When you think of digital wide-format printing, you don’t typically think of incorporating variable data. For one-off projects, variable data just doesn’t enter the equation.
Which Raster Image Processor (RIP) do you use for color management and why? The second part of that question is the focus of this article: Why or why not to use a specific RIP.
At the start of each year, the wide-format printing consulting service considers the trends that are likely to have the greatest impact in the coming year. Wide-format printing is a diverse product category that spans key environments, such ace workgroups, photography professionals, architectural and engineering companies, as well as a wide presence in graphic arts and industrial environments.
The development of digital textile printing has profoundly affected the design, creation, understanding and use of textiles. In fact, the technology has reached such levels of performance and speed that it no longer is considered as being useful for only sampling and low-volume runs.
The inkjet printing process involves many essential components including ink and fluids, and their delivery systems, substrates, coatings, driver boards and software. The inkjet printhead sits in the center of the process, delivering ink or other fluids to their print receiver.
My previous SGIA Journal articles Are You Finished Yet? (November/December 2015) and Are You Finished Yet — Part 2 (January/February 2016) focused on vinyl banners and rigid substrates, and overlooked the textile side of things — much to my chagrin!
Color — it’s everywhere we look. Think of that exotic car (it’s red, of course), to the vibrant green of a lush rainforest, all the way to the deep blue of the ocean. Your assignment is to print these memory colors onto hundreds of different surfaces while using a myriad of different processes — oh, and have them all look the same. Piece of cake! Right?
In Part 1 of this series I discussed color theory and defined some terms that would help you with some of the fundamentals of color management. If you recall the red sports car example from Part 1, you would agree that you would never use a tire iron to change a spark plug.
In Part 2 of this series in the May/June issue of the SGIA Journal, I introduced the color management pyramid. Now, we’ll go deeper into each of its levels.
Part 3 of this four-part series, featured in the May/June issue of the SGIA Journal, detailed the color management pyramid and showed how it could easily be the basis for the process of achieving consistent and repeatable color. This final article in the series will wrap up some loose ends by offering suggestions on workflows (RGB vs.
When printers want to decorate synthetic materials, such as polyester, some polyamides (e.g. Nylon 6.6), and cellulose acetate, they typically print sublimation ink onto transfer paper and then transfer their reversed images with heat and pressure.
Nearly three years ago, the first single-pass, wide-format aqueous inkjet printers were launched by Xerox* and Reprographic Technology Inc. (RTI). These Memjet-based solutions were designed to provide much greater speed compared to existing large-format inkjet printing systems.
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