New UV Flatbed Printer, Fresh Ink & Media News (Plus Our Print-and-Cut Workflow Tips)

Welcome back to this week’s roundup from Design Supply — your source for large format (wide format) printers from Canon, Epson, HP and other leading brands, plus the paper, media and ink that keep them running. This week we’ve got a new UV flatbed launch, a UK ink supply story, a sustainable media alternative, and a set of tips on getting print-and-cut workflows running smoothly.

Roland DG launches the EU2-1000MF UV flatbed in North America

Roland DG has launched the EU2-1000MF direct-to-board UV flatbed in North America, successor to the EU-1000MF. It handles media up to 48in x 96in and 3.74in thick, with a new printhead Roland says delivers around 1.5x the output of the previous model at the same price. It’s built around VersaWorks 7 RIP software and Roland’s E-US inks, aimed at sign businesses wanting to skip the laminate-and-mount steps of roll-to-roll production. (Printing United Alliance, 31 July 2026)

Fujifilm becomes recognised UV ink partner for CPS UK’s Dlican range

China Print Supplies UK (CPS UK) has named Fujifilm as its UV ink partner across its Dlican flatbed, hybrid and cylindrical range, citing UK manufacturing and long-term supply reliability as the deciding factors — a reminder that who’s behind your ink supply chain matters as much as the printer badge on the front. (Large Format Review, 4 August 2026)

Soyang Europe launches a paper-based DTF transfer media

Soyang Europe has introduced an OEKO-TEX certified paper alternative to conventional PET DTF transfer film for garment and workwear decorators. It’s recyclable through standard paper waste streams and drops into existing water-based pigment DTF workflows without process changes — a useful sustainability option for anyone doing direct-to-film work. (Large Format Review, 29 July 2026)

This week’s tips: getting print-and-cut workflows right

If you’re producing stickers, vehicle graphics, floor decals or contour-cut signage, the handoff between printer and cutter is where most wasted media and wasted time happens. A few things worth checking if you haven’t looked at your setup in a while:

• Use optical/camera registration wherever your cutter supports it. Printed registration marks read by an on-board camera correct for the small stretch and skew between printing and cutting, especially on longer runs — the single biggest fix for contour cuts that drift off the artwork by the end of a roll.
• Set blade offset and pressure per media, not once for everything. Cast vinyl, reflective sheeting and static cling all behave differently under the blade. Keep a simple reference sheet of your go-to settings per media so it isn’t trial and error every time you switch stock.
• Send contour data straight from your RIP rather than re-tracing in the cutter software. Most current RIPs can output cut paths alongside the print job in one file, so the cutter reads the same vector data used to print — removing a manual step and a source of misalignment.
• Nest and batch cut jobs before you run them. Grouping similar jobs together, rather than printing and cutting one at a time, reduces media waste and load/unload cycles on the cutter.
• Run a test cut on an offcut before committing a full roll, particularly with new media or a freshly swapped blade. Two minutes checking depth and offset on scrap is cheaper than a spoiled run on a full roll.