The events will mark the arrival of the range in those countries, followed by a phased rollout initially in France and Spain, and then other countries in the coming months.

Fujifilm Business Innovation is said to be the number one supplier of A3 multifunction printers in the Asia Pacific region. Prior to the European launch, none of these devices had been available under the Fujifilm brand except in the Asia Pacific region.

Fujifilm will be offering the A3 multifunction printers, Apeos series, with a focus on productivity, reliability, and growing demands in the work environment. The printers are explained to provide uncompromising usability, enhanced security, with quick and simple operability to support user’s success in Europe.

Built on Fujifilm’s decades of print knowledge, the Apeos range is designed for the modern workplace. From remote/mobile printing capabilities to security features, including its BLI security validation (Keypoint Intelligence) and sustainability credentials, Apeos is a multifunction printer range capable of supporting digital transformation to meet the rapidly changing and diverse demands of the post-Covid environment.

A described key feature of the Apeos series is its quality. The series has a print resolution of 1200 x 2400dpi, capable of printing on versatile media with speeds ranging from 20-70 pages per minute. The range’s IReCT, digital image adjustment technology, minimises colour mis-registration. The useability/reliability of the range means accelerated operations with no wait time, supported by its described easy navigation with UI and attention light.

The series has adopted IH fusing technologies that reduce energy consumption. Also equipped with LED printheads that enables energy saving design, means the range of printers is sustainable. The developed super EA-Eco toner contributes to reducing power consumption achieving low-temperature fusing.

Advanced scanning functions support the digitalisation process with features including searchable OCR, automatic orientation of scanned page to upright position and correcting the skewed page or removing blank pages.

Taku Ueno, senior vice president, device technology division of Fujifilm Europe, commented, ’It’s hugely exciting to be entering the European office printer market after our entry into the toner production printer business in Europe in 2021. We’ve had tremendous success in the last three years introducing high quality Fujifilm branded production printers to the market, and the launch of our office printers is the natural next step.’

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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.

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Both solutions will be showcased at Fujifilm’s European Print Experience Centres in Germany and Belgium, and will be a major focus at Fujifilm’s Peak Performance Print event in January 2024. 

The partnership will enable customers to see real examples of an end-to-end workflow, from job onboarding via a web-to-print system, to registering the job in an MIS and the full management of a print job to organise, impose, gang print and finish. This will allow customers to consider which elements of their workflow could be updated to add value to their business.

Fujifilm will also have a team of workflow experts at both Print Experience Centres to work with customers to create a ‘next-generation’ workflow that will maximise profitability from their new digital press investment.

John Davies, product group manager for workflow systems at Fujifilm Europe, said, ‘This partnership with EPS showcases our dedication to working with market-leading suppliers in order to create a complete print solution offering for our customers. The growth forecast for digital printing is healthy, but this means there is increasing pressure to manage more print jobs, in order to provide quicker turnaround times, and this is only possible by also implementing smarter automation. We are excited that our complete digital print solution, in partnership with EPS, will deliver the levels of end-to-end workflow automation that our customers require.’

John Morley, global channel partner sales director, EPS, commented, ‘EPS is delighted to extend our reseller agreement with Fujifilm into EMEA, following the success we have seen in Asia Pacific, and we are excited by the opportunity to partner and integrate with Fujifilm solutions.  Customer success is at the heart of what both EPS and Fujifilm do, and this is another example of how working together with industry market leaders offers huge value and opportunities for customers.  I am confident that this partnership will bring fantastic opportunities to automate, optimise and drive efficiencies and we are excited for what the future holds as we continue to work together.’

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What’s now called embellishment or special effects used to be a group of purely post-press operations. These included lamination, spot or flood varnishing and foiling (hot or cold). Other eye-catching things have always had to be done in or on the press – if you wanted metallic colours you had to use a special ink or print on a metallised substrate; the same applied for fluorescent or other special colours.

Digital print has blurred those boundaries, bringing a number of ways of achieving the same or ‘close enough’ effects, combined with the flexibility and minimal set-up requirements characteristic of digital print. These also split into in-press effects and subsequently-applied effects.

Before looking at these in detail, it’s also worth noting that a sustainability argument is emerging for digital embellishment as an alternative to more conventional processes. This comes from Scodix, which makes stand-alone ‘embellishment presses’ (distributed in the UK by Friedheim) that can apply a wide range of decorative effects to printed sheets, with full digital flexibility in each.

Scodix carried out a lifecycle assessment of its digital foiling options which found that compared to conventional hot stamp foiling, its version reduces CO2e (CO2 equivalent) by 85%, fossil fuel usage by nearly 85%, and water consumption by 80% per B1 sheet. The study, carried out by EcamRicert, and Mérieux NutriSciences Companies, compared the enhancement of a single B1 sheet through to 100,000 B1 sheets using Scodix foil (175g) versus traditional foiling methods.

That’s only one of the options that Scodix offers and there’s no indication given that any of the other supported techniques offer comparable advantages. However, like any other form of digital printing, it seems likely that overall wastage of materials and energy is likely to be lower simply through the ability to only print or finish the number required.

The main argument in favour of these types of effects though is that they add impact to printed products and therefore margin to your work. Some you can only do if you bought the right press, though they could also be a factor in choosing a new one. There’s an increasing number of toner presses that offer additional colours which may include clear ‘varnish’, white, fluorescent and metallic colours, though usually only one or sometimes two at a time.

Plus-one – or more

Machines that offer a fifth colour include Xerox’s iGen line and Ricoh’s Pro C7200, also sold by Heidelberg as the Versafire EV (and about to be replaced by the Pro C7500, though we’ve not seen any specification for this yet). Kodak’s Nexpress and Nexfinity models could do this too, with options over where in the laydown sequence the fifth colour went, though both are now discontinued. Moving up to six colours brings in the popular Xerox Iridesse, and the more recent Fujifilm Revoria, while most HP Indigos can handle up to seven colours, though of course click charges go up in proportion with all extra colour presses. Xerox also offers a conversion kit for two-pass printing on its entry-level PrimeLink C9065/C9070, which potentially allows the use of up to eight colours, albeit with a complete change of toner cartridges between passes.

The exact choice of extra colours varies by manufacturer, but in addition to white – for use on coloured or transparent substrates – and clear – used to create flood or spot varnish effects – fluorescent or ‘neon’ colours are offered, particularly pink and sometimes yellow. These can replace or be mixed with their standard CMYK equivalents to expand the colour gamut for more eye-catching effects. A few offer metallic toners too, which again can be printed solid or mixed to provide novel colours and finishes.

After the event

Post-press options are more about foiling, spot varnish and various creative lamination processes, often in combination. A good entry-level choice here is foil-over-toner, a two-pass method that uses ‘real’ foil in a laminator like Vivid’s Matrix models or those from Caslon, Foliant (sold via IFS), Komfi (from Friedheim) or Autobond. Similar options also come from GMP and Intec, now part of the Plockmatic group.

An entry-level option for foil-over-toner is Vivid’s Matrix, seen here at a trade show

In these, the initial colour print is first laminated with a clear film, then printed again with the foil pattern in black toner on top of the film, before a second pass through the laminator transfers the foil to the partially melted black toner. It’s a more labour-intensive process but it works with a very wide range of foil types and doesn’t require special consumables.

Then there are the fully ‘digital’ embellishment devices that offer spot UV and/or foiling in a single operation. This category includes devices like Duplo’s B2 DuSense 8000, which is offered in various configurations providing spot UV, digital foiling or both, including a pre-treatment option for expanding the types of print that can be handled. It’s also possible to build up textured ‘3D’ effects with multiple passes, which the smaller B3 DuSense 810 also supports. An alternative is the B3+ Konica Minolta AccurioShine 3600, which uses technology from MGI, in which Konica Minolta holds a significant stake. It too can produce ‘dimensional’ effects.

At the top end of the digital embellishment market are the ranges from Konica Minolta/MGI and Scodix. These are dedicated industrial production devices that offer UV varnish and foiling, with Scodix offering a particularly wide range of foils and finished effects, while MGI’s line goes up to B1 sheet size in the form of the print-and-embellish AlphaJet that was formally launched in October 2022. Kurz is another player at the industrial end of the scale, having bought Steinemann, whose inkjet varnish and foiling systems it was already marketing as Digital Metal. These include the sheet-fed B2 DM-Smartliner for 2D flat varnishing and foiling and the DM-Maxliner for raised and textured effects.

Whether you’re just ready to dip a toe into digital embellishment and cautious with the investment, or know that you’ve got a ready market for it but need to be sure it’s good enough and fast enough to meet your customers’ needs, there should be something to suit and help your work shine.

Preparing files for embellishment

All digital embellishment processes require ‘artwork’ to control where the effects are applied. Usually this means creating additional layers in the originating applications and/or print PDFs, though some vendors offer DFE-based tools to create embellishment guides or colour substitutions from standard PDFs on-the-fly.

Andrew Bailes-Collins of Ultimate Technographics, which makes imposition, nesting and ganging software, has written a handy guide to preparing generic PDFs that should process correctly through most embellishment vendors’ DFEs and thus avoid some of the common pitfalls that require manual reworking in the prepress studio.

Called PDF Creation for Digital Embellishment, it covers the use of spot colours, layers, knock-out and overprint and choice of correct versions of PDF for hand-off. It’s available free from Ultimate Technographics’ website.

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The Revoria EC1100 is a 100ppm production printer that can support a wide range of applications thanks to its creative finishing capabilities and versatile media handling, including long sheets and heavyweight paper up to 400gsm (350gsm up to 660mm, 300gsm up to 864mm). It can manage products from thin folded flyers to thick business cards, as well as accommodating heavier weight and longer papers . The efficient media handling and versatility mean a wide range of customer needs can be met, including high speed envelope printing, without the need for an additional fuser.

10-bit processing within the press supports up to 1024 halftone levels instead of the 256 achievable with an 8-bit system, coupled with 2400dpi print resolution, for higher quality reproduction. In addition, graduation correction is used on images and vector graphics, to better reproduce fine tints, colour gradations and subtle blends, said to be especially valuable when printing colour gradients, skin tones and shadows.

The Revoria SC170/180 is a more compact 80ppm model but still a highly productive press, according to Fujifilm. It supports a wide range of paper sizes, from 148 x 98mm up to 1200 x 330mm banners. The Multi Sheet Inserter for banner printing can print single-sided long paper from 660 x 330mm up to 1200 x 330mm, depending on the configuration, and duplex up to 864 x 330mm, opening up new applications..

Taro Aoki, head of digital press solutions, Fujifilm Europe, commented, ‘Fujifilm has a 60-year heritage in developing toner technologies, so though we may appear to be a new player in the market from a European perspective, we have a huge amount of technological expertise to draw upon. This has allowed us to develop our market offering rapidly, and with these two new presses, we are now able to offer a full range of toner press solutions to suit all production and investment level requirements.’

The new presses will be installed at the Fujifilm Print Experience Centre, Ratingen, Germany and in demo centres in other European countries, including Spain and the UK. The presses will also be on display in September at The Print Show in the UK, C!Print (Spain) and Sign&Print (Sweden).

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The deal was formally agreed at an event in London’s docklands in May 2023, held to celebrate the UK launch of Fujifilm’s toner technologies after the much-publicised split from Xerox and ending of the Fuji-Xerox joint venture.

Jamie Emmerson, director of Emmerson Press, which was an early investor in the JetPress B2 inkjet from Fujifilm, commented, ‘We had an existing toner machine that had reached its end of life and we were looking for a new solution. After looking at the market, the ApeosPro C seemed like an ideal choice. We’d been researching it for some time but had to wait patiently until the official UK launch in April to speak to our Fujifilm representative. Following this conversation, we soon signed the deal. Despite it being newly launched in the UK, we did our homework and, being a long-term Fujifilm partner, we were confident that the technology had been tried and tested.

‘We’ll use it to produce a wide range of additional applications – particularly any ultra-short run work that needs to be turned around instantly. And we’ll also use it as an office printer, which further helps with costs and efficiency.’

Martin Fairweather, business development manager at Fujifilm UK, stated, ‘We’re delighted to be further expanding our partnership with Emmerson Press. Their trust in us as a long-term partner is demonstrated by them becoming the first in the UK to invest in Fujifilm technology once again.’

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The physical Fujifilm Print Experience Centre brings together advanced technologies and products from the graphic communications and photo imaging divisions. It is located at Fujifilm’s new European headquarters in Ratingen, Germany, in a 1200sqm design space.

The centre represents a ‘call-to-action’ for visitors, and is a collaborative space where they can imagine and experience the present and future of the printing industry in its broadest form. It will offer training and demonstrations to Fujifilm customers and partners, as well as the opportunity to evaluate and experiment with varied media and receive support to achieve optimal printing results. The area is equipped with co-working and events space to expand its intended use and ensure comfort for visitors and users.

‘It is with great excitement that I am kicking off the activities of the Print Experience Centre, a unique concept dedicated to the world of the printed image, which complements the experimental equipment of our European headquarters in Ratingen, which was inaugurated last year,’ commented Yoshiki Kimura, president and managing director of Fujifilm Europe. ‘In these spaces, we can now offer our stakeholders the opportunity to touch the result of Fujifilm’s technological vision, and we are confident that this will be a source of great inspiration to forge new partnerships and strengthen existing ones.’

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When used as a flatbed machine, the Prime Hybrid can print on substrates up to 2m wide. It can print on up to four pieces of rigid media simultaneously, and features registration pins for precise edge-to-edge printing at production quality up to  92sqm/hr.

The printer also features front and back handling tables to support a range of media types while facilitating easy media positioning. The roll-fed configuration can be loaded with two rolls each up to 0.9m wide. It is set to meet the needs of print service providers who use a wide range of media across a variety of applications.

The machine is available with four colours (CMYK) as standard and uses the same inks as the Acuity Prime. A beta model will be installed in the UK in June 2023, with commercial availability scheduled for the end of the year.

David Burton, director of Fujifilm Wide Format Inkjet Systems, commented, ‘We have listened to our customers and we recognise that high functionality and versatility is in-demand. In response to our customers and, building on the success of the Acuity Prime flatbed series, we developed the Acuity Prime Hybrid – a cost effective and robust printer that will maximise productivity across a wide variety of applications.

‘We’re delighted to showcase its capabilities at Fespa 2023, and we look forward to seeing how it will positively impact our customers’ businesses.’

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Taku Ueno, senior vice-president, Graphic Communication division, Fujifilm Europe, described Fujifilm as ‘the industry’s best-kept secret’, saying that there has been ‘a massive shift to digital, a transformation of business, and Fujifilm wants to take its customers with it.’  Referring to the company’s strong record in the Asia-Pacific region, where it has over 40% market share in some segments, he acknowledged that for products of this type, Europe and the US ‘are new territories and we’re [the] latecomer,’ adding that the aim is to raise brand awareness and ‘become a major player as soon as possible. We want a key role.’

The company’s existing position in inkjet commercial print, thanks to the JetPress B2 inkjet line, allows Fujifilm to offer ‘the best of both worlds’, said Taro Aoki, head of digital press solutions, Fujifilm EMEA, while the company’s background in plates and imaging equipment puts it in a ‘unique’ position to support customers moving from analogue to digital print, or looking to implement hybrid systems.

Fujfilm’s route to market for the new machines is still being established, as it has only had the right to sell them in the UK since the beginning of April 2023, following the expiry of agreements that date back to the Fuji-Xerox join venture days. Channel partners for both the Revoria and Apeos lines are being sought, and these will be backed by both pre- and after-sales support from Fujifilm’s existing UK and European resource plus additional partners. The company’s experience with the machines in the Asia-Pacific region will also be available to local support operations.

Looking to the future, it is likely that further additions will be made to the new ranges, with Mr Aoki noting that the Apeos line ‘is addressing just part of the market’. No details were given for what might appear at drupa 2024, but Mr Ueno said that ‘ intensive discussions’ were taking place and admitting that as  the portfolio expands ‘we may run out of space, so will have to agree direction and priorities’.

Mark Lawn, who joined Fujifilm as head of print on demand solutions, Europe, in January 2023, confirmed that 65 Revoria machines had already been installed in Europe with ‘more going in every day’. He noted that they were supporting a wide range of applications, from lottery tickets to photobooks and that a number of customer sites had both the new toner press and JetPress B2 inkjets.

Mr Lawn also envisaged that the capabilities of the new machines, particularly the six-colour capability of the Revoria PC1120, would open new opportunities in digital print. ‘We are seeing digital print-driven/digital-only applications which offer more choices. We want to give the tools to satisfy or open new opportunities, in e-commerce, for example,’ he said.

In addition to presenting the key features of the Revoria colour and mono presses and the Apeos C Pro light production model, Fujifilm XMF Press Ready workflow was also presented. This print engine-agnostic platform can manage an ‘overview’ of work and route jobs to the best-placed devices, provided that they are driven by Fiery DFEs, and should be of interest to ‘anyone with a digital press’ in commercial, quick print or web-to-print applications.

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The company, which was established in 1982, manufactures traffic signage and signs for a wide variety of commercial applications, whilst providing employment for people with disabilities, who comprise 71% of its employees.

Daren Hollins, head of procurement at Nuneaton Signs said the company sought a new flatbed printer to speed up the production of its signs and manufactured goods. He explained, ‘We went out to tender with various companies and we chose Fujifilm because we were impressed with the cost and efficiency of its inks, the cost of this printer and how overall, it was able to deliver in terms of quality and reliability – all while meeting our financial criteria.’

He continued, ‘It is two-and-a-half times faster than the previous printer we used for the same types of jobs. It is also quick to set up and easy to use, which is particularly important for our team members with disabilities. The service provided by Fujifilm was excellent and efficient. When the machine was installed, it was ready for use – factoring in our training – within a week.’

The Fujifilm UV ink has enabled Nuneaton Signs to print quality jobs on a variety of substrates. With a focus on sustainable materials, Nuneaton Signs prints on polypropylene, 100% recycled and recyclable cast acrylic sheets, polyester sheets, premium fibre structure paperboard, recyclable aluminium composite material, lightweight foam board and others.

Andy Kent, division manager, Fujifilm UK, commented, ‘We value all of our customers and their business requirements. We’re particularly pleased to see that our printer is supporting Nuneaton Sign’s team members with disabilities, ultimately enhancing their independence.’

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