The Digital Printing & Imaging Association held their 8th annual conference and exhibit in Dallas March 8th through the12th. For those who missed it, DPI 2000 was an interesting event that brought together a diverse group of professionals from the graphic art and the textile worlds to discuss growing opportunities for digital graphic output.

On the DPI website the association describes their traditional member base as including quick printers, display houses, sign printers, photo labs, reprographic firms, service bureaus, and most recently, digital print providers. As one might expect the content of the program was planned to reflect the 'graphics orientation' of this group of attendees and included technology, business, vendor, and fine art tracks. However, the ability to digitally image textile substrates is an emerging interest for this audience and for the first time, the conference organizers provided a one-day textile track within the larger program of events.

Participants in the textile track included the friendly and familiar group of consultants, users, technology, media, and ink providers that appear at many CAD and digital textile printing events. Although we enjoy each other's company and our discussions are generally fruitful, we were excited to be joined by a new group of participants from outside the textile circle. While there was some presentation of material by speakers, there were also many opportunities to open the floor for discussion. It was exciting to view digital printing through the eyes of this audience and together we examined topics related to the current state of technology, developing market and product opportunities, and mass customization. It turned out to be a great forum for sharing issues, resources, and information.

From our discussions it was apparent that those within the textile industry who have been examining, experimenting with, and applying digital print technology for sampling are well versed in both the challenges and opportunities that the process presents for textiles. Although there is the awareness that the adoption of the process is a necessary strategy in the fight to remain efficient, agile, and ultimately competitive, the barriers to adoption have been frustrating at times. This is particularly true in environments where accurate replication of color and screen print quality is critical to the product development and sales processes. With these factors in mind the textile industry is cautiously moving forward, working with development partners to improve and refine technology, materials, and processes. Companies with foresight and resources are even quietly looking to a manufacturing future that will include digital printing for short-run production and mass-customization.

It was also apparent that many of the conference attendees are looking beyond the barriers and are enthusiastically pursuing business plans that call for production printing of specialized product with the current state of digital technology. Within the graphic arts world, wide-format digital print providers view textile printing as a logical extension of their existing businesses. The attitude is that if they can print on paper, why can't they print soft banner materials? And if they can print fabric why can't they offer customized silk ties and scarves to their corporate customers? While our discussions revealed that this segment of industry has much to learn about the printing and finishing of textile substrates, existing graphic output providers are already using digital print technology and are not fearful of taking on some of the challenges specific to textiles.

Artists and designers that attended DPI 2000 are seizing opportunities as well. Digital printing has provided one more tool for creative expression and through the use of a variety of printers, inks, and substrates unique garments, accessories, works of art, and environments are being created. In fact, there seemed to be quite a bit of interest in digital printing for decorator markets. With the ability to digitally print a wide variety of roll goods including wallpaper and textiles it is possible to create highly customized commercial and residential spaces and the possibilities are just beginning to be explored. For these users digital printing has offered the avenue to develop and serve niche markets, where individualized and specialized product is highly valued and a premium is paid for it.

In addition to the conference program and exhibit, DPI also sponsored a post-conference Color Management Workshop. Brian Lawler, a graphic arts consultant, was the leader of this intensive one-day event (www.thelawlers.com). With the aid of technology providers he put together a demonstration of a process oriented color-management strategy from monitor through digital printout. He demonstrated two work flows and although there was no discussion of textile-specific applications or output, Brian began to shed light on the mysterious world of color theory as it relates to off-the-shelf software programs. He also addressed color profiling and calibration of scanners, monitors, and printers - practical information and background that most of us can use.

Technology providers for the textile industry continue to develop software tools and strategies for managing color through product development to production. Yet as CAD artists and designers we have a fairly limited understanding of the importance of process and the tools available to us. I know that I am guilty of this. However, I suspect that a better understanding of the tools and the strategies for color management will help most of us create and refine work flows that enable greater efficiency. While the DPI workshop was not textile specific, there were still tips to be gleaned for our industry. On that note, I would encourage everyone to check out Brian's website for interesting articles and links.

Overall the conference was a great success and well worth the trip to Dallas. If you would like to learn more about the event and DPI association, have a look at their website (www.dpia.org). Pay special attention to the links page where you'll find the DPI choice for 'best of digital imaging' in the Shellenberg Gallery. After all, if you are a CAD artist, design is what you are really interested in!


Kerry Maguire King is a Designer of Digital Printing for [TC]2 in Cary, NC. She can be reached by email at kmaguir@tc2.com.