12 October 2026
Large Format Printing News & Tips
A new attendance record from The Print Show, a fresh DTF ink from Roland DG, a heavyweight flatbed from Vanguard, and a bio-based media range from CMYUK — plus a practical look at a topic we get asked about constantly but haven’t tackled yet: colour management.
In the news this week
The Print Show 2026 posts record attendance and over £1m in show-floor sales
Following last week’s look at the new hardware launched at The Print Show, organisers have now confirmed the numbers: the co-located Print Show and Sign Show drew 5,567 visitors to the NEC, up 12% on 2025 once crossover visitors from a neighbouring show are excluded, with more than £1m of business transacted on the stands.
Roland DG launches S-PG3 direct-to-film ink for the TY-300i
Roland DG has released S-PG3, a new DTF ink for its TY-300i apparel printer, aimed at cutting ink consumption and maintenance while improving jetting stability on long runs. A typical eight-hour working day could produce around 3,300 transfers a month, integrating into existing Graphtec and Summa cutting workflows.
Vanguard unveils Cumberland Hyper-Productive flatbed
Durst-owned Vanguard Digital Printing Systems showed its new Cumberland flatbed at PRINTING United, built around a HyperVQ printhead array using up to three rows of Kyocera heads. It’s rated at up to 6,588 sq ft/hr and 164 boards an hour, with CMYK plus optional White and Varnish, aimed at high-volume signage and display work.
CMYUK launches BIOND bio-based film range
CMYUK has added BIOND to its sign and graphics portfolio: self-adhesive films and laminates made in Portugal with TÜV Austria-certified bio-based carbon content of roughly 80–96%. An independent life-cycle assessment found the best-performing product has a greenhouse gas footprint up to 88% lower than an equivalent PVC film — worth knowing if sustainability is coming up more often in your own customer conversations.
Tips: why your print doesn’t match your screen (and how to fix it)
We talk a lot about RIP settings and ink-to-media matching, but the step that actually ties the two together — colour management — is the one most print shops skip until something goes visibly wrong. Here’s what’s worth getting right:
- Profile per media, not per printer. An ICC profile describes how a specific ink set behaves on a specific substrate. Switching from photo paper to canvas or vinyl without loading the matching profile is the most common cause of colour drift we see.
- Calibrate the monitor before you blame the printer. A screen that’s drifted since it was last calibrated will make an accurate print look wrong. A basic hardware calibrator, used monthly, removes this variable first.
- Use soft proofing for client-facing jobs. Most RIP software and Adobe applications can simulate how a profile will render before you commit media and ink to a large job — cheaper than a re-print on brand colours or skin tones.
- Re-profile after major servicing. A printhead replacement or fresh linearisation can shift colour output slightly even on the same media. If output has changed and nothing else has, re-profiling is the first thing to check.
- Keep a physical reference print. A swatch chart stored flat and out of sunlight gives you a real benchmark — far more reliable than memory or a screen that’s changed since the last job.
From Design Supply
If you’re adding a new media type to your line-up, switching ink chemistries, or just want a second opinion on a colour management setup, get in touch — we supply the printers, ink and media covered above and can talk you through what will actually work on your floor.
We’re now in our 36th year supplying large format printer solutions and have sold over 7,000 printers to architects, photographers, sign makers and print businesses across the UK — more about us here.
Get in touch for consumables, service or advice — we’re here to help.