiries we are receiving steer towards smaller items like baby grows and kids’ clothing, T-shirts and tote bags,’ says Lauren Swinnerton, marketing manager of Roland DG UK.

Nick Macfarlane, direct-to-garment (DtG) sales specialist at Ricoh UK, says that DtG is an entry into a big market, quoting research that the worldwide promotional and personalised goods sector was worth around £50 billion as retail revenue in 2017. ‘Wearable items, like T-shirts and sweatshirts, make up a big share of the promotional and personalised goods market, [at] 31%. Bags comprise a further 8% and textiles 3%, meaning businesses could access almost half of the available work with the right textile printing systems,’ he says. He admits that a lot of this is mass-produced by analogue print, but about 9% is digital, still representing a huge market.’

All of the DtG printers on the market are inkjets using water-based pigment inks that are then bonded to the fabric by heating for a few minutes. Unlike the rival dye sublimation process, pigment inks work with natural fibres, including cotton. The ink does not form a complete chemical bond with the fibres in the same way that dye sublimation does with polyesters, so the images will eventually start to wear off after many runs through the washing machine.

If you choose a DtG printer that includes white ink, then you can use this as a base layer on black and darkcoloured garments. ‘Pre-treatment will be required for dark garments, but not for white/light garments where white ink isn’t being printed,’ points out Grant Cooke, product manager at specialist dye sublimation and DtG supplier Xpres. Pre-treatment can be a spray, or you could buy a dedicated machine that just applies the liquid where it’s needed on the garment. Amaya offers three pre-treatment units with prices starting at £2755.

There are also reactive dye or acid dye inks that will bond permanently to natural fibres, but these need special preand post-wash processes and are not supported on small DtG printers.

Brother has been making textile printers for some 20 years

Pigment parade

In our ‘entry-level definition’, which we’ll somewhat arbitrarily define as ‘below £20,000,’ there’s a pretty wide choice. In alphabetic order the main established manufacturers are Brother, Epson, Polyprint and Ricoh, with Roland DG as an OEM of Ricoh at this level.

There’s no easy way to compare these on productivity, as speeds aren’t generally given and in any case depend on the size of image being printed. Buying extra platens means you can set one up while another is printing. On the whole, paying more tends to get you a faster, more robust printer with white ink, but the best thing to do is try a few out in dealer showrooms before deciding.

Brother has been making textile printers for about 20 years. Its entry-level DtG model is the GT361 for platen print areas up to 335 x 405mm, with a list price just under £12,000, though reseller MHM Direct GB was offering a third off at the time of writing. This offers CMYK plus two white print heads, printing at up to 1200dpi. Extra platens of various shapes and sizes, including one for trainer shoe sides, cost about £300 each.

The top Brother GTX Pro model offers a larger and more robust twin-head print engine for £19,995, including Graphics Lab software, with an automatic platen height adjustment, a new white printhead with ink recirculation and automated self-maintenance routines. Its maximum platen size is 406 x 533mm. There’s also the GTX Pro Bulk variant, which includes a bulk ink feeding system for £28,495 (plus £4295 for a starter kit of ink).

Epson currently offers two DtG printers, the entry-level F2100, available with CMYK for about £11,000 or CMYK + white for about £13,000, both with design software, and this year’s launch of the faster, more advanced but much pricier SureColor SC-F3000 (‘under £40,000’) with auto platen height adjustment and facility for bulk ink feeders. Polyprint, a Greek manufacturer with a long history in conventional printed textiles, has been selling DtG printers for longer than most of the others, according to Charlotte Darling, sales director of UK distributor Amaya Sales.

Amaya currently offers two recently updated Polyprint TexJet DtG models. ‘These will get you on the stepping stones to garment printing,’ says Ms Darling. The smaller model is the TexJet Shortee2, offering a maximum platen format of 320 x 450mm. It costs from £7950 with a standard set of platens of different sizes and shapes; others can be bought. The larger machine is the TexJet Echo 2, with a maximum format of 410 x 600mm, costing from £10,450. The smaller platens are interchangeable between the two printers.

Ricoh is a comparatively recent entrant into the market with its A4 format Ri 100 and Ri 1000 entry-level printers (there are also high end Ri 2000 and Ri 3000 models) and it’s done well with some strategic marketing deals with resellers such as Resolute DtG and TheMagicTouch. Roland DG also rebadges the Ri 100 as the BT-12.

The Ri 100 is very compact and attractively priced at just under £3000, including layout software and a heat fixing unit that can be stacked underneath or alongside the printer. It’s CMYK-only so has to be used with white or light coloured garments. ‘It’s an entry-level device that lets you easily see if you have enough work to buy our next machine up, the Ri 1000,’ says Ricoh UK’s Mr Macfarlane.

Costing about £20,000 all-in, the Ri 1000 offers CMYK plus 2x white inks and the more advanced AnaRip software as standard. Ricoh is about to launch new software with improved colour management.

Roland DG’s entry level DtG printer is the CMYK VersaStudio BT-12 at £2499 with a heat finishing unit, as mentioned above, a rebadge of the Ricoh Ri-100. The company does build an interesting pigment printer of its own, the £56,999 flatbed Texart XT-640S-DtG, which can take multiple garments stretched onto four, eight or 12 frames across the bed.

‘Smaller businesses or new businesses make up a large percentage of BT-12 users,’ says Ms Swinnerton. ‘As this machine appeals strongly to a start-up business, we’ve seen that it is a first machine for people as a stepping stone into garment printing. Some may have tried using a cutting plotter, but in general this is their first ‘big’ purchase.

We see a lot of the Etsy/Not On The High Street type of customer, but there’s also been a notable uptake with on-demand promotional gift production.’

Brother has been making textile printers for some 20 years

Dye-sub alternatives

The dye sublimation process is widely used but only works on textiles with a high polyester content. This is great for sportswear and some workwear (including hi-vis garments), but not for garments with high proportions of natural fibres such as cotton.

There are no direct-to-garment dye sublimation printers yet. Some roll-fed dye-sub printers will print directly onto bolts of cloth (going through heat fixing calender rollers afterwards), but for made-up garment work the only dye-sub option is to print onto paper transfers (normally with a roll-fed inkjet) and then use a heat press to complete the sublimation process onto the garment. Some heat presses have interchangeable shaped platens to take items such as sleeves or baseball caps.

A dye sublimation printer can be more versatile than a dedicated DtG printer, as you’ve also got the option of using dye-sub and the paper transfer with other substrates, such as phone and tablet cases, mugs, caps and so on. All sorts of polyester ‘blanks’ as well as printers and inks, are available through specialist resellers such as Novachrome, Dye Sublimation Supplies, Merlin Transfers and Xpres.

On the other hand, transfers are more fiddly to apply and heat-fix than using a dedicated DtG printer. ‘It is a bit of a dilemma,’ admits Phil McMullin, sales manager for pro graphics at Epson UK, which sells both DtG and dye-sub printers. ‘But dye-sub is the most flexible and the new range of artificial fabrics is outstanding. So whilst our DtG unit is a great option, you might want to start with our new SureColor SC-F500 entry level dye-sub. A 24in printer for less than £2000!’

With prices like this, there’s no real need for an either-or decison between entry-level DtG and dye-sub transfer. You could buy both together with a decent heat press and still get change out of £10,000.

You may not even need to choose between them.

Dye Sublimation Supplies is UK agent for the US Vivid Chemicals’ Reveal sublimation inks, which are claimed to work with both natural cotton fabrics as well as polyester materials and blanks. Vivid hasn’t revealed how this actually works and there seem to be few hands-on user reviews, but it involves using transfer films and three clear ink cartridges in a dongle-protected Epson SC-P600 inkjet. A system to put white plus colour onto dark fabrics has been promised for some time. A starter package with printer, heat press, transfer film and inks costs £2276.85.

Dry toner togs

Another alternative is dry toner heat transfers, which offer the same sort of versatility as dye-sub but work on a much wider range of textile types, both natural and synthetic, and flat solid surfaces with no polyester required. On the other hand, just like inkjet pigment, the bond to textiles isn’t as strong as dye-sub, which affects washability.

These transfer types typically use the OKI range of affordable A4 and A3 desktop LED dry toner printers. Some of these printers offer white ink as a fifth colour, so they are suited to dark fabrics with the right transfer paper. TheMagicTouch in Dunstable has been a big exponent of these over the years, having developed its own wide range of transfers papers that run in the OKI toner printers that it also resells. A big breakthrough came a few years ago with its WoW! Papers that offer a two-stage white base layer system to allow bright colours to show on black and dark fabrics. Its more recent T.One is a one-stage transfer but its white isn’t so opaque.

Amaya sells a rival toner transfer system called Forever, also for use with Oki printers, with a wide choice of paper types and applications, including the two-stage Laser Dark for dark fabrics.

Roland DG’s entry level DtG printer is the CMYK VersaStudio BT-12

Hot fashion

All these garment methods need post-print heat treatment, which can be a simple heated cabinet for DtG pigment inks, a conveyor tunnel to automate the process, or a heat press for dye-sub and dry toner transfer work, ideally with interchangeable shaped platens. Tunnels are actually quite expensive – typically £6000 to £15,000. Screen printers may have one already.

Heat presses start at around £350 for a basic hand-pulled type, £1200 with a decent timer and auto release, or £2000 and above for pneumatic operation with automatic pressure and thickness adjustment. Twin-table pneumatic models let you set up one garment while another is being pressed.

The beauty of a heat press is that the same one could be used for more than one process – DtG printing as well as dye-sub, toner transfer or even the older but still popular cut vinyl transfers. TheMagicTouch also sells sheets of Premium Flock HTV in 16 colours. This simulates raised embroidery and is also applied by heat press. That needs a low-cost contour cutter – a Graphitec Silhouette hobbyist cutter costs just £290 – to create the shapes.

With low entry costs by commercial print standards, there’s little to lose by having a go and if it doesn’t work out, you can print T-shirts for friends and family this Christmas. And if it does hit a market niche, there are bigger, faster and more versatile machines to upgrade to.

The post Been there, done that, printed the T-shirt appeared first on Digital Printer.

Debbie McKeegan
FESPA textile ambassador and CEO of TexIntel

Digital textiles offer the textile industry the power to print sustainably, the perfect antidote to the waste generated by the buying patterns and technologies of the past. It’s interesting that this year was the 50^th anniversary of Heimtextil, the largest textile show in the world, and an opportunity to witness the dramatic change in commerce during this time. Traditionally Heimtextil was a show where orders were taken, orders that kept factories across the globe busy for the year ahead. In 2020 the show has become a vital showcase and networking, sourcing event, for sure orders are taken, but not like the old days!

Textile buying patterns have changed and consumers are now demanding design diversity

Why is that so? Because textile buying patterns have changed, retail has a new footprint, e-commerce, and importantly the consumer demands design diversity. Digital disruption offers the textile industry the tool box to print sustainably. Print-on-demand is the new paradigm for the textile industry and software, inkjet technologies and smart factories deliver the solution. Although we are 20 years into the digital reform of print and the advancement of textile technologies alongside software, progress has accelerated in the last few years. Supply and demand always drives market change and the demand for sustainable production is paramount. Waterless technologies, pigment ink solutions, clean certified inks and sustainably sourced, and recycled fabrics are in demand. The consumer is now conscious of the historic pollution for which traditional production is credited, and the industry needs to deliver the products that the market demands.

Speed and efficiency are key to customised production, and we now have a host of options for digital textile printing. Super-fast single pass machines that reach up to 1200m/hr are being adopted in the East to fulfil the high volume textile needs of the West, and across the globe as machine sales increase we see the growth of emerging markets using medium volume industrial machines that top the scale at 400-600m/hr and a whole host of affordable entry level machines that print at 25-100m/hr. All of the above are incredibly energy efficient when compared to their analogue predecessors using very little water, a fraction of the electricity and all with a smaller machine footprint.

Yet the textile Industry as a whole has a long way to go to meet the needs of the eco-conscious consumer and the critical sustainability agenda. Global digital production is currently at just 5% of total printed sales worldwide. Growth is predicted at 17.5% year on year for the next 5 years, where we go from there can only be onwards and upwards…

Brett Platt
Textiles business manager, CMYUK

There is an interest in viable, ecologically responsible materials. We are seeing the breakthrough of recycled polyesters made from the yarn from single use plastic bottles (PET) and other recycled polyester materials. We’re witnessing a rise in end-of-life concerns for materials. CMYUK is the exclusive distributor of Pongs textiles for digital print in the UK and Ireland.  Pongs has full control over the weaving and finishing of its fabrics, and it only uses water-based chemicals in its coatings which means that our Pongs  textiles are safe for recycling and are suitable for incineration for waste-to-energy processes.

Pongs has made great strides in producing polyester fabrics that meet the stringent demands of the signage/display markets. This means CMYUK can confidently supply customers with a consistent range of fabrics to cover many different applications i.e. black back for displays, backlit for light boxes, flag and stretch fabric for tension frame systems. 

Pongs is CMYUK’s flagship fabric offering

Reshoring for décor and fashion will continue on its upward trajectory. The UK has always been one of the strongest in the world from a design point of view, but when our UK print mills started to close and manufacturing moved overseas we lost this manufacturing from the UK. However, digital printing is changing this story.

 The trends towards fast fashion, short-runs, personalisation and quick delivery are underpinned by home grown digital textile printing that can react and handle the demands of this fast changing market.  We expect to see a significant increase in décor applications, and personalisation will become even more acute.

Let’s not forget the hardware that is driving application possibilities.  Traditionally dye-sublimation printing was always a two-step procedure, you would print first, and then put the print through a separate heat press for the fixation. However, the EFI Vutek 340i, a sublimation printer with inline fixation has changed all that. Taking up less room than a digital printer and a separate heat press, the 340i has made dye sublimation and its many applications available to all. It also conforms to other digital print processes, so once the printed fabric hits the take-up unit on the printer, it can be removed and put straight through finishing, no heat press required.  It’s an absolute game changer.

Watch out for new digital print hardware to be launched in the next quarter, which again, will appeal to the growing décor and fashion markets. New technological advances in inks, and printer technology will continue to bring opportunities to print service providers, allowing them to open themselves to new applications.

When analysing textiles in a ‘big picture’ way the most important thing to note is the ‘reshoring’ of textile production. In the latter half of the 20^th century production of clothing and textiles moved abroad, to the likes of China and Bangladesh, but that trend is starting to change and production is moving back to the West.

This about-face is being driven retailers who are no longer stocking seasonal wardrobes, but are instead looking to offer new product lines each and every month. Naturally this means they will be selling far less of each garment and it simply isn’t economical to make a couple of hundred shirts in China and have them shipped across to Europe on the back of some tanker.

Peronalisation is also having an impact, as it becomes ever more popular and prevalent. Rather than being ‘on trend’ and wearing what everyone else is wearing, younger generations want clothing that is unique to them.

Mr McMullin described Lake Como as the Silicon Valley of digital textile printing

All of this makes the times very interesting for digital textiles printers. Certainly here at Epson we see textiles as a huge opportunity and we are investing a huge part of our research and development budget into this area.

It is very much our intention to offer the best range of options for textile printing, anywhere in the world. This means everything from desktop, direct-to-garment (DTG) printers all the way up to full scale, wide-format presses. We’ve been talking about our strategies to achieve this for some time, but now things are starting to crystalise and products are being brought to marker. I can’t talk much about it yet, but there will be launches at drupa later in the year, we have big plans for both DTG and dye-sub, so watch this space.

We are also proud to offer the Monna Lisa series, a fully integrated system for industrial digital printing onto textiles. These are roll-to-roll printers that use Epson inks and heads to produce truly exceptional printing results. The project is based in the ‘Digital Textile Valley’ at Lake Como, Italy and the mere fact that I can use that label shows just how fast this area is growing.

Another key thing to remember, or maybe to learn, is that textiles is a relatively easy market for digital printers to move into. For example if you have ever produced soft signage work, then you will already be familiar with many of the skills needed to produce textiles. As for the financial aspect, this isn’t nearly as steep a hurdle as many people think. Our SureColor F2100 is a DTG press which will provide everything you need to start producing personalised clothing, the 24in option retails for £1800 and its 40inch big brother is available for less than £5000.

The important thing to remember is that when it comes to textile printing the barriers for entry, such as they are, are tumbling down. This is a growth area, simply and affordable to break into, and I expect a lot to happen in the near future.

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