Roland DGs popular guide to Print and Cut

Issue 3Over 130,000 Roland customersworldwide benefit from Print and Cut.Arrange a demonstration of any Roland printer/cutter at a showroom near you.MakingMoneywith Roland DGRoland DG (UK) Ltd – Nr. BristolWestway House, Hither Green, Clevedon,North Somerset, BS21 6XTRoland DG Showroom - AldershotUnit 9 Brook Trading Estate, Old Lane,Deadbrook Lane, Aldershot, Hampshire,GU12 4XBCall us now on: 0845 230 90 60E-mail: sales@rolanddg.co.ukVisit: www.rolanddg.co.ukLocations not suitable?Call us and we’ll let you know whichRoland Authorised Dealer Showroom isnearest to you.Roland DG Academy - WalsallCollege Green Lane Campus, Off LongAcre Street, Walsall, West Midlands,WS2 8HXImagine Roland Logo Stacked and Long on whiteAuthorised DealerAuthorised DealerInside…Print and Cut production workflowsSetting up Print and Cut filesTop tips and techniquesCase studies from Roland Printand Cut customersHow Roland’s Print and Cutmachines are making signand graphic businessesmore profitable

Welcometo the worldof Print and CutDiscover new application possibilities and more efficient and profitable ways of working.ContentsIntroduction to Print and Cut 41. The basics of Print and Cut production1:1 Workflows 71.2 How to set up a file 111:3 Media and ink choices 192. Top tips and techniques2:1 Clear coatings and filmlaminates for durability 262:2 Digital label printing 302:3 Producing custom clothing 432:4 Tips from vehicle graphic gurus 463. Print and Cut gallery3:1 Roland customers sharetheir Print and Cut work andexperiences5323

Introduction to Print and CutAt Roland, it’s our business to know digital Print and Cut. We pioneeredits development over twenty years ago, and have since earned theposition as number one brand in the world for inkjet Print and Cutmachines with over 130,000*¹ sold worldwide.Today Roland printer/cutters are the most popular choice in the sign and graphics industry.In fact our VersaCAMM Print and Cut machines are the best-selling printers in the world*².Since we wrote the book on Print and Cut, we’ve decided to share it with you, because the moreyou know, the more successful we’ll both be. The following pages break down several workflowsthat will boost your productivity, saving you time and money, and perhaps even open your eyesto some new business possibilities. You’ll learn special tips and tricks from experts in the fieldand get a chance to look into their production environment.How did they do that?The greatest ongoing mystery of all time can be summed up infive short words: “How did they do that?” (or its close companion“Why can’t I do that?”). As graphic professionals, we’ve all staredin fascination at a particularly striking image and tried to figure outexactly how it was produced.In the past, the answer was often a complicated journeyinvolving time consuming processes that included hand painting,airbrushing, layered vinyl applications, masking, weeding andmounting frustration.Today, integrated digital print and cut technology has changedeverything. Large, colourful signs are printed and cut in one seamlessstep. Simulated chrome, bevelled edges and colour blends that onceneeded to be produced over and over by hand can now be createdonce and reproduced quickly and easily any number of times.What can you do with Print and Cut?Perhaps a better question would be “What can’t you do with printand cut technology?” Print and cut is perfect for creating outdoorand indoor graphics such as: stickers, decals and labels, banners,posters, vehicle, floor and window graphics, garment decoration,packaging prototypes, POS ...and just about any sign imaginable.With the advances being made every day in print and cut materialsand technology, the number of possible applications is expanding ata stunning rate. If you’re not on the print and cut train, you’re being leftat the station.Be more productive than everVinyl isn’t the only thing being cut by digital printer/cutters.Wasted time is being slashed. By eliminating hand processesand merging the tasks of multiple machines into a singleunattended device, productivity explodes. Now you can takethe same graphic and replace it over and over again to a widevariety of applications and materials. The integrated print and cuttechnology makes it all possible. If you want to learn more, diginto this book and discover the secrets.Stickers, Decals& LabelsBanners & PostersVehicle, Floor &Window GraphicsGarment DecorationPackaging PrototypesPOS*¹ Figure as of March 2013.*² Source: InfoTrends wide format data 2009-2013, Solvent ink and durableaqueous ink technology category.45

Print and Cutproduction 11. Print and Cut productionIn this chapter, we begin with an introduction to the elementary aspects of print andcut production. Here you’ll discover step-by-step breakdowns of the most commonworkflows used in print and cut jobs, see how to set up a digital file for print and cutproduction, and gain an understanding of the choices in media and inks used in digitalprinting and cutting.We’ll start at the very beginning.1:1 WorkflowsPick your solution firstNothing is as complicated as it seems at first glance. It’s no different with printand cut production. The solution to a challenging process that can often becomewildly complex and time-consuming is deceptively simple. Integrated printer/cutters provide unattended printing and contour cutting on a single device. Withtheir integrated design, printer/cutters streamline the production process, improveaccuracy, and pretty much eliminate the need to reload and reposition graphics,saving untold man-hours and reducing costly mistakes.So, why look for two solutions when one will do?7

CutContour PathPrint and Cut WorkflowAn integrated Print and Cut Workflow consists of simple steps. Open a digital file andset cut paths in the software. Then send the graphic to the printer/cutter, where it isautomatically printed and contour cut. Graphics come out ready to sell or weed and apply.1. Set up your artwork with print data and cut paths. (Fig.1) To assure full bleed on yourimage, you should add a 1 pt. bleed to the outside edges of your design.2. Send the artwork to the print and cut device for printing and cutting in a singlestep. (Fig.2)3. Weed excess vinyl from the graphic and apply. (Fig.3)Print/Laminate/Cut WorkflowFor jobs requiring extra durability, use over laminate films. In this Print/Laminate/Cut workflow, printed graphics will be removed from the printer/cutter, laminated andreloaded for cutting.This two-step process is best performed with an integrated printer/cutter. A single devicewill more easily achieve proper registration and produce cut lines with more precision.1231. Set up your artwork with print data and cut paths. Once again, to ensure full bleed onyour image, you should add a 1 pt. bleed to the outside edges of your design.2. Send the artwork to the printer/ cutter for PRINT ONLY with Quadralign TM opticalregistration marks added. (Fig.4)3. Remove the printed graphic from the printer/cutter. Apply a laminate film to the printedgraphic. (Fig.5)4. Reload the laminated print into the printer/cutter. (Fig.6) Automatically align registrationmarks with Quadralign. (Fig.7)5. Send CUT information only to contour-cut the graphics. The optical registration systemautomatically realigns the cutting path and compensates for any skew and distortionwhich may occur during lamination.45 66. Weed excess vinyl from the graphic. (Fig.8)7. Apply transfer tape and apply. (Fig.9)7 898 9

1:2 How to set up a fileThe best print and cut files begin with a great piece of art. It can beanything from a simple logo to a complex combination of photographyand type. It can be 10mm tall or 8 metres wide. It should have personality,colour, detail, and most importantly, a definitive shape that takesadvantage of the impact of print/cut production. To turn your art into aprint/cut graphic, you’ll add a spot-colour cutting path that tells the RIP ordevice driver exactly where you want your final cut lines. There are somespecific guidelines you need to follow in order to make sure that the driverrecognises your cut path and accurately processes it.What programs to useFor best results, most print and cut professionals recommend vectorbasedgraphics programs such as Adobe ® Illustrator ® and CorelDraw ® .The biggest advantage of vector artwork is that it is resolution independent,so graphics can be reprinted at virtually any size. You may think you’re onlydoing a t-shirt design, but the client may love it so much they want to put iton their van next month.Print/Cut/Clear Coat WorkflowAdding liquid clear coating provides short-term sun, moisture and abrasion protection. Liquid clearcoats are often used on vehicle graphics to take the abuse of car washing, scuffing, and daily wear andtear. For a Print/Cut/Clear coat workflow, see page 26.Print/Cut/Laminate/Cut WorkflowSome applications require different cut lines for the printed vinyl graphic and the laminate whichprotects it. This allows you to have laminated “windows” cut out of the graphic or to have laminatematerial extend beyond the perimeter of the graphic, allowing it to be applied without the use of edgetape. To create these applications, you will print once and cut twice, using a Print/Cut/Laminate/Cutworkflow. (See page 34 for details).110 11

The basic setupof a Print and Cut fileCutContour Path1 Create your original artworkIt may be a vector image, or a combination of vector and raster elements.(Fig.1) If there are images included in the file, be sure to build the file at the proper size and resolution foryour final desired output (see page 15 for guidelines).2 Define the final cutting pathCreate a path that defines the exact shape where you want all cuts to occur, including the perimetercontour cut and any cut outs within the graphic. (Fig.2)3 Apply a Spot Colour to the pathThis is the most important step. In order for the RIP software to recognise this as a cutting path and nota shape to be printed, you need to create a Spot Colour swatch called “CutContour” (Fig.3) and apply itto your cutting path. (For details, see facing page). Once you’ve applied the “CutContour” spot colour toyour image, the cut path line will appear as a coloured line on your screen. Don’t worry when you sendthe file to a Roland printer/cutter, the RIP will replace this colour with “marching ants” along the cut pathand it will not appear on the print. A palette containing the cut contour for Illustrator ® is supplied withVersaWorks. CorelDRAW 6 comes with the palette integrated.4 Add a bleed to your imageTo avoid white hairlines and ensure a clean edge to your final print/cut graphic, you should add a bleedto the outside edges of your artwork. (Fig.4) Anything from a 1 pt. – 3 pt. line works very well.5 Save your artworkWhen finished, save as a .ps, .pdf, .eps or .prn file.Colour ModeIt’s always best to work on digital print projects in the RGB colour mode rather than CMYK. Your digitalprinter is capable of printing a much larger gamut of colours than that available in the CMYK mode,so creating your file in RGB and leaving it in that colour space allows you to take full advantage of thecolour gamut of the printer. Working in RGB also reduces overall file size by up to 25% over CMYK.Do not create images in LAB or Indexed Colour. Convert any images in these modes to RGB beforebeginning production.23Creating a CutContour Swatchin CorelDraw®1. Click on Window and selectDockers2. Select Colour Palette Manager3. Expand palette libraries4. Expand spot5. Expand Roland6. Select Roland VersaWorks and thepalette will be shown on the righthand side.4CutContour PathImage bleed added1213

Working with a Photoshop ® fileCreating a CutContour Swatchin Illustrator®1. Click on Window, select ShowSwatches. Click right arrow,select New Swatch.2. The swatch name must beCutContour. The colour type mustbe Spot Colour.3. The colour values for the swatch maybe set to any you choose.4. From the Stroke tab, use the followingsettings: Weight .25; Mitre limit 1;Transparency: Normal Opacity at 100%.In addition to working with photos, many artists use Adobe® Photoshop to add photorealistic‘airbrushing’ and 3D effects to images originally created as vector art.Be careful - once the file is brought into Photoshop, you are limiting your image resolution. Be sure tomake the file as large as you think you may ever need it. This can mean a great looking image, but theprice tag can be a huge file size.Once you have worked on the image in Photoshop, you’ll need to bring it back into a vector programto add your cutting path. You may receive a customer’s logo as a flat jpeg or tiff file and need to createyour own cutting path. While you can always open the file in your vector-based program and create thepath by hand, you may want to try the following shortcut:1. Open the file in Photoshop.2. Use the Magic Wand or Magnetic Lasso Tool to select all of the negative space aroundthe logo.3. Choose Select, Inverse. Now your selection represents the outer perimeter of the logo itself.4. In the Paths palette, choose Make Work Path. This creates a path that follows the contours ofyour logo - save this path.5. Use the selection tool to copy the path to the clipboard.6. With the tool still on the clipboard, open the logo file in your vector-based program -paste in the path.7. Use pen tools to fine-tune the path. Colour the stroke with the Spot Colour called CutContour.Save file as an .epsImage ResolutionIf you’re working with a vector image, resolution is not an issue. It can be re-purposed to any size andprint setting with no impact on image quality. However, for bit-mapped images, the resolution of theoriginal file determines the limits on final size and quality. You need to consider the final use of thegraphic, and whether it may be re-purposed later when creating a bit-mapped file. As a general rule,your image resolution in pixels-per-inch (ppi) should be about a quarter of your desired dots-per-inchprint resolution (dpi). For example, if you plan to print at 720 dpi, your image file should be built at 180ppi at actual size. Another way to determine the appropriate resolution is to consider viewing distance,(see page 18].1415

It’s this simple using a Rolandwith ECO-SOL MAX inksIf you want visual dramatics, Roland’s ECO-SOL MAX andECO-SOL MAX2 eco-solvent ink technology delivers.ECO-SOL MAX is designed to enhance the performance of Roland’s VersaSTUDIO,VersaART and VersaCAMM SP-i Series inkjet printers and printer/cutters, whilst ECO-SOLMAX2 is for the VersaCAMM VS-i and SOLJET PRO4 series of printers and printer/cutters.Powerful and versatile, these inks boast an incredibly fast drying time, a wide colourgamut and great durability. You can produce high quality banners, posters, labels,stickers, POS displays, vehicle wraps and window graphics that stand the test of timeand keep your customers coming back for more. Ideal for use outdoors or in, thistough, scratch resistant ink can withstand outdoor environments up to 3 years withoutlamination. Safe to use and easy to handle, these inks are virtually odourless and don’trequire any special ventilation equipment.Durable, reliable and consistent colour from cartridge to cartridge, ECO-SOL MAX andECO-SOL MAX2 ink is perfect for productive and efficient printing.Add a new dimension to your graphics using ECO-SOL MAX white inkWhite eco-solvent ink can deliver an opacity boosting base coat for CMYK colours on clear materialsor can be printed directly onto coloured substrates for enhanced design possibilities, giving you theopportunity to create visually impactful and innovative graphics that CMYK alone cannot deliver.You can achieve high opacity graphics that are durable for up to 1 year outdoors on both coatedand uncoated media. No wonder white ink is fast becoming an essential tool for innovativeprinters and sign makers.Produce crisp white graphics and text on clear media for high-impact, uniqueoutdoor and indoor graphics.Command attention and push your creative boundaries with metallic inkECO-SOL MAX ink is available in 8 stunning colours: Cyan, Magenta, Yellow, Black, LightCyan, Light Magenta, White and Metallic Silver, whilst ECO-SOL MAX2 is available in 9with the addition of a Light Black ink, perfect for better reproduction of vivid grey colourgradients, monochrome printing and more natural skin tones.Add stylish accents, sophistication and premium value with Roland’s metallic ink.The design possibilities are boundless with the rich textures and smooth gradations of the gold, silver,metallic and pearlescent colours available.Using the Roland Metallic Color Library, you’ll find over 512 metallic combinations and the MetallicTexture Library adds 26 unique visual texture fills, adding drama and impact to any graphic ormarketing message. Ideal for both outdoor and indoor applications, your metallic graphics are waterand UV resistant for 1 to 3 years outdoors.16 17

Viewing distanceand image resolutionWhat happens in the RIP?Once your print/cut graphic is built, your RolandVersaWorks RIP software will provide you with a multitudeof options for working with that graphic. Most importantly,VersaWorks will recognise the CutContour spot colourand convert anything it is applied to from a printing path toa cutting path. You may use the VersaWorks software toresize, mirror, or tile the graphic, to print/cut any number ofmultiples of the graphic, or to nest several jobs together.If you’re printing multiple images using the Auto-Nestingor Manual Print Layout features, the cutting path will becorrectly duplicated and registered for every copy.You will use VersaWorks to define the resolutionand print quality of your finished print. VersaWorkscontains a complete spectrum of predefined colourprofiles designed to produce the best possible resultsby adjusting the number and placement of ink dropletsto precisely coordinate with the media and resolutionbeing used on the job.Roland VersaWorks containsa complete spectrum ofpredefined colour profilesdesigned to produce the bestpossible resultsLess than 1ft180ppi1ft to 4ft150ppi5ft to 9ft100ppiOver 10ft50ppi1:3 Media and ink choicesIf an experienced print and cut pro takes a look at a finished graphic, he’ll quicklyanalyse the specific types of inks and media used to produce it. That’s because anunderstanding of the media and inks used in print/cut production are the keys toachieving consistently superior results.Vinyls and Print and CutThe majority of digital print and cut graphics are printed on self-adhesive vinyl.Traditionally, there have been two primary types of vinyls used: cast and calendered.Cast vinyls are very dimensionally stable and offer excellent durability. They aregenerally more opaque than calendered vinyls, but are also more expensive.Cast vinyls are conformable and tear-resistant so they are ideal for a wide variety ofdurable graphics. Many cast vinyls offer sophisticated adhesive systems, which makesthem the preferred choice for fleet and vehicle graphics.Calendered vinyls are generally less expensive than cast vinyls, but they are also lessdurable, less dimensionally stable and less conformable. They are ideally suited tooutdoor promotional graphics; especially those applied to flat or simply curved surfaces.1819

Coated and uncoated mediaMost self-adhesive digital print materials come in both coated and uncoated versions.Coated media has been designed primarily for water-based inks, including pigment inks.There is a wide variety of media, and many work with ECO-SOL MAX and ECO-SOLMAX2 ink. The limiting factor is that coated media is much more susceptible to abrasionand chemicals than uncoated media, and generally requires an over laminate film toproperly protect the image. Additionally, coated vinyl is not recommended for true fleetapplications with complex curves, rivets and indentations.Uncoated media is a great option for eco-solvent ECO-SOL MAX / 2 ink printing,especially for print and cut graphics. These uncoated media are generally less expensiveand can be finished with either liquid clear coating or over laminate films. There is a widerange of cast and calendered vinyls that offer excellent print results for a fraction of thecost of coated media.Heat transfer materialThere are many types of print and cut heat transfer material for garment applications.Bright, colourful images printed with pigment, ECO-SOL MAX / 2 or even sublimation inkcan be transferred to cotton or cotton blends using a standard heat press.Understanding ink typesThere are a wide variety of ink types on the market today, but they generally fall into twocategories: water-based or solvent-based inks. Water-based inks include both dyebasedand pigment-based inks. Dye inks offer excellent colour gamut but generally veryshort-term longevity, especially outdoors. Pigment inks offer good colour gamut anddensity and excellent longevity both indoors and out; as long as 3 years indoors and over1 year outdoors (with lamination). Generally the limiting factor with water-based inks isthe need for coated media.Within solvent-based inks, there are Eco-Sols and standard or hotter solvent ink types.ECO-SOL MAX / 2 inks offer a good colour gamut, along with the bonus of printing oncoated and uncoated media. ECO-SOL MAX / 2 inks typically last up to 3 years outdoorswithout lamination with most media or 5 years outdoors with lamination. Additionally,ECO-SOL MAX / 2 inks are environmentally responsible and typically do not require anyspecialist ventilation or extraction. Hotter solvent inks print very well on uncoated media,but they require special handling and ventilation equipment.2021

Top tips andtechniques 22. Top tips and techniquesOur experts reveal the secrets of integrated Print and Cut success.In this chapter, we present a comprehensive collection of real world expertise...step-by-step techniques from artists and professionals who make their livingevery day with digital printing and cutting.Section 1:Mike Ritchford talks about adding durability to your work with laminationand clear castings.Section 2:Skip Grant goes into detail about the digital production of decals and labelsSection 3:Dan Antonelli shows how to produce digital graphics for garment decoration.Section 4:Vehicle graphic gurus Jim Conquest and Jay Lansburg share their favourite tipsand techniques.Experts revealthe secrets of integratedPrint and Cut success2425

2:1 Clear coatings and filmlaminates for durabilityCutContour Path“People like to touch” says Mike Ritchford of Design Air Graphics. “In my line of work,people can’t just look at things. It’s human nature. They say wow and put their handsall over it. Durability is critical.” An artist by nature and a product of the digital age,Ritchford uses digital print and cut technology to produce durable powerboat andmarine graphics. “When I’m done, people don’t know if my graphics are airbrushed artor printed vinyl,” says Ritchford. “They look that good!”Once his graphics are printed and cut, he adds an extra level of protection againstabrasion; moisture and UV light with liquid clear coating or over laminate films.Dry time, cure time“Dry time” and “cure time” are not the same measure. The first is the time it takes forinks to feel dry to the touch — for which most inkjet media, when properly profiled,happens in minutes. Cure time, on the other hand, is the time it takes for the ink tooutgas, and is dependent on the media being used and environmental conditions.Mike generally lets the ink sit for a few hours before clear coating his graphics to ensureproper curing of the ink and to prevent any runs or smears.1Working with liquid clear coatingFor the majority of his graphics, Mike Ritchford uses a liquid clear coat. Once hisgraphics are properly cured, he applies the clear coat BEFORE weeding the graphic.For basic protection, follow the Print and Cut/Clear Coat workflow:1. Set up your artwork with print data and cut paths. (Fig.1)2. Send the artwork to the print and cut device for printing and cuttingin a single, unattended step.3. Remove the graphic and spray it with a clear coat. It is best to apply two light coatsrather than a single heavy coat. This avoids runs and tackiness. (Fig.2)4. Weed unwanted vinyl from the graphic while it’s still wet. (Fig.3) Allowing clearcoat to dry can make the cut edges join together if the spray has been appliedtoo heavily. If the graphic is weeded prior to coating, the clear coat can create anundesirable raindrop effect on the liner, which can be messy when trying to applytransfer tape. (Fig.4)5. If time permits, allow the coated graphic to dry overnight. Apply transfer tape andinstall. (Fig.5)23452627

For ECO-SOL MAX / 2 inks, be sure to select a solvent-based liquid laminatedesigned for inkjet prints. There are several popular brands available. Aerosol cansare convenient for smaller graphics.“I use an automotive clear” Ritchford says. “It’s a catalysedurethane, so it’s incredibly tough. The graphic will actually pullapart before you can scratch the print off.”For water-based pigment inks with coated media, choose a water-based liquid laminatedesigned for inkjet prints. It is important to note that solvent-based laminates can crackand yellow when used with water based inks and coated media.Working with over laminate filmsOver laminate films are often necessary on graphics requiring outdoor durability ofgreater than three years, or for applications that must withstand harsh environments,like vehicle and floor graphics. The films provide a variety of finishes and allow for easiercleaning of the graphic.1 2An integrated printer/cutter will more easily achieve proper registration and turn out cutlines with more precision than a two-device solution.1. Set up your artwork with print data and cut paths.2. Send the artwork to the print and cut device for PRINTING ONLY with Quadralignregistration marks added. (Fig.1)3. Remove the printed graphic from the printer/cutter. Apply a laminate film. (Fig.2)4. Reload the laminated print into the printer/cutter. (Fig.3) Align the optical registrationmarks with Quadralign. (Fig.4)3 45. Send CUT ONLY information to contour cut the graphics. The optical registrationsystem automatically realigns the cutting path and compensates for skew and distortion.6. Weed excess vinyl from the graphic. (Fig.5)7. Apply transfer tape and install.There are many different types of over laminate films, but they generally fall intotwo categories: pressure-sensitive adhesive (cold) or thermal adhesive (hot). Forprint/cut applications using self-adhesive vinyl, pressure-sensitive films are alwaysrecommended. Thermal films will stretch and potentially harm the printed vinyl graphic.Vinyl (PVC) generally has more flexibility than other types of laminate films such aspolyester or polypropylene. Cast vinyl is the best type as it is relatively thin and maintainsits shape over time. This thin gauge is necessary for conforming to the complex curves,rivets and indentations that you would find on vehicle graphics.5 62829

Window Cutout PathsPerimeter Contour PathEdge sealingEdge sealing helps protect graphics against moisture, dirt, oils and edge lift. The typeof edge seal used will vary depending on the technology used for the graphic and itsultimate use. Edge sealing is required for water-based prints on coated media, but isoptional with solvent prints on uncoated media. Types of edge seal include:1 An overlapping edge of over laminate film to seal the graphic. (Fig.6) Use the Print/Cut/Laminate/Cut workflow described on pages 34 - 36.2 Edge seal tape.3 Edge seal liquid (not for water-based inks and coated media).2:2 Digital label printingSkip Grant of Grant Graphics has refined label making to an exact science. He produceslabels, custom contour-cut decals, graphic overlays, industrial markings, serialnumbereddecals, sports logos and domed labels. He does all that with a pair of Rolandprinter and cutters.1Window Cutout Paths OnlyRapid advances in digital print and cut technology are transforming the business of labeland decal printing. Digital printing allows you to easily incorporate colour matching,variable data and multiple layout variations. Short runs become cost-effective, and evenone-ups and initial proofs are production quality.“Without integrated print/cut technology, our digital labelprintingdepartment would be out of business,” says Grant.“It allows us to create high-quality digital labels and decalsof any size, shape, colour and quantity without needing to geta die made.”Depending on the complexity of the job, Grant uses one of five different print andcut workflows.2Perimeter Contour Path Only33031

Basic science: Simple Print and CutFor basic label and decal jobs, Grant uses a simple Print and Cut workflow. For moredetails about this workflow, see page 8.Add durability with laminationFor jobs requiring extra durability, a Print/Laminate/Cut workflow is used. He printsthe job with optical registration marks, removes it for lamination, and reloads forautomatically aligned contour cutting. See page 9 for workflow details.Create a graphic with cut outs and windowsThe ability to accurately print, laminate and reload for contour cutting opens up thepossibilities for all kinds of complex and detailed label applications, including graphicoverlays with cutouts and windows. These can be used for instrumentation panels,packaging, and many more applications.To create these overlays, you’re going to print once and cut twice using a Print/Cut/Laminate/Cut workflow. First, you’ll print the graphic and cut the windows, and thenyou’ll make a different cut in the laminate, making the final contour edge cut.41 Set up the vector artwork on screen with two sets of cut paths. (Fig.1, page 31) Thefirst set of paths represent the WINDOW CUTOUT vectors. These are the paths thatwill be cut through the printed vinyl, but not the over-laminate creating a ‘window’. Thesecond cut path defines the ultimate finish laminate and vinyl.2 Using the clipboard cut away the paths that represent the finish cut through thelaminate vinyl.3 Save the file (with the window-cutout paths in place) as your first .eps file.(Fig.2, page 31)5 64 Paste back the CONTOUR-CUT vectors. Remove the WINDOW CUTOUT vectors.Re-save as a second .eps file. This file contains the shapes that get cut all the waythrough both the vinyl and laminate. (Fig.3, page 31)5 Print and cut the first file with Quadralign optical registration marks.6 Weed away the vinyl where the windows will be. (Fig. 4)7 Laminate the graphic with pressure sensitive vinyl or polycarbonate film. (Fig.5)8 Reload onto the print and cut device and align crop marks with Quadralign. (Fig.6)9 Send CUT information for the second .eps file. This will cut all of the desired contoursand cutouts through both the vinyl and laminate.10 Weed the graphic (Fig.7) to reveal finished decal with laminated windows. (Fig.8)783435

Create powerful window graphicsHow do you make a decal applied on the inside of glass really jump out through the otherside? Grant uses the old “Reverse Print with White Backer” trick. He prints the graphicin reverse on clear, laminates with white vinyl as a backer, then cuts from the registrationdots from the original ‘clear layer’. This creates a reverse print decal for the inside of theglass that is backed with white to make colours bright and vibrant.“Decals for the inside of glass can look far better with thistrick,” says Grant. “Instead of just printing reverse on clear,which looks washed out, we back it with white to make thecolours vibrant and readable!”1 Save the graphic along with cut path as an .eps file.2 PRINT ONLY in reverse (mirrored) onto clear vinyl with Quadralign optical registrationmarks added. (Fig.1) Be sure to disable cutting so it prints, but does not cut!3 Remove printed graphic from the print and cut device.4 Cut a white sheet of vinyl to laminate over the clear. Cut it down to a size so that as youlaminate over the clear print, it completely covers the graphic, but does not cover theoptical registration marks originally printed onto the clear vinyl. (Fig.2)5 Laminate the white vinyl onto the clear vinyl, leaving the optical registrationmarks exposed.6 Reload the laminated print into the print and cut device. Align the optical registrationmarks with Quadralign. (Fig.3)7 Send CUT ONLY information to cut the decal contour through both the white andclear vinyls.8 Weed finished print and cut graphic. (Fig.4)9 Install finished graphic on the inside of window. (Fig.5)132Alternatively, if you invest in a VersaSTUDIO BN-20, VersaCAMM VS-i series, SOLJETPRO4 or even a VersaUV LEC printer/cutter, you can choose a white ink configuration.Using white ink you’re able to mimic the example above by reverse printing a CMYKimage on a clear substrate and then print a layer of white over the top to make coloursstand out.453637

Two-sided decals with two different storiesGrant also produces decals for the inside of glass withdifferent text on each side. “This is definitely an advancedtrick that you can master with a little practice,” said Grant.“You may not want to do thousands this way, but short runsare just fine!”11 Start by laying out the first side. Include your contour cut. Add an outside rectangularbox with a thin black outline and no fill. (This is to help register the two sides later on.)2 COPY the entire graphic and box and PASTE it side by side. If different text is desiredon one side, change the text, but make sure it remains within the same overall contourcutshape.3 Select the graphic, which will be viewed through the front of the window. MIRROR thisgraphic, including the rectangular border, which surrounds it. (Fig.1) Save the reversedimage as a new file with a name such as DecalREV.eps.4 Save the other — right--reading — graphic as a new file with a different name(i.e. DecalWHITE.eps).5. Send the reversed file to PRINT ONLY on clear vinyl. (Fig.2). Take the print out of theprint and cut device.6. Put in light-blocking white vinyl and PRINT ONLY the right reading file withQuadralign crop marks. Do not cut. Remember to use the same step and repeatstructure if you are doing multiples. The cut info for this job is in the cutting queuewaiting for you to get it later. Take the print out of the print/cut device.27. On a worktable or light box, lay the white vinyl printed side down. Position the clearvinyl print side down on top of the white. Match up the rectangles and use transfer tapeto hinge it in position. (Fig.3). The printed side of your clear vinyl should be facing thebacking of the white vinyl.33839

8. Carefully peel back (Fig.4) and trim (Fig.5) the backing paper from the white vinyl only.Be sure to trim the backing outside of the finished contour cut area, but leave enoughwhite vinyl to allow you to hinge the graphic9. Laminate the white to the clear. (Fig.6)10. Put the piece back into the machine and have Quadralign automatically realign theoptical registration points on the white vinyl print. (Fig.7)11. SEND cut only for the white vinyl file. Remember to set your cut depth deep enoughto cut through both layers.12. Weed the finished graphic. Voila! You now have excellent double-sideddecals! (Fig.8)13. Apply to the inside of a window, with the clear side facing out. (Fig.9)4567894041

2:3 Producing custom clothingDan Antonelli of Graphic D-Signs specialises in killer graphics. Custom logos andvehicle lettering that scream with colour and dimension. When he first got his RolandPrint and Cut machine, he was only interested in using it to create signs and vehiclegraphics. He knew it could produce heat transfers, but he had never really consideredusing it for short-run custom apparel.For years, customers had often asked if he did screen printing, and he always turnedthe work away. But he discovered that digital print technology gave him the ability tooffer small quantity, full colour t-shirts and apparel…at a profit! It was an ideal newproduct line for clients who loved the logos and custom-lettering Antonelli had createdand wanted to order a handful of t-shirts. At first Dan worried about colour. Would thecolour on the monitor match the output, or would he have to spend weeks calibratingthe machine to death? All that changed when he put it to the test. “The first prints off themachine were right first time” he says. And Dan Antonelli had a new product line.Getting StartedIf you’re already using digital print and cut technology, it’s easy to get started inthe custom apparel market. One of the biggest selling points is the full-colourprinting capability.With digital printing you’re not limited by spot colours, so you are free to include as muchdetail as you want in a design. You can use the same image files created for other digitalprinting projects without having to reconstruct them for screen-printing. There are noscreen charges or setup fees, so pricing is competitive on full-colour short-run work.You also have the benefit of true photo-realistic printing. The ability to contour cut avoidsthe “square-block” look and avoids unnecessary background.the ability to offer smallquantity, full colour t-shirtsand apparel… at a profit!All you need to get started is your printer/cutter and specialised media called HeatTransfer Material (HTM). HTM is specifically designed for inkjet transfers to cotton orcotton blend garments, which makes it ideal for t-shirts, sweatshirts, bags, hats andother fabric items. HTM is an opaque media, which means you can use it on darkgarments as well as light ones. It prints and cuts very well and delivers outstandingcolour saturation. Antonelli recommends getting started by finding a good wholesaleapparel supplier. They’ll usually have a catalogue you can use to help clients select theright garments for their job.“You should probably get a heat press, as well,” he says.“I’ve tried using an iron, but that didn’t work very well.”Dan Antonelli (Graphic D-Signs Inc) writes for Sign Craft Magazine.4243

Producing custom clothing decorationTo create customer apparel with your inkjet printer/cutter and Heat Transfer Material, usethe following workflow:1. Set up your artwork with print data and cut paths2. Send the artwork to the print and cut device for printing and cutting on Heat TransferMaterial (HTM) (Fig.1) Be sure to use the appropriate colour-management profiles forHTM media.3. Weed excess vinyl away from the graphic (Fig. 2)4. Clean your blank garment with a lint roller or brush. This will pick up any loosematerials or fibres that can cause discolouration and spotting when garment isheat pressed.5. Preheat the heat press to the recommended temperature setting, typically 150°C.(Fig.3) Place the garment flat on the press and briefly prepress the area where you wantto apply the transfer to smooth away any wrinkles.6. Position the freshly printed and cut image on top of the garment. (Fig.4) If you have alot of small lettering, you can use transfer tape. Place a Teflon release sheet or siliconrelease paper over the graphic. (Fig.5)7. Press the image and the garment according to the recommended time andtemperature settings (typically 150°C for approximately 15 seconds). Using the correcttime and temperature settings are critical for a successful heat transfer.8. Carefully remove the release sheet (Fig.6) to reveal a bright and durablefinished product.That’s all there is to it. In no time, you’ll be producing great custom colour clothing.1324564445

2:4 Tips from vehiclegraphic gurusAfter building race engines and even taking a few victory laps himself, Jim Conquestbecame one of the first graphics pros to buy a printer/cutter. His shop, Imagine ItGraphics, began by producing name decals on motorcycle helmets. When Conquestwatched an introductory video for CorelDRAW®, he saw unlimited potential forcomputerised sign making. “For years now, I have produced more full-colour jobs with aprinter/cutter than regular cut vinyl jobs,” says Conquest. “I print and cut between 20-50metres of vinyl every week.” Today, Conquest owns three printer/cutters. He producesfull-colour, durable graphics for racecars, motorcycles, mountain bikes, trailers,watercraft and everything else you slap vinyl on … and even a few things you normallywouldn’t. Conquest is a big believer in integrated printer/cutters. “The ability to print andcut unattended gives me a huge advantage. I crank out vehicle graphics on my lunchbreaks. Sometimes I even let the device work after hours, while I’m at home sleeping.”Jim’s quick tips and techniquesJim Conquest offers the following tips and techniques to anyone trying to keep a print/cut business running smoothly:1. Constants eliminate headaches“Want to drive yourself crazy? Spend every day trying to decide which settings, media,inks and techniques to use on each job. Instead of this, develop a set of constants thatyou know delivers consistently good results, and stick with it. This includes your ink sets,your media, your colour profiles and a lot more.”2. The right profile is critical for good colour“Since every media reacts differently to the ink your printer is laying down, using the rightcolour profile is critical to ensuring quality results. The engineers have spent a lot of timeworking with inks and media to get the best combinations, and I’ve found that 95% of thetime these profiles produce the best possible results. Just make sure you’ve downloadedthe latest and greatest versions of these profiles. For each media, there are profiles forthe various print quality settings, and you’ll want to make sure you choose the profile thatmatches the print quality you’ve selected for the job.”3. Don’t try to out-tweak the engineers“As I’ve said, the engineers have done loads of work tweaking their profiles and devicesettings to get them to work just right together. Still, there are a lot of people out therethat try to out tweak the engineers, creating their own expert colour profiles andobsessively adjusting complex settings. If this is how you want to spend your time, go forit. But the last time I checked, no customer was ever paying me for tweaking time.”“The ability to print and cutunattended gives me a huge advantage. Icrank out vehicle graphics onmy lunch breaks”.Jim Conquest4647

4. Stick with reliable media“No pun intended. I’m not talking about adhesion here. A lot of people in thesign business are so penny driven; they’ll use whatever media they can find thecheapest. The results can be really costly in the long run: lost time trying to dial incolour and get the material to print decently, and even lost clients when the qualityis below standard. Zero in on a handful of media that you can count on — goodprofiles, good colour, good handling — and stick with them. It’s more cost-effectivein the long run.”5. Do an environmental match“Humidity and environmental conditions can make a difference in the way everymedia prints and cuts on a given day. Always do an environmental match when youchange material. You get truer registration. It’s a simple, automated feature in thedevice menu, and well worth the time it takes to push a button.”6. Keep your cutting area confined“If you’re printing multiple graphics with multiple cuts, try to make your overallmaterial area smaller. Don’t try to print 5 metres of material and try to register itfrom top to bottom. If possible, break up production into smaller lots. If you need400 decals, print and cut 8 sets of 50. Registration over this smaller area will beeasier to maintain, even with material distortion.”7. Spot colour matching made easy“Want the simplest way to consistently match colours, whether it ’s a client ’scorporate colour or a vehicle paint match? Use Pantone Chip Charts printedon your own device as a reference. You can download chip charts with everyPantone colour on them directly from Roland. Print one on each of the mediayou use at each of your frequently used resolutions. I print just about everythingat high-quality resolution. I get better colour and smoother gradients withouthaving to worry about it. When you need to match a colour, consult the chartas a starting point. If you need to match a paint colour that comes close to yourchart’s version of Pantone Warm Grey 4, make a test tile with 5 swatches that areslightly tweaked from this base colour, then compare it again.”8. Don’t be afraid“The best way to learn is just to get in there and do it. Don’t be afraid to experimenta little to learn new techniques. And don’t be afraid to waste some material topractice installation methods. It may save you a ton of printed material down theroad. There is no magic pill. Just get in there and work with it.”4849

Jay Lansburg, Digital RevolutionaryJay Lansburg of Automic Designs has been specialising in vehicle art since the mid 70’s.While he used to either hand paint or layer vinyl to create his graphics, he now believesthat inkjet printing is the key to making money in the sign business. “Our industry is onthe verge of its next revolution,” he says, “A sort of second revolution that is going tochange the way we make signs...not dissimilar to the way vinyl plotters changed the faceof the industry 20 years ago!”“In the last year since I’ve had a SOLJET PRO Print and Cut machine, I’ve seen it take ona life of its own. There’s nothing my Roland can’t do! The printer/cutter grew in strengthand power and ability and intelligence until it swallowed up my vinyl cutter, my thermalprinter, my airbrush and, I think, my dog. It’s now the focal point of my business, runningeveryday, and even sometimes at night, while I’m at home.”Jay offers some additional thoughts regarding the digitalprint and cut revolution:1. The importance of speed“Initially, I believed that print speeds would not be much of an issue in my shop. Butit can become an issue when you have a large print or multiple graphics to produce.Remember though, that manufacturers usually base their speed ratings on low-ressettings...a setting you may never use.”2. Does it dice and slice?“A digital printer doesn’t have to chop onions or cut chips, but can it cut vinyl? For methis is a big deal. After I print a graphic on vinyl, my Roland automatically cuts it out ineither a perimeter contour cut, or in intricate detail if I so desire.”3. I need more support“Big time important here: these machines are way more complex than your vinyl cutter.Digital printers will require some occasional maintenance work, so if you’re consideringa machine manufactured in a place you’ve never heard of, you really better check intotheir support network. In fact, wisely investing in a digital printer may be more a matterof having a support/service team available, than simply who offers the best price.”4. I got it covered“You’ll want to laminate or clear coat almost everything that you produce. The availableaerosol is easy and quick for small prints, but you need to spray it from a touch-up canfor larger prints.Lamination machines are an excellent solution, though they can be pricey. Right now,we use a low-tech hand cranked laminator. It gets the job done, but I’ll eventually haveto step up to a larger, electronic laminator.”5. Final thoughts“With the latest generation of inks, vibrant colours in high resolution are a reality. Andoutdoors? Of course! Is getting one going to cost you some money? Sure. Can one ofthese printers make you some money? Definitely!”Jay Lansburg (Automic Designs) writes for Sign Business Magazine.5051

Print and Cutgallery 33. Photo galleryand case studiesCedar Point is an enormous, 365-acre amusement park with roller coasters,restaurants, live shows, hotels, miniature golf courses and a water park. “Fromrestaurant signs to roller coaster decals, we fill the entire park with all typesof bright, durable Roland print/cut graphics that burst with colour,” says BrianKniceley. “Millennium Force travels 300 feet up and 93 mph hundreds of times aday. Imagine the amount of dirt, sand, and flying insects the prints encounter! Theyhave proved extremely durable.”Brian Knicely, Cedar PointThis attention-getting Mini Cooper was customised by Promos in Motion. After JayTopping painted it, he installed print and cut graphics with a printer/cutter. He thenclear coated the entire vehicle. “We have lots of great equipment, but for the Minigraphics and many others, we could not have got the job done without the Roland,”says Jay. “In the past, we would have had to send out to other shops for digitalprinting. Now, we do it ourselves.”Jay Topping, Promos In Motion5253

After years of layering cut vinyl to create colourful vehicle graphics, Dan Antonellinow creates amazing vehicle lettering effects with digital printing. “A single layer ofvinyl from my Roland VersaCAMM replaces the three or four layers I used to needto produce certain effects.” Antonelli created a chrome-looking effect with processblue and white on one side and white to grey to black on the darker side.Dan Antonelli, Graphic D-Signs, Inc.Champion Racing uses the Roland SOLJET PRO to print and cut graphics for itstwin-turbo Audi RS-6. The racecar has a history of success, taking the chequeredflag four times in the past year. The ability to use the same device for both print/cutgraphics and as a standalone vinyl cutter makes it especially valuable to the team.“Just like our championship winning Audi RS-6, our Roland SC-540 delivers the“wow” factor every time out.”Mike Peters, Champion RacingNo matter where his graphic journeys take him, Jim Conquest remains heavilyinvolved with his first love — all aspects of racing and team design. His racinggraphics are anything but static. He starts with strong, clean lines and thenpiles on the visual excitement. In this bold custom apparel design, he takesfull advantage of the ability to include high-resolution photography on heattransfer material.Jim Conquest, Imagine It GraphicsThere are subtle details in this design that are only practical when printing digitalgraphics. For the outline on Carpet Cleaning and the faint drop shadow, it would betoo time consuming to layer cut vinyl. Antonelli added the black inline shade to themain lettering and used the pinstriped panel to add depth.Dan Antonelli, Graphic D-Signs, Inc.54 55

“We produce all our vinyl graphics on our Roland printer/cutter,” says LarryStaudenmeyer of the Graphics Company. Today, their fleet includes 34-footFactory 2 Eliminator Boats. “Whether it’s layered vinyl or photorealistic graphics,the Roland does a great job and our shore racing clients love its crisp colours andincredible durability. Blasting through salt water at over 130 mph, these graphicsare as tough as they come.”Kim and Larry Staudenmeyer, The Graphics CompanyContour cut floor graphics are a real traffic stopper. This is a job you just couldn’tproduce with any other method. Best of all, with digital print/cut production, it’sreally easy to resize this graphic to fit specific space requirements in differentlocations. Floor graphics take a lot of abuse, so they have to be incredibly durable.Make sure you apply a quality floor laminate film for protection.Jamie McMonigle, McMonigle and AssociatesThe beauty of this graphic is the ease of production. Instead of layering cut vinyls,this entire piece is a single print/cut graphic. The real trick was a precise match onthe car’s paint colour for the inside of the lettering. A digital picture of the vehicle’sside panel was loaded into the computer and sampled. A test swatch of the colourwas then sent to the Roland SOLJET for tweaking. The colour of the first test wasdead perfect. Now that’s colour fusion.Robert Wilson, Modern ImageCreated from scratch, Fence-It shows off some of Antonelli’s favourite techniquesfor inset shading. He outlined the letters in red, added a heavier black outline andthen outlined it again in red. The second red outline holds the design on the darktruck. The white highlight on the left side of each letter gives added dimension. Tocreate the grass, Antonelli simply scribbled a few lines.Dan Antonelli, Graphic D-Signs, Inc.Digital print and cut was used throughout the development of this new line ofpackaging for fresh sushi products. Concepts were presented to the client as labelsapplied directly to their actual product trays. The printing accurately captured everydetail of the designs, including small reversed type. Design revisions could be testedfor size before incurring the expense of a die from a label-printing firm. And when thecustomer needed 200 labels for a holiday showcase before the labels had gone intoproduction, we produced them on our Roland.Jamie McMonigle, McMonigle and Associates56 57

Case Study: Coronation Street“With the Roland we have a print and cut device on-site that is of thehighest production quality and flexible enough to handle whatever isrequired of it.”…And cut! Roland’s VersaCAMM SP-300i printer/cutter reduces costs and saves time on the set ofCoronation StreetCoronation Street is one of the nation’s most loved television programmes. Thelives of the residents of the cobbled street are discussed on television gossippages and in living rooms up and down the country. Much effort goes into makingsure the set looks as realistic as possible – from billboards and flyers posted onwalls to packaging labels on items for sale in the Corner Shop. Lynsey Shepardis the programme’s principle graphic designer and is responsible for creatingall these applications as authentically as possible, and her Roland VersaCAMMSP-300i printer/cutter has been crucial to ensuring the set’s printed materials areready whenever the show’s demanding and fluid filming schedules require them.“I’ve been really impressed with our Roland machine. The majority of the materialwe print is on vinyl, as it’s far more practical to have waterproof labels and signagegiven the nature of this business. The print & cut function is excellent and saves somuch time, and it’s very precise – even when cutting circles.Keeping overall production costs down was another decisive factor in Lynsey’sdecision to stop outsourcing and purchase the SP-300i, and the machine hasalready paid for itself many times over.Continues Lynsey: “We used to outsource our print jobs to a local printing company. Whilethe quality was good, it was more expensive and really restricted our flexibility on set as if weneeded something last minute we would either have to wait or reschedule filming around this.Having the Roland on site means we are now able to quickly re-print material for extra takesand ensure we can always keep up with the schedule.”The VersaCAMM is a very versatile machine and is used to print a wide range of set graphicsincluding those that are iconic to the soap from beer labels for the Rovers Return’s house ale,Newton and Ridley, or posters on the wall of the pub, to stickers on the door of the CornerShop, signage for the taxis or a vehicle wrap for a courier van if someone on the street is due toreceive a package, for example.Concludes Lynsey: “I’ve been a graphic designer for nearly ten years and I’ve witnessed agreat number of changes in the industry over this time, many as a result of the technologicaladvances companies such as Roland have made in the development of printers and ink. Printquality is certainly one of the biggest improvements I’ve seen. The vibrancy of the print finishfrom today’s printers is astonishing and the quality of the Eco-Sol Max inks with the Rolandis brilliant. What’s very impressive is there is really no compromise to bringing a machine inhouse. With the Roland we have a print and cut device on-site that is of the highest productionquality and flexible enough to handle whatever is required of it.”5859

Case Study: Datum PrintRoland DG’s ECO-SOL MAX metallic inks give Datum Print theextra sparkle needed to break into luxury graphics markets andincrease its service portfolioHertfordshire-based full-service print services provider, Datum Print, has beenoffering its high-quality graphic design, marketing, and digital and wide formatprinting services to agencies, print management companies and popular brandssuch as Bollinger Champagne and John Lewis for over 13 years. The company isrun by directors, Scott Pearce and Mark Gamble, who have pioneered its evolutionfrom a prepress business to one that also offers exhibition graphics, vehicle wraps,POS displays and product mock-ups. In 2011, the company invested in a RolandVersaCAMM VS-640 printer/cutter with white and metallic inks to improve the creativeofferings it could provide to its customers – a decision that has opened up newmarkets and significantly reduced Datum Print’s outsourcing costs.On the company’s decision to purchase the Roland package, Scott Pearce commented:“Datum Print has steadily evolved since it was established in 2000 and now offers a widerange of creative print. As part of our on-going development plans, we were looking fora package that would help us break into the high-end jewellery and luxury car makersgraphics market – both of which require a very high-quality finish and additional finishingtouches like vibrant metallic silver incorporated into designs.“We have used Roland products for a number of years so were confident in thebrand’s quality and performance. We purchased the VersaCAMM VS-640 due to itsintegrated cutting feature and the ECO-SOL MAX inks which are available in whiteand metallic. It has definitely helped us achieve our ambitions and we can now makeproducts such as window graphics and labels that require complex cad-cutting inhouse.This has been very beneficial to us on a financial and operational level.”Scott continued: “Our customers are always amazed at the remarkable results a little creativityand mixing white, metallic and CMYK inks can achieve. In such a competitive market place,I know offering metallic ink finishes helps us secure repeat business.”“We purchased the VersaCAMM VS-640 due to itsintegrated cutting feature and the ECO-SOL MAX inkswhich are available in white and metallic. It has definitelyhelped us achieve our ambitions.”Scott and the team at Datum Print have also been impressed with the level of after-sales servicefrom Roland through its RolandCare technical support package and the training courses heldat the Roland Academy. Datum Print has Roland’s Bronze level of RolandCare which includesover the phone technical support and free call outs and new parts if required. Scott concluded:“The level of after-sales care from Roland is truly impressive. Our Roland is such a crucial partof our operation it’s nice to know they are only a phone call away if we encounter any problems.The Roland forum and online support are also useful and a great way to interact with otherRoland users. The team has attended courses at the Roland Academy and always give positivefeedback on the level of teaching and information provided.”For more information on Datum Print please visit:http://www.datumcp.com60 61

Case Study: ASBO Graphicswowed by Roland’s BN-20“A good product at a good price in good time” – that’s thephilosophy behind ASBO Graphics’ remarkable success asa one stop shop for design and display work.It is also a philosophy that ASBO sees reflected in its latest investment - theVersaSTUDIO BN-20 desktop printer/cutter from Roland DG. A cost-effective,compact and productive machine, the VersaSTUDIO BN-20 is helping JordanWatret, owner of Loughborough-based ASBO Graphics, turn the highly creativedesign work he produces for customers into high-value finished articles.The versatile Roland VersaSTUDIO BN-20 is a complete desktop productionstudio that combines high-quality, vivid and durable print with integratedprecision cutting, and comes bundled with all the necessary software. Its abilityto print metallic ink enables Jordan to produce graphics and displays withadded “WOW!” factor – quickly and easily while ensuring at the same time thathe maintains full control over the production - and the profit-margin - on almostevery job he wins.In fact, the VersaSTUDIO BN-20 has been so successful; it has helped make thedesktop in Jordan’s home office the most profitable space per square inch in theentire business.“The integrated print and cut functionality of the VersaSTUDIO BN-20 is just oneof the features that help us achieve a bigger bang for our customers’ buck. It’sa highly efficient way of working, which keeps our service competitive, and it ismore cost-effective than investing in separate printing and cutting devices - notto mention the amount of space it saves.”ASBO Graphics provides a wide range of graphic design and display services, including, flyers,booklets, brochures, posters, banners, vehicle graphics, logo designs, bespoke labels andbranding solutions.“The integrated print and cut functionality of theVersaSTUDIO BN-20 is just one of the features that help usachieve a bigger bang for our customers’ buck.”Today Jordan feels confident that ASBO Graphics can handle any job that comes its way –nothing is too big or too small. Business cards, vinyl graphics, workwear, stickers, windowgraphics – with a Roland VersaSTUDIO BN-20, ASBO Graphics can do it. The Roland machineruns for 10 hours solidly nearly every day and “never misses a beat”.Jordan will soon be looking for a faster and wider Roland machine and is considering theVersaCAMM VS-540i as his business goes from strength to strength “The demand is alreadythere,” says Jordan. “It’s just a case of finding the space!”Further information about ASBO Graphics can be found atwww.asbographics.co.uk or by calling 07870 343475.“I often get asked for custom labels using the metallic ink which I can charge apremium for but don’t require any costly set up. Take, for example, my entry inthe Roland Creative Awards – a 30th birthday bespoke bottle label using metallicink. My customers love this sort of thing. It’s not the core of my business but it’snice to be able to offer your customers something that your competitors can’tand make a decent margin on it” he said.62 63

Over the past three decades, many things have changed at Roland. We’ve gone frompen plotters to vinyl cutters to wide format inkjets. Digital technology has steadilytaken over and improved almost every aspect of the graphics industry. Yet, duringall those years of change, one thing has remained constant — Roland innovation.Our products have continually opened up new business opportunities for graphicsprofessionals around the world and solidified our reputation for quality and reliability.Twenty years ago, our PNC-5000 became the world’s first print and cut device for vinyl.Today, thousands of sign makers are turning out labels, decals, signs, clothing, floorand vehicle graphics, POP, awards, and countless other profitable graphics with ourintegrated devices.The Roland AcademyRoland DG was the first printer manufacturer in Europe to offerformal industry training after identifying a lack of hands-on,practical training across the sign and graphics industry.The Roland Academy has been developed by industry professionals and educators andis designed to assist the novice through to the experienced professional, using Rolandequipment or not, to help attendees streamline workflow, reduce turnaround times andultimately maximise their return on investment.Courses include:• Introduction to Digital Print• Intermediate Digital Print• Vehicle Wrapping• Application & Finishing• Plus bespoke Boot Camps for particular products, most recentlythe VersaSTUDIO BN-20 and VersaUV LEF-20All course details can be found at: www.rolanddg.co.uk/academy64 Be inspired at Roland DG’s Creative Centre65

Roland VersaWorksRolandCare – We Design,Build and Support Your RolandVersaWorks RIP software has been developed exclusively for use with all Roland inkjetprinters and printer/cutters. Our robust RIP software is characterised by its intuitiveinterface, outstanding production pace and exceptional quality output.Its technical foundations are built on the latest Adobe® Postscript engine, providing you with apowerful production tool to ensure quick, flexible and precisely colour matched output.VersaWorks features numerous print options to match the needs of each job undertaken,including: embedded ICC profile support, ink level adjustment tools, proofing capabilities,error diffusion and advanced cropping, tiling and nesting options. The PerfCut functionenables users of Roland printer/cutters to produce precision perforated cut lines. In addition,VersaWorks also enables Variable Data printing, can support up to four Roland devicessimultaneously and automatically estimates the ink usage and print time for each graphic soyou can accurately monitor time and costs.Nobody knows a Roland like a RolandCare engineer knows it. They’ve had first-hand trainingwith the people who designed and built your machine and are equipped with the very latestknowledge and tools to get your machine up and running, fast.RolandCare is one of the most value-packed warranties in the industry and there is no othercover in the UK that can promise a 98% first time fix rate, using 100% genuine Roland parts andguaranteed response times.Keeping you in business when it matters mostis our RolandCare business.One of the many advantages of VersaWorks is that customers always have access to newfeatures on the latest version through free online software updates. For example, a newPANTONE® spot colour matching function which automatically converts PANTONE® spotcolours in your design file to a CMYK value for colour accurate output has been introduced.Not many suppliers include a RIP package for free at the time of purchase, but since we designand build our machines we know exactly how to get the best from them. Roland’s printers, inkand VersaWorks RIP software are designed to work in synergy for a longer working life, withouthassle, delivering high quality prints year on year - it’s what makes a Roland so special.66 67

Why choose Roland DGSelectionWe’re here to help match the right machine to the needs of your businessOver our 32 year history, we’ve helped transform millions of businesses across hundreds ofindustries around the world. Our reputation depends on delivering the best products, serviceand support to you - and getting it right first time.We are not a mass manufacturer. Each one of our printers, printer/cutters and stand-alonevinyl cutters is hand built from the ground up, with care and attention in a process called‘Digital Yatai’. We don’t cut corners when it comes to quality and this is just one of the reasonscustomers buy a Roland.Built to last, designed for ultimate versatility, enabling you to realise your creativity and make aprofit, that’s what makes Roland stand out from the rest.ConsistencyWe ensure Roland printers, inks and RIP software work in synergy for consistentlyhigh performanceChoosing which Roland device is exactly right for your business will take some time and a littlethought, but our helpful, expert Authorised Dealers are always ready to help you at any stage.They’re knowledgeable, informal and happy to discuss your needs. If a Roland isn’t right for yourrequirements, they’ll tell you straight away.EasyOur machines are incredibly easy to use and require minimal operator intervention soyou can get on with running your businessA Roland is reputed to be the easiest wide format printer to set up and operate on the market,despite its sophisticated and feature-packed functionality. Most Roland customers are printingjobs that are going out of the door within a few hours of their machine being installed. Trainingyour staff to use the printer is easy too, but if you don’t have the time, then send them on a digitalprint course at the Roland DG Academy.Roland’s printers, ink and VersaWorks RIP software are designed to work in synergy for a longerworking life, without hassle, delivering high quality prints year on year – it’s what makes a Rolandso special. Not many suppliers include a RIP package within the price at the time of purchase,but since we design and build our machines we know exactly how to get the best from them.ReliabilityWe hand build each product from the ground up to guarantee it’s made to the best it can beSupportWe’re always on hand when you need us the mostOnce you’ve made the decision to invest in a Roland, our partnership doesn’t end there. Since wedesign, build and support your machine, we’re best placed to help should you encounter a problem.Equipped with the latest knowledge, tools and with ready availability of spares, a RolandCareTechnical Support Advisor or engineer will get your machine up and running again fast.Using a manufacturing process called ‘Digital Yatai’ we’re able to ensure the highest qualitystandards as each machine is built from the ground up by one person. All Roland printers canbe left for long periods to run unattended – allowing you and your staff to get on with othertasks. So when your customers demand prints in the tightest timescales, day or night, yourRoland device will be ready to handle anything that comes its way.TrainingWe aim to help you get the best from your RolandRoland provide a number of ways for you to get the most out of your machines, be it a trainingcourse at the Roland Academy, an on-line tutorial or through our on-line Forum - a place whereyou can laugh, learn, profit and laugh with other like-minded people.68VersatilityOur machines create a world of profitable opportunitiesIf you’re looking for versatility in what you can produce, to capitalise on emerging trends anddiscover your next best-seller, a Roland printer/cutter could be the perfect investment. Printon a whole array of different medias for both outdoor and indoor applications including signs,banners, posters, billboards, POP, retail interiors, garment decoration, promotional items,stickers, decals, window, floor, vehicle and exhibition graphics and even more, all from oneRoland Print and Cut device.EnvironmentalWe take our environmental responsibilities seriouslyUnlike many other solvent print competitors on the market, Roland DG machines are built withthe environment in mind. Our products meet stringent guidelines for environmentally consciousproduct design with maximum reuse, reduction and recycling of product and packagingmaterials. Every product we manufacture meets ISO 9001:2008 for total quality control fromproduct design to after sales service and the environment management system qualityassurance certificate ISO 14001.69

Offer your customers a whole lot moreA Roland printer/cutter enables you to produce a whole range of creative and profitableapplications that your customers demand, moving beyond billboards, banners, posters,signs and wraps. The versatility that Print and Cut offers means you can also produce labels,stickers, decals, promotional items, heat transfers for garments, cut-lettering, window, floor andexhibition graphics, POP, interior décor items and a whole lot more.What makes RolandPrint and Cut so special?Speed up production and reduce errorsWe all know how frustrating it is when you spend valuable time, inks and money to print anitem only for an error to occur when using a separate cutter. A Roland printer/cutter takesthis pain away by removing the need for operator intervention, eliminating the need toreload and reposition graphics, and automatically printing and contour cutting all within thesame device.Accuracy, quality, finish and detail of the cutBased on decades of engineering excellence, Roland printer/cutters automatically contourcut designs with precision accuracy for a broad range of complex and intricate graphics.If lamination is required, Roland’s clever quadralign technology precisely reads crop markson pre-printed data enabling you to print, laminate and then put back through the machinefor highly accurate contour cutting.Lower investment costsSave money investing in one machine with integrated Print and Cut capabilities rather than aprinter and separate cutter. You’ll also save money on warranties too with only one maintenancecontract required for your printer/cutter rather than for two separate machines.Save spaceWhen space is a premium, having both Print and Cut functionality in one system rather than inseparate devices will save valuable space in your premises.A whole lot moreAll the great benefits of owning a Roland are yours when you invest in a Print and Cut device.You’ll experience the known quality, consistency and reliability of a Roland, as well as a printerthat requires minimal maintenance and is backed-up with comprehensive RolandCare serviceand support.There is added flexibility when choosing a Roland printer/cutter in that you can select from anumber of ink configurations, including CMYK, metallic, white and light black options.Plus with Roland’s intuitive VersaWorks RIP software included with your printer/cutter you cantake advantage of variable data printing for serialisation, plus a whole host of useful featuressuch as step and repeat and nesting that are designed to make wide format printing easy.The advances made over the last 20 years in Print and Cut materials and technology has enabledthe number of possible applications to expand at an impressive rate. Don’t get left behind. Join thethousands of businesses who’ve already invested in a Roland Print and Cut machine.70 71