#344 - The New Canvas of Manufacturing: How Digital Printing is Redefining Decor with Nino Speranza from Interprint

In this episode of the FuturePrint Podcast, Marcus Timson speaks with Nino Speranza from Interprint about how digital printing is transforming the global decor industry. 

The discussion explores the structural shift taking place across decor printing as manufacturers respond to changing consumer expectations, shorter production runs, expanding product variety, and the growing demand for customization. Nino explains how digital printing has evolved from a sampling technology into a true industrial production platform, enabling greater flexibility, faster time-to-market, and entirely new creative possibilities.

The conversation also examines the continued importance of rotogravure printing, and why the future of decor manufacturing is likely to involve both analogue and digital technologies working side by side.

Marcus and Nino discuss:

•  Why shrinking order sizes are reshaping decor manufacturing 
•  How digital printing reduces commercial risk for designers and brands 
•  The growing importance of localized and customized decor collections 
•  Why thermoplastics and alternative substrates represent the industry’s next major battleground 
•  The role of water-based inks and sustainability regulations 
•  How digital technology is changing the relationship between design and production 
•  Why decor printing increasingly influences emotion, experience, and wellbeing within modern spaces 

The episode provides valuable insight into one of the most fascinating intersections of industrial print, design, materials science, and manufacturing innovation.

Listen on:

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Transcript

Welcome And Guest Introduction

SPEAKER_00 0:01

Welcome to the Future Print Podcast, celebrating print technology and the people behind it.

SPEAKER_01 0:10

Welcome to the latest episode of the Future Print Podcast. Marcus Timpson here. Really delighted to have with me a gentleman called Nino Speranza from Interprint. I saw Nino give a talk at the recent TCM conference. Really inspiring an educational session. This episode really explores how decor printing is actually undergoing a structural transformation, moving beyond perhaps the traditional boundaries into new applications, materials, and production models. Interprint is a global leader in decor printing, quite world-famous in this sector. And the discussion I think with Nino is going to provide a unique perspective on how digital technologies are reshaping both manufacturing and also design. So we're going to get into the discussion shortly, but welcome to the podcast.

SPEAKER_02 1:04

Marcus, at first, thank you very much for having me. Thanks for the invitation. And as mentioned already from you, my name is Sindusperanza, and I'm the director of sales of Interprints at the headquarters in Germany. Part of my responsibility is also decided strategy of digital printing. Thanks again for having me.

SPEAKER_01 1:22

No, that's great. It's great to have you very much at the intersection of design and production potential and of immersed in that space. And it's it's always good to be able to talk to someone. And you know, one of the fantastic things about FuturePrint is we we look across many industries, so this is an opportunity to deep dive into your space. Your talk really um framed this as shifting boundaries, really.

Boundaries Breaking In Decor Printing

SPEAKER_01 1:48

Um what uh what boundaries are actually being broken in decor printing right now?

SPEAKER_02 1:54

All right, so and again, even when we talk today about digital printing, I would like to make sure that I'm standing also behind rotor Gravur printing. Yeah, so I'm coming from a company and we have both technologies in our house, and I'm standing, of course, behind all our products. So it's not only digital printing, it's also rotograbour, it's um finish foils, or lacquered paper from furniture industry, it's impregnation, and of course, also um different uh thermoplastics, yeah. So unicolors and also printed, what we right now also have started. Um the boundaries I would call is um the new technical possibility through hardware and software, which we have right now, um, comparing to the established um uh printing method rotokaboa. Yeah, and this starts, of course, um as we have eliminated or I think in English you call it the teething trouble. So all the time when you have new technology, so we have eliminated these teething problems during the last years, and um, yeah, we have received since then a growing interest and acceptance uh from the industry.

SPEAKER_01 3:06

Yeah, absolutely. And you've gone on a journey, haven't you, really? With um and and like you say, Road to Viewer is still a dominant and and very important technology, whereas digital offers something perhaps new. Um, Interprint clearly is a global leader in decor printing. Um, how has the market fundamentally changed over the last decade?

SPEAKER_02 3:31

Oh, yeah, so this is um one of the nice things, of course. So it's um on one side has the branch massively invested during

Shorter Runs And Changing Demand

SPEAKER_02 3:40

the last years in capacity, so it means our customers, also the competitions. Everybody has invested in machinery, everybody thought it it's um still increasing. But um, since more than four years, we have an ongoing weak construction market. And this means, of course, on the other side, the average order size uh went down, let's say maybe 20 or even 30 percent during the last 10 years. We need to deliver um clever answers to changing the demand, so the risk on the customer side or risk on our stock, and of course, also the growing product range um of the customers, so it's it's growing, and on the other side, we have a shrinking average size in production or in order, and this requesting more attractive prices for smaller SKUs and a faster service on top.

SPEAKER_01 4:36

Yeah, so you've in in brief you've seen um a shift fundamentally in demand for for shorter runs.

SPEAKER_02 4:45

And has that also made a difference in terms of people wanting more unique designs or being absolutely absolutely so the product variety is growing, and again the the the average of order size is going down, and this is where we have to deliver answers. And I think this brings us also back to your first questions, and I'm not sure if I have answered this already 100%. So the boundaries what we have breaked in are new technical solutions, yeah. And um comparing to the existing and established printing method, and these solutions are smaller quantities, yeah. We're starting with uh single parts, even with 300 kilograms, which are more or less um 5,000 square meters, comparing to one ton of paper, which depending on the grammar, are 15,000 square meters. And especially right now, if you have a new customer and you would like to introduce a new product, then the risk, of course, is really high when you have to invest 15,000 square meters. Yeah, there's a lot of chairs, for example. Yeah, if you do it digital, then we talk only about a third. So it means the risk is minimized as well. Then we have, of course, also a lot of new technical solutions and uh developed uh patterns. So we have uh a smarter combination of orders and more efficient way of production. This gives us a lot of new possibilities. Then we have also an adjustment of the printing file using software for embossed in-register products, so it means we are adjusting every single production on the actual growth of paper, and this enables a stable uh production process, and we have not received any claims since the introduction of this new system. We can also offer rainbow roles, so it means we can print from two until five designs printed on one role. So, again, when you're a customer, you would like to introduce new material. Right now you can have up to five designs on one role. It means you could impregnate this in melamine, so also the risk goes down on the customer's side. And also, one big advantage is right now we can work with unseparated fights. And

From Sampling To Digital Production

SPEAKER_02 7:00

this is time to market because the developments um are not so complicated anymore.

SPEAKER_01 7:06

Yeah, so it's a bunch of technological advances that have enabling you to meet that changing demand from customers. And and your customers, who are they? Are they retailers? Are they designers? Are they production printers?

SPEAKER_02 7:20

Or we have a big variety of customers. So we have, of course, on one side partly port producers, so they impregnate our paper in melamine and they press it up on part of the boards. Then later, of course, kitchen industry behind, furniture industry behind, or flooring area. So same same procedure. Customers are buying our material, impregnate them in melamine, and press them on HDF and produce laminate. So these are the main customers. Kitchen worktop, so they impregnate this and press it up on HPL. So there's a big priority through different branches and areas which are actually our customers.

SPEAKER_01 7:59

Yeah, yeah. I'm excited to learn more about how digital printing really works. So looking at your digital printing evolution, you've been one of the early adopters, I would say, uh, on a large scale for digital printing. What was the real inflection point where digital moved from perhaps sampling into actual production? Yeah.

SPEAKER_02 8:21

Well, of course, it begins with choosing the right technology and partners as supplier, for example, hardware, software, pay burning, and also um customers. So we have all sorts of customers and have trusted in us directly at the beginning. So we have done a lot of projects together with them. An Interprint, as you have mentioned, was the first printer who has consequently invested and believed since 2010 in this digital technology. And two major points what we have, as mentioned, is um we have eliminated this teething trouble and consequently improved our developments. And we have also changed our sales organization in 22. So, this I would say are the major changes which brought us really forward.

SPEAKER_01 9:14

And it must have taken a little bit of a culture change, absolutely with digital. Um, because it's uh I'm gonna say an old industry, but it it but it's um very established with roadshow reviewer culture. Digital might have presented a challenge to that in some way.

SPEAKER_02 9:32

Uh 100%, yeah. So um, yeah, so Rotogamur is there since since many decades, and then we came up with a new technology with lots of new possibilities, and also as mentioned before, all the time when you start something new at the beginning with some developments, you have some problems. Um, yeah, so it it's a huge mental change. So we have, as we have, we had before a business unit for digital printing, and also with our own small sales organization, but on the other side, we have um a worldwide sales network with um very experienced people, and this is what we have changed. So we have fully integrated digital printing and the products into our uh existing uh structure and also network with the customers, and this was the major change. And of course, we had to train the people, yeah. We had to train the people, and then we're still supporting them. So this is the technology what we have at the headquarters right now in Ansberg. So it means all all the time when we have some requests and um yeah, some customer projects internationally, so we are supporting them as well.

SPEAKER_01 10:39

Yeah, yeah. And and with the worldwide business, I imagine the the styles and the tastes vary, do they in different regions, different fashion tastes, different requirements. Um I guess that's always been the case. So so you're able to adapt your range for different areas?

SPEAKER_02 10:59

Yes, the range and also the working behavior is different. So as if as you know also from our presentation, so we call it uh think uh global act local. And um, yeah, it's a completely different approach. So in Europe, we have specific, elaborate, and exclusive customers. It means customer-made developments. Yeah, in Asia, we have to offer a big collection, um, and we have to change this consequently. Yeah, so it means on one side, specific um time-demanding projects in in Europe and in Asia, of course, a huge catalog and a changing variety of the decos.

SPEAKER_01 11:40

Yeah, yeah, yeah. Interesting. And you mentioned digital started with sampling, which makes sense. Anything new, you have to have the beta phase, don't you, where you try to stuff up. But now you're talking about industrial scale production. What were the biggest barriers to scaling that up? We already talked about culture, I suppose. But what what what are the biggest barriers technically? Is it because digitally can digital printing can sometimes be seen as disruptive?

SPEAKER_02 12:07

Yes, it's true. But on the other side, so we have then step by step done more and more digital colour matches, so we got more experience, and um, yeah, step by step this was growing. So this is was not real a problem. So it was more like technical solutions at the beginning, but as soon as when this technique was really ongoing, so there was no reason to hesitate anymore to bring this from sampling to in production scale,

Printing On Thermoplastics And New Surfaces

SPEAKER_02 12:35

for example.

SPEAKER_01 12:37

Um in the talk you mentioned um highlighted printing on thermoplastics and pre-impregnated materials. How significant is this in opening up entirely new markets?

SPEAKER_02 12:50

This is getting more and more important. So, for example, if you go right now to a kitchen studio, then you have a bunch of different surfaces. So in the past, of course, it was uh solid wood or it was melamine um faced um frontless, but right now we have finish foil, you have um lacquered surfaces. So there's a you have thermoplastic, so it means PP, you have PET, you have PVC, um, some of the board producers also lacquering directly after the impregnation. So there are lots of different techniques and surfaces right now. So it means the demand on just paper printed surfaces is going down. So we have to find solutions that we are also able in the future to print if we would like to keep relevant also in the future. So we have to print all these other substrates as well.

SPEAKER_01 13:42

And is that the case for both rot review and digital?

SPEAKER_02 13:47

Of course, for both materials.

SPEAKER_01 13:49

Yeah, yeah, absolutely. So it's a challenge, a continual challenge. Um, as a technical one, it's also something that you wouldn't think. Um standing this side, that it it's even it's even an issue because you just see the finished product looking fantastic. Um, Interprint talks a bit about being, you mentioned the biggest at volume and also increasingly customization experts. How do you balance those two demands? Because they're almost opposing. Uh, how do you deal with that within a big business like Interprint? It must be that must be a challenge.

SPEAKER_02 14:22

Yeah, exactly. So these um two mentioned demands are working even hand in hand. Yeah, so the biggest growth and share of volume are exactly customized designs right now. Yeah, but we actually, as you mentioned before, we had to change the way of work. So it's not enough anymore to have like a standard collection in a catalog. You need to offer specific solutions for every single customer project. For this reason, we have changed uh in the middle of 22 our sales organization, which I've mentioned before, the business unit in digital printing. We've fully integrated um digital printing in our existing sales structure and network. We have experienced salespeople or sales experts around the globe, and we have trained our whole staff, and we are supporting from the headquarters if we you know have achieved a big growth the first year and the change of growing as well. So consequently, per year. In short, we have changed our sales and uh the product offer collection to be more spoken tailor-made. Yeah, so it means you have to offer solutions to the customers and you work together really from the beginning until the end of these uh developments as a project.

SPEAKER_01 15:38

Yeah, so it's very consultative and and gradual.

SPEAKER_02 15:41

Absolutely, absolutely.

SPEAKER_01 15:42

And some some of the talks at TCM were interesting, and yours too, in terms of different surfaces and how uh how how the design can evoke mood and and and how that chimes with the wider world we live in, you know, like the sense of unity, warm colours, and so on. So I thought it's fascinating how how the work you do literally affects people's moods, positive and negative. You can really design spaces to to do to design how you want to feel in different parts, either of home or or uh of your workspace or of your restaurant or whatever. So it's it's um it's it's a very interesting area, and obviously, um we kind of touched on think global at local,

Bigger Images More Colours Less Repetition

SPEAKER_01 16:30

you mentioned before, and localization is important for decor printing for those reasons as much as anything else.

SPEAKER_02 16:36

Yes, absolutely, and yeah, as mentioned before, yeah, this is the fun part. So we are when you compare also both printing methods, so it's we are not limited anymore to a circumference of a cylinder, so which is more or less 1300 millimeter. So we can print right now images up to 5.6 meter in a full width of 2 meter 25. It means uh one of the printing files to get you know uh probably a double or triple of the material what you could got before. Yeah, when you look at the flooring in the flooring area, you have the cylinder, it depends of course on on the panel size and the panel width. So you can maybe do uh nine or ten um laminate floorings, and right now with digital, you can do 20 or 30 without any reputation. Yeah, so this is fun. Um as mentioned before, so we can work with unseparated files, it gives us time to market. So the the effort is less for the developments because one of the biggest parts what we have is really the separation. When you have one printing file and you separate it, uh separated file through the three, four cylinders. We can use ten colors instead of four colors comparing to roto bravo, and this also in a really high resolution up to 1200 dpi.

SPEAKER_01 17:59

Yeah, that's amazing, up to 1200 dpi. And so from what you're saying there, digital enables a wider color range?

SPEAKER_02 18:07

Oh, yes. So you can you can use, for example, 10 levels, so it means also 10 colours, and we have done really nice projects in the fluoring area, for example, which would be not printable in the rotor cover.

SPEAKER_01 18:19

And do you find your customers when they learn about the new aspects of digital for that does that change the way they think about design?

SPEAKER_02 18:28

Absolutely. So we we talk about big scale, we talk about um repetition, and um also the project business has changed completely. As mentioned before, the bigger advantage is the smaller volume on one side, and right now a much more creativity or creative possibilities which we had not before.

SPEAKER_01 18:48

Yeah, and and do you say like you said earlier about culture and mindset, it should it must design us in a way, because I kind of have this vision that rotokue you can just print hundreds of thousands of meters very economically, very economically, and you would before digital you would have a relatively small range, but would be quite stressful for the designer because what happens if one one line doesn't sell, you've got a huge amount of stock, correct, and the responsibilities on the designer. Does digital then liberate designers? Do they suddenly feel they're free to experiment and try things out? Because of that, risk has been removed a little bit in terms of selling.

SPEAKER_02 19:35

Yes, absolutely. So I think um designers are much more free to play a little bit more, as mentioned. The the minimum quantity is much lower compared to Rotokabur. And what I've also mentioned before, we have um patterns and nice solutions to combine productions in a much more efficient way together. So, for example, when you talk about Rotokabur, and um right now, this is also one of the barriers. What we have broken and what we have changed is in in Rotogabur, normally customers are set, as it is a it's a printing method which is really stable and it is created for mass production, it means a higher um production is always cheaper than a smaller production in the volume. For example, you have to do a color match maybe for one ton. So when we talk about one ton, then you have to do a color match, and this color match is maybe minimum three hours. Yeah, but for 10 tons, you have to do the same color match and water coverage, it also takes three hours. Yeah, so on this side, of course, then um the price per kilogram for 10 tons, it's much cheaper comparing to the price per kilo for one ton, yeah, because you have all these adjustment times. And right now, with this much more efficient combinations with productions, we come also from the commercial part in a really competitive area to watercrop work. And this gives from the commercial perspective and also from the risk size um much more freedom also to designers.

SPEAKER_01 21:13

Yeah, and uh it's incredible, isn't it? I mean, I've seen some of these um Gravier cylinders. Yeah, and I mean that's they they they look quite beautiful, but they're hugely expensive to create, aren't they? And then the the patterns etched on the cylinder. Absolutely. So you're talking about the colour matching, there's the that process as well. And how long would that setup time typically be to create a cylinder, for instance?

SPEAKER_02 21:39

This is uh it depends. It depends, of course, on the size on the cylinder. So when we talk about cylinders, the price per cylinder is more or less between six and six and ten thousand euros. Yeah, it's it's one ton heavy, so you have also really heavy hardware, and then you have to grave in into copper, then you have to plate it with chrome. Um, then you have to build it in, you have to clean it, yeah. So this setup it's maybe one or two hours, and then you have to do the color match on top as well. Yeah, and this of course when you compare with

Rotogravure Setup Costs Versus Digital Control

SPEAKER_02 22:10

digital printing, not necessary because you only have the file.

SPEAKER_01 22:13

Yeah, yeah, it's it's it's very different, isn't it? It's very different.

SPEAKER_02 22:17

Of course, you have to do the color match as well, yeah. Yeah, but also the color matching time is going down, but you have to do a color match as well. So when you when I don't know, rotor Garbu, you have a lot of different physical impacts on the final product. We have the cylinder, what we have mentioned before, we have the condition of the machine, we have humidity in the room, we have temperature, we have the operator, yeah. So also how they run the machine, and we have also the base paper. So the base paper is also produced in charges, so it means it's not always 100% the same quality. So it's also one of the reasons why we have to do the color matches. In digital, we have always the same standard. So we have the same machine, it's always calibrated in the same way. So here we start exactly um with zero at the same beginning. We have um a controlled room with humidity and temperature, so it means the only variety what we have right now is the base paper. And this is what they can check before with our clever solutions, and it means we can save a lot of time for color machine and preparation time.

SPEAKER_01 23:27

Yeah, and and it's just listening to you. I sort of remember because I'm I'm I'm kind of uh more senior these days in age, but I do remember kind of growing up, and the the fashions were fairly standardized, and um decor and and I remember going as a kid round to people's homes and they had similar design things. They you know, you all kind of had little choice, but now it's the choice has expanded, and and and digital clearly enables that. As I mentioned earlier, um decor and being at the event listening to you speak and and and so on, um it really is about aesthetics and emotion and texture and so on, and um, which is fantastic because it it really evokes that sense of um you know feeling that you have. And like and like uh like I was saying um to you earlier, it a lot of thought goes into the design, doesn't it, in terms of taking in what's happening in the world, the volatility, the uncertainty, and that actually picking the right design, picking the right colour, picking the right can can almost subconsciously people are making choices to make themselves feel better, to even reduce anxiety. How does digital change the relationship on that note, really, around design and production? I mean, it's following on from what we said earlier, I know, but it's it's quite a big thing. It's it's a it's difficult to put language to things like that because it's as humans we just feel, we don't think we suddenly feel. But um, how does digital change the relationship between design and production?

SPEAKER_02 25:09

Of course, so uh on one side, as you've mentioned before, we have to do all the trend scout, yeah. So it means we have an international design team that travel to all different kinds of fairs, also different markets, yeah, textiles, car industry, tiles, yeah. So just to get information and the feeling about shapes, yeah, about colors, and this, of course, is what we can, this experience can what we can bring into our uh design and decor developments. Um, another thing is we also offering the BPO process uh model, so it means um customers can rent a printer from us and the whole system, and they could do, for example, um color matches with their final customers. Yeah, so it means that they already have a chance, and this is completely new because in the past, I don't know, when you talk about overseas, in the past, I don't know if you if you have a customer from Asia, from Brazil, from US, they had to fly um to Germany to the headquarters, and then we have done the color matches um in the rotor couple. Yeah, so it depends. I don't know if you just receive a target pattern from US. So maybe you lose a week for the transport. And you do the color matches within one or two weeks, and you send it back. But for the customers, sometimes it took three or four weeks. But right now we can do this kind of color matches in all our locations, and even as mentioned before, some customers using the same technology as they can rent the system from us. So

Trend Scouting And Faster Customer Colour Matching

SPEAKER_02 26:40

it means our customers right now can play with colors, with designs, with their final customers, and we can react much faster to the to the market. So it means they send us the files, we just check if they're printable or not, and then we can put it on the on the on the on the big lines.

SPEAKER_01 26:56

Yeah, yeah.

SPEAKER_02 26:58

It's a much faster reaction response also to this design.

SPEAKER_01 27:02

And and and I I would imagine that fashions change far quicker today than they ever have.

SPEAKER_02 27:09

Absolutely, yeah.

SPEAKER_01 27:11

So that that kind of agility is really important, isn't it? For you, uh, but also for your customers for fashionable. So what sort of question about where you competition, I suppose, where do you see the next competitive battleground in decor printing?

SPEAKER_02 27:29

In my opinion, it's the it's the substrate, yeah. So, as mentioned before, if you go to a kitchen studio, if you go to a DIY market, if you um I don't know, uh searching for for fluorine, so you see a big variety right now of different surfaces and products. Yeah, so for this reason, it's getting much more important that we are able to print on these different substrates as well. So I think personally the battleground of the future during the next five years will be the substrate. So really um being able to print with water-based ink, also because of all the the registrations, what we get from from the EU or from other countries. So using really water-based ink on different substrates, thermoplastic ones, yeah. PP, PVC, PET.

SPEAKER_01 28:22

Yeah, interesting. So anybody listening from the world of materials and inks, then um obviously that's uh something I'm sure they're busy, busy working on that.

SPEAKER_02 28:31

And on the other side, of course, I think um um we are not the only one right now who are successful with digital printing. So I think it's it's the substrate. So again, thermoplastics would be the the big thing, and also the availability of the machinery. Yeah, we have enough suppliers to build machines in the future for our growing demand.

SPEAKER_01 28:53

And uh obviously, you you're a Interprint, is a I guess an innovator, early adopter. You've you've kind of gone on a journey yourself, like you say, you've gone through the challenges, you've become expert. It's it's it's fairly well embedded and established at Interprint. Is that the case generally in the decor industry, or is it still in certain areas you're you're the leader and you're uh in front of everyone else? Is it being adopted across the industry or is it still early days?

SPEAKER_02 29:25

I think we're in the middle right now of this of this um transmission. Yeah, of course. So, as mentioned before, we have been the first one as a printer who always believed in this technique, who have really invested since or is continuously investing since 2010. We have done lots of developments, but I think also on customer side, they also invest in this

The Next Battleground Substrates And Water-Based Ink

SPEAKER_02 29:45

technique and the competition as well. So, in the end, it it helps everybody from us, and this is also the important thing for the future because right now machinery is really expensive, and also the ink is really expensive. So, all the components right now comparing to Rotogabour. Want to be much more competitive in the future. So, we are also interested that the competition is using this technology more, because then, of course, with the increasing demand with machines and other components like inks, the prices should go down and we should come in a much more competitive area to Rotokabour.

SPEAKER_01 30:20

Yeah, and competition drives innovation as well, right? Absolutely, absolutely. So it's a good thing. Um we're future prints, so I always ask our guests to look ahead. So if you were looking, if we're having perhaps a chat in five years' time, what would next level decor printing look like?

SPEAKER_02 30:43

We would say listening to the market and the customer, where are the needs? Don't um bring any over engineered solutions, yeah, because um when the need is in a more reasonable price for a good quality instead of high-end, which nobody's really um demanding right now. So this is also one of the problems that you could develop uh far away from the actual demands in the market.

SPEAKER_01 31:10

And in order to reach that point, then what was one thing businesses in print and manufacturing in this space be doing today to stay relevant in the next phase of digital decor printing?

SPEAKER_02 31:25

Again, find a fast solution to be able to print on all thermoplastic substrates.

SPEAKER_01 31:35

Yeah, yeah, really sort of um question where you are now. I guess I guess as well as anything else. You said before it's that mind shift change, that cultural change into thinking about digitally different to resist here.

SPEAKER_02 31:50

So I I'm I'm also more than 20 years in the market, and uh I can remember that the customers always blaming all printers, it's nothing new, so it's not not the new technology what we have. Of course, yes, rotoglobe. When you look in the market, their machines um they have been created um in the end the 60s or 70s, so there's not a big uh huge um evolution in in the printing. Of course, it's a really stable process, but on the other side, I can remember when then the first solutions came out on FAIS, you know, the first prototypes. Exactly, these people um have been uh hesitating a lot about quality and about all the other things. Yeah, and right now I think not only we, but um, we as printer, we are um uh in the possibility to offer good quality, stable quality, and um yeah, so it means we're getting much more interest and um yeah from the customer side.

SPEAKER_01 32:50

Brilliant, well thanks so much for joining us. I mean, um hugely interesting space, very relatable. Um and that's one of the fascinating things about how close you are to the an intersection of design, decor, and in in and so on. That it in essence we're it's a lot about experience as well, isn't it? It's about experiences and and and you know absolutely.

SPEAKER_02 33:17

So um, and this is also one of the things that we are growing, or our experience has been growing a lot also during this um journey, what we have done at Interprint. And um, one of the things, of course, everybody could invest in this machine,

Key Takeaways And Closing

SPEAKER_02 33:30

but you have to have the whole infrastructure behind. You need to have the people with the experience who can run the machine, who could develop designs, yeah, all the things behind.

SPEAKER_01 33:41

Fascinating chat. I really appreciate you joining us, Nina. Um, thank you for that. And yeah, looking forward to having you back, perhaps to give a talk at one of our future events and or a webinar. So thank you for joining us today.

SPEAKER_02 33:55

I have to thank you, and I'm looking forward, yes.

SPEAKER_00 33:57

Thank you for listening. If you enjoyed this episode, you can subscribe now for more great audio content coming up and visit futureprint.tech for the latest news, partner interviews, in depth industry research, and to catch up on content from future print events. We'll see you next time on the Futureprint Podcast.