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 term ‘embellishment’ can encompass inline printed effects such as metallic, pearlescent or fluorescent inks, or post-press processes such as raised and textured effects – sometimes called ‘tactile’ or ‘haptic’ – plus a wide variety of foiled effects that can range from mirror-bright metallics through diffraction and holographic effects, or just special colours.

A lot of the recent action has been over the Atlantic, but much of it is relevant to the UK and Europe. September saw the existing US based Foil & Specialty Effects Association (FSEA) announce the formation of the more focused Digital Embellishment Alliance (DEA), which it describes as a community to create educational and communication opportunities in the growing digital print embellishment segment.

This followed a three-day event in June in Minneapolis called Amplify Print, organised by the FSEA and APTech, which highlighted digital embellishment.

‘In the world of digital print embellishments, we see a market that is on the cusp of going mainstream but still suffers from an awareness issue at the brand and designer level,’ explained Gene Petrie, chair of the FSEA board of directors. ‘A key aim of the DEA is to help users and manufacturers educate their customers and increase understanding of how these digital embellishment technologies can help brands increase their print ROI.’ This year’s LabelExpo in Chicago, the first one to be held since the 2019 show in Brussels, featured a Digital Embellishment Trail for the first time, where stands featuring these effects were flagged up.

While the market for label embellishment is different to commercial printing and packaging, it’s also an indicator of which way the wind is blowing. It’s also worth mentioning Actega’s unique EcoLeaf filmless foiling technology, so far only for narrow web label presses, which applies metallic nanoflakes to a special inkjetted fluid to give a mirror-smooth metallic finish with no waste.

Inline on presses

Digital presses increasingly offer fifth and even sixth units that can take a variety of special toners, some to extend the colour gamut and some to add embellishments such as metallics, spot gloss or other effects. Kodak was the first to really make a go of this in 2008 with the fifth unit on its second-generation Nexpresses, which not only offered a wide range of special colours but could build up a raised ‘dimensional’ embossed effect with clear toner.

An example of the effects achievable with the combination
of digital spot UV and foiling on Duplo’s DuSense 8000

This has been continued with the latest Nexfinity models, whose fifth unit can produce 13 effects, including gold, silver, dimensional or gloss clear, and an opaque white. Xerox has also offered extra colours for years, most notably with its Iridesse model, which as the name suggests majors on its special effects abilities. Iridesse is still the only dry toner press to offer six colour stations, though HP Indigo liquid toner presses can have up to seven. Iridesse can run special toners in the first and sixth, or fifth and sixth positions – you might choose white in the first position as an undercoat on clear, dark or metallised substrates. Special toners can be white, clear (high or low gloss), fluorescent pink, gold or silver. The past few years have seen Xerox introduce add-on embellishment options as ‘Adaptive CMYK+’ kits for the mid-production Versants and the entry-level PrimeLink C9065/C9070.

These allow users to swap out the CMYK cartridges for a second embellishment pass. There’s a choice of ‘Vivid’ (silver, gold, white and clear, or fluorescent (cyan, magenta yellow, plus normal black). These can be fitted aftermarket if needed. Switching between toner sets takes 10 minutes or so, but Xerox Europe’s head of marketing Kevin O’Donnell says that it allows smaller printers to broaden their offerings and keep embellishment work inhouse. The high end iGen 6 has a fifth unit too, which gained a new fluorescent yellow toner option last year, alongside white, clear and some Pantone specials. Ricoh’s Pro C7200sx series toner presses have an inline fifth unit that can run white, clear, neon yellow, neon pink and ‘invisible’ security red.

White can run as the first colour if needed as an undercoat. HP Indigo digital presses are still unique in the way they can run up to seven colours with easy swapping. ‘Special’ inks include two white types, gloss and matt clear, silver, fluorescents (green, orange and pink), plus gamut[1]extending and tone-smoothing colours. Xeikon is developing a range of embellishment modules for its web toner presses that it calls Fusion; at LabelExpo it demonstrated an opaque white and silver printing on clear film. Foiling with laminators The post-press ‘sleeking’ market of foil embellishment via lightly modified thermal laminators makes a very attractive entry level for jobs where metal dies aren’t cost-effective. Several laminator suppliers promote this in the UK.

The results may not be as sharp as metal dies or the expensive inkjet foilers, but the entry costs are very low indeed, especially as the machines still work for conventional lamination, as with D&K’s range which foils up to B2. The Korean manufacturer GMP pioneered laminators with foiling facilities and sells three via GMP UK, a part of Gardiner Graphics. Intec Printing Systems – recently bought by Plockmatic and now sold alongside Morgana in the UK – bases its pair of ColorFlare foil laminators on GMP hardware: the CF350 costs £1999 and the CF1200 starts from £7999.

It also sells compatible foils, which were recently extended with a fashionable rose gold colour, plus copper and a useful opaque white. Vivid Lamination also offers a special Matrix Metallic version of its popular 420mm wide sheet-fed thermal laminator, for spot foils and gloss effects. This features modified rollers and a foil feeder. Other suppliers of laminator with foiling options include Autobond, Foliant (sold by IFS, using the retrofittable Multi-functional Imprinting Unit) and Komfi (sold by Friedheim). It was Caslon who pioneered the foil-onto-toner market in the 1980s, using dedicated heater-applicators rather than laminators. The company currently sells US-built FoilTech. machines, starting about £2000 for a 340mm wide manual feed model, up to a bit over £4000 for an auto-feed twin ribbon machine. A much more expensive but faster option is Kurz’s dedicated 4000sph B1 digital DM-Luxliner, which foils directly onto dry toner or HP Indigo prints.

Inkjets for ultimate effects

Inkjet-based embellishers have tended to get all the publicity ever since MGI announced JetVarnish, a digital spot UV varnisher, at drupa 2008 (though so did Komfi, but with less fanfare). At Ipex 2010 Scodix showed the first ‘high-build’ inkjet UV varnisher, with a raised and textured effect.

MGI soon followed with a high-build model called JetVarnish 3D. A few years later both worked out how to apply foil over the raised clear polymer. Scodix still offers more effects though, including faceted gems and Cast & Cure for high-end packaging. Scodix has gone through several generations and today has standardised on the Ultra 1000 series, with six models ranging in price from about £400,000 to £1.1 million. Most of them are B2 format, but with different front end configurations for commercial print, web-to-print and carton packaging.

Kurz offers high-end digital foiling options
supporting sheet sizes up to B1

There are two configurations for most applications. The base model uses a single polymer type, which VP global sales and marketing manager Mark Nixon says is suitable for ‘75% of all possible jobs.’ The other type has four polymer feeds, with different characteristics formulated between them to adhere to pretty well any substrate. The top model is the Ultra 6000, the only current B1 format offering, with a top speed of 1000sph. There was briefly a 4000sph B1 model, the E106, but the £2 million-plus price was too much for the market to bear. Mr Nixon says that users are happy with 1000 sph, as it compares favourably with high end analogue foiling systems that use metal dies and which can take hours to make ready. MGI today is in effect a subsidiary of Konica Minolta which as of October 202 held a 42.3% stake. KM sells the range worldwide, though not exclusively. Three models are B2 format, offering up to 4200sph, one is roll-to-roll on a 420mm web, and there is a long-A3 format model that was originally called JetVarnish 3D One, which was exclusive to KM even before it increased its shareholding in MGI.

This summer the MGI-badged One has been replaced by the Konica Minolta-branded AccurioShine 3600, which is apparently the same thing with a different colour scheme, though there may be technical differences we haven’t found out yet. MGI’s enormous B1 AlphaJet, which is now available after years of development and previews, can print full p The Konica Minolta-branded AccurioShine 3600 replaces the MGI JetVarnish 3D One colour and embellish with 3D polymer and foil inline at 1800sph. So far there’s only one user, ISRA, in France, announced this year. An official launch is due in October and will be reported in Digital Printer. At LabelExpo 2019, a prototype digital cutting and creasing unit was demonstrated that may find its way onto the AlphaJet too. Germany’s foil manufacturer Kurz recently acquired the Swiss Steinemann company, whose inkjet varnish and foiling systems it was already marketing as Digital Metal. These include the sheetfed B2 DM-Smartliner for 2D flat varnishing and overfoiling and the DM-Maxliner for raised and textured effects. There are also narrow web label models. Duplo’s B3 DuSense 810 is probably the entry level for 3D varnish effects.

Duplo is very resistant to giving prices, but the launch price in 2017 was reportedly £139,000. That’s a lot less than any of the current MGI or Scodix machines, though Konica Minolta’s AccurioShine 3600 may be in the same price league. DuSense can be fitted with optional inline foiling using the Bagel MiniLam lamination/foil unit. There is now also a B2 model, the DuSense 8000, launched in May 2022, which is offered in various configurations providing the spot UV, digital foiling or both, including a pre-treatment option for expanding the types of print that can be handled.

How to sell it

With embellishment systems becoming relatively common, at least as options, the challenge is now how to get the message out to the customers – designers, brands, even high street shops, who won’t order effects that they don’t realise exist. Xerox is well aware of this, says Kevin O’Donnell, and is making a big push to support help its users develop their markets for the embellishment options on their presses. Its Genesis Initiative is a multi-level set of free offerings that aim to build the market for what it calls ‘beyond CMYK.’ This includes helping printers to market embellishment effectively, and also to understand how to price it. There are also courses for designers to learn about embellishment, and how to use it and explain it to their customers too. Mr O’Donnell says ‘The key is not just the technology. More important is market engagement, and design skills. Every printer should be looking at the ‘plus’, over and above the norm. That’s not just embellishment, but anything you can do to stand out from the crowd, even if it’s just giving a box of doughnuts to new customers! ‘Embellishment might be priced for profitable value-added business, or it might equally be priced as a loss-leader to get new business,’ he says.

‘Some 90 – 95% of your business might always be CMYK, but if the embellishment brings in new customers, you’ve got a good chance of retaining them for future CMYK work.’ Another separate initiative is what’s probably the first consultancy intended specifically at helping creatives and producers get the best out of digital embellishment. Taktiful in California has been set up by Kevin Abergel, who worked for many years for MGI. He was most recently sales director for North America, but that office closed when Konica Minolta took on sales and distribution.

He’s now established a network of consultants with practical experience of digital embellishment in North America, and is looking to expand his services into Europe and the UK soon. He’s not confining his work to MGI/Konica Minolta based systems, but across the whole range of processes and manufacturers. He says that digital embellishment systems aren’t being sold enough to customers, especially the built-in fifth units on digital presses. ‘People aren’t selling it correctly, they aren’t necessarily understanding how to pitch it or how to teach their clients how to design for it. A lot of the clients we work with at Taktiful have a fifth colour and say, ‘Yeah, I never use it. It’s just sitting there’, or ‘I’ve had this machine for two years. Maybe I’ve run 10 jobs on it’.

Overall, you ask them what percentage of jobs are they actually using it on. Typically they say less than four or five per cent. It’s a nice-to-have, but right now it’s not a need to-have because they’re not actually putting in a lot of the marketing effort needed to be able to take that off the ground. ‘But then we see some small mom and pop companies, little three, four-person shops, and embellishment is all they talk about. They go around, they talk to every restaurant, every little trophy shop or every little shoe store. They talk about how great the print could look. They say, ‘You could put in this fluorescent green on your next mailing, or let’s put in some dimensional on your menu so that you can actually feel the wood grain’. These are the people who get it and they’re the ones that are making it work for them.’

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Lewis Evans, sales and product manager at Vivid provided a demonstration launching scratch-off foil technology to increase personalisation, claimed to be the first in digital print.

Mr Evans said, ‘We designed the [foiling] machine with a silicone roller instead of steel, as the silicone roller can push the foil into the uncoated paper stock. It can print onto coated, uncoated and on top of laminated stock too. It is unusual and new to digital foil on uncoated paper. It has never been done in digital print before.’

Phil Gaskin, business development channel manager at XMPie, delved into recent trends and claimed 11% of companies generated at least 50% of their income via a web-to-print platform. He also said 83% of consumers are willing to share their data to create a more personalised experience.

Mr Gaskin said, ‘I believe if you can print it, you can personalise it. During the pandemic we had one customer who deployed many stores as once things opened up again he had a lot of volume. He now has 20 stores with an average order of 300 line items, all completely automated in a touchless workflow MIS. He is one of three printers who said that if it wasn’t for XMPie, he wouldn’t be in business right now.

John Howlett, a pre-sales analyst at Xerox, gave a live demonstration on the Xerox Iridesse production press, explaining in detail how the fluorescent pink toner introduced in the last couple of years can be mixed with the other colours supported in the six-colour machine ‘to create a whole raft of new colours that aren’t already out there in the colour market’.

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The show, which will run from 10am to 4pm, will highlight some state-of-the-art print and packaging ideas involving Vivid Laminating Technologies Ltd, XMPie (now part of CareAR) and Xerox.

Highlights of the event include: Xerox’s latest advances in inkjet technology, its ‘beyond CMYK’ digital toner presses featuring metallics, pink, clear and white ink, XMPie software and data solutions, the latest FreeFlow Core workflow automation solutions, plus Vivid’s laminating and foiling technologies.

Sample applications to be demonstrated include the production of digitally-printed scratchcards.

To register click here.

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Supported by its sister association the BAPC, the event has the backing of the association’s sponsors Antalis, Canon, Duplo, Fujifilm, Imprint MIS, Konica Minolta, Vivid, Xerox and XMpie, with additional exhibitors to be announced in the coming weeks. It also has seen a ‘groundswell of positive support’ from hundreds of members across the IPIA and BAPC.

‘Covid-19 drove most of us online, but amongst the digital fatigue, print continued to demonstrate its relevance and effectiveness as part of marketing activity – with 41% of businesses claiming to increase spend on ad mail this year. Now it is time for us to show leadership, come together, generate confidence and help kick-start our sector’s growth,’ said Lucy Swanston, chair of the IPIA Event Subcommittee and managing director of Nutshell Creative.

‘The IPIA is well known for the high quality and value of its events and, ordinarily, we host some 10 business events every year, culminating with the Gala dinner, which has proved an important social and networking opportunity on the calendar since 1992,’ she added.

‘This will be our first in-person event since the pandemic began, although we have hosted several lauded virtual events like #Punchbackprint and the IPIA Big Breakfast networking mornings. These were developed to support the industry with learning and networking opportunities. We are looking forward to not only seeing what our print technology providers have got to showcase, but to also welcome print buyers, agencies, trade houses and suppliers to the event.’

The Expo and Business Networking Hub runs from 11:00 to 15:30, broken by a buffet lunch and the IPIA chairman’s address on market trends. The IPIA AGM takes place at 15.30 for an hour. The Champagne Reception and Gala Dinner begins at 19:00, with the Recognising Excellence Awards presented from 21:00.

A range of tickets is available, from Expo entry and lunch in the Business Networking Expo to a full package with overnight accommodation. 

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Spurred by the success of the original VeloBlade, launched in 2019, and its B2 version introduced in early 2020, Vivid’s VeloBlade Volta is available in two sizes, 600 x 400 and 600 x 900mm, and four variants, based on cutting thickness. The standard in the Volta 64 and 69 is 2mm, with ‘plus’ versions of each supporting a depth of 10mm via an optional oscillating tool. All four have 150mm of auto-feed sheet capacity in addition to roll-feed and support bar codes for automatic job recognition. They have a selection of tools that can replicate the effect of conventional dies but without the expense or delay of die-making, and can handle label stock, paper, card, KT board and Foamex amongst other materials.

The Nexus line is aimed at wide-format applications and ups the format from B2 to a minimum 1800 x 1600mm and opens up a range of possibilities with a router able to cut substrates up to 25mm thick, including Dibond, MDF, acrylic and fabrics, but still capable of intricate and accurate work. Over 100 cutting tools and accessories are supported. The Nexus models feature automatic cut depth setting which speed job set-up, as does a rotating bed to enable both roll and sheet-fed operation.

Richard Marlow, sales director at Vivid said, ‘Throughout the pandemic we’ve seen many of our customers seeking ways to diversify and offer services they’ve previously had to outsource. Consistently, one of the biggest outsourcing costs we’ve seen is die-cutting. By extending the VeloBlade range we’re now able to provide businesses a variety of systems with different capabilities. From kiss cutting right through to 25mm, there is a system to suit every application.’

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The sign making, display solutions and digital printing show returns to the NEC, Birmingham in April and will host many new exhibitors in addition to a plethora of returning companies.

New exhibitors will include: ABC Display Industry, GMG Color, Liquid Lens Systems, M3 Online Limited, PROTEK, Premier Paper Group, Signzworld, Solar Illuminations, Trade Sign Shop, Target Transfers, UK Feather Flags, UK Industrial Tapes, and Viscom LEDs and Frames.

Meanwhile those companies returning to the show include: Atlantic Tech Services, CMYUK, Blackman & White, Complete CNC Solutions, Epson, GESS, HEXIS UK, Hybrid Services/Mimaki, printMAX, Roland DG (UK), Sabur Digital, Signgeer, Spandex, Tecna, The Magic Touch, Ultima Displays, Vivid Laminating, William Smith Group1832 and Zund Plotting Systems.

‘It’s fantastic to have so many new companies at the show this year,’ said Rudi Blackett, Sign & Digital UK portfolio director. ‘As well as welcoming back a large number of returning exhibitors – their presence at S&DUK 2019 confirms the show’s continued ability to connect people and the industry. The variety of products and services on offer, in addition to free-to-attend seminars, workshops and live demonstrations means that we deliver an industry leading event, which gives our visitors the chance to connect with their peers and to keep up to date with the latest innovations.’

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