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For one project, Tay was asked to produce an effect that went against every instinct of the trade: ink that smudged. \u201cFor a printer, when we print, the ink cannot smudge. That is a printing error,\u201d she said. She initially rejected the idea but eventually accepted the job after learning that it was part of a research project. It took more than six months to achieve the desired result.<\/span><\/p>\n Other experiments have found unexpected second lives. Ho originally bought a UV printer to print on phone cases, golf balls and other small objects, but the idea never quite took off. Rather than write off the investment as a white elephant, the team found another use for the machine, printing on acrylic, wood, leather and other materials that designers could incorporate into their publications.<\/span><\/p>\n That willingness to experiment has also led Allegro to projects such as Rubbish Famzine, the cult independent publication by Singaporean family art collective Holycrap. Some issues require 14 or 15 colours, making them technically demanding and expensive to produce in small quantities. For Tay, however, such projects are an opportunity to showcase the company\u2019s capabilities. \u201cTheir concepts are so unique that I am willing to do it to stretch our ability,\u201d she said.<\/span><\/p>\n Ultimately, there is no denying this simple truth: print endures by offering what screens cannot \u2013 objects worth touching, keeping and sometimes even biting into.<\/span><\/p>\n<\/div>\n
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