Terms & Conditions

  • Once your proposal submission is received, you will be sent an email to confirm receipt. If you do not receive a confirmation email within 7 days, please contact us to ensure your proposal has been successfully submitted. HKOP and IMPACT 11 team will not be liable for any non-arrival of proposal submission information.
  • If your proposal is selected, at least one representative from your group or organisation should be present at IMPACT 11 for the set up and presentation. If special arrangements or equipment is required, requests must be made clearly in the proposal submission for our consideration.
  • Registration fees should be settled via online payment. Cash and cheques will not be accepted. Registration will only be considered complete once the registration form and payment have been received. Payments not received in full prior to the event may result in entry being denied. No cancellation is accepted. Registration fees for IMPACT 11 are not refundable. If a participant is unable to attend and would like to transfer the registration to another person, approval will be determined by the HKOP & IMPACT 11 team on a case-by-case basis.
  • No responsibility is assumed by HKOP, the organiser or the speakers/authors for any injury and/or damage to persons or property as a matter of product, negligence or otherwise, or from any expectation regarding the event, use or operation of any methods, products, artworks, instructions or ideas presented at the event or contained in the notes.
  • By entering the event premises, you consent to being photographed or filmed by the HKOP and IMPACT 11 teams, and to the organiser’s use and publication of audio recording, video recording in any and all media for promotional and educational purposes. No recording or photography on the premises of the conference is allowed during the conference without prior written consent of the organiser.
  • In case of a person (delegate, exhibitor, visitor) infringing the overall interest/aim of the conference or infringing the interest of other delegates, companies or parties involved in the conference, the organiser is entitled to exclude the infringing person/company from the event after an oral or written warning by the HKOP directors show no adequate result. All respective costs in context of the infringement or exclusion are on the infringing person’s/company’s own responsibility. No liability in any way or any reason is taken by the organiser in this case.
  • Applicants are responsible for their own travel arrangements, including but not limited to flight and local transportation, accommodation, adequate insurance cover, as well as related visa procedures. Visa requirements for entry to Hong Kong vary according to the visitor’s country of origin.
  • While every effort will be made to adhere to the published programme, it may be necessary for reasons beyond the control of the organisers to alter the content, speakers, and/or timing of the programme without prior notice. Please check the website for the latest version of the programme.
  • Personal information collected will be held on a database and used for communication purposes. In some cases, related to the funding support to the conference, your details may be made available to the funding bodies or its related department for record.
  • In addition to the provisions mentioned above, these terms and conditions are subject to the laws of the Hong Kong Special Administrative Region.
Acceptance of all of the above terms and conditions is required in order to register for and participate in IMPACT 11.

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The Evolution of Print Technology: Past, Present and Future


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The Engaged Surface—Prints for Visual Sensory Perception

Carinna Parraman


Centre for Fine Print Research, University of the West of England

Carinna is Professor of Design, Colour and Print, Director of the Centre for Fine Print Research, University of the West of England, Bristol, and Chair of Impact Multidisciplinary Printmaking Conference. She has recently been awarded £7.7 million from Research England in recognition of the Centre’s internationally acclaimed practical research into the artistic, historical and industrial significance of creative print practices, processes and technologies. Carinna’s work explores the relationship between the appearance of colour and texture, and 2.5D printing. She recently completed a book on “2.5D Printing: Bridging the Gap Between 2D and 3D Applications” for Wiley in 2018; and is part of Appearance Printing - European Advanced Research School (ApPEARS).

Lizzie Field

Centre for Fine Print Research

Fabio D'Agnano



Fabio D'Agnano joins the Centre for Fine Print Research as an Associate Professor as part of Expanding Excellence in England investment from Research England. He has been working as the Director of the Digital Architecture Post graduate Master's Course at the Architecture University of Venice. He is also the founder and technical director of Tooteko, an innovative creative enterprise which combines 3D printing and electronic sensors in order to let blind and partially sighted people perceive works of art (www.tooteko.com). He is Curator of Immersive Architecture Conference Venice, AR-VR for Architecture and Cultural Heritage. He has co-curated the Educational Projects / Call for School of the European Makers Faire Rome, multiple conferences and was consultant for Triennale di Milano, as technology expert for the XXI exhibition- New Craft. He is author of the book 3DS Max per l'architettura.

Nat Roberton

Urban Design, City Planning, Architecture And Design

Bristol City Council / CFPR

Nat Roberton is programme manager for the Bristol Legible City Project and has a background in urban design, city planning, architecture and design. Bristol Legible City was the first project of its kind and is a unique and innovative concept to improve people’s understanding and experience of the city through the implementation of identity, information and transportation projects. The project has since inspired similar projects nationally and internationally. Nat is currently working on several development projects including an intelligent infrastructure project that is integrating sensor and communication technology into legible city street furniture, development of tactile mapping and a user-centred mapping project using citizen-generated data.

Paul Goddard

Student, Human-Computer Interaction


Paul Goddard recently completed an internship at the CFPR in collaboration with Bristol City Council, and will be continuing to work on a cross disciplinary final year project between CFPR and Computing. Paul has built his career around knowledge sharing, people and process management. Now an undergraduate Computing student at The University of the West of England, his interests include the Internet of Things, embedded devices and Human-Computer Interaction (HCI).

An interpretation of the evolution of print technology, past, present and future, through the printed history of 'Alice in Wonderland'

Stephen Hoskins

Printmaker, Academic

CFPR, UWE, Bristol

Stephen Hoskins is Professor of Fine Print and the founder of the Centre for Fine Print Research at the University of the West of England Bristol. Apart from being a practising printmaker with work in many international collections, Stephen is the co-founder of the IMPACT conference series, a past Chair of the Association of European Printing Museums, a Fellow and past vice-president of the Royal Society of Painter Printmakers and a member of the Arts and Humanities Research Council Advisory Board . His latest book is 3D Printing for Artists, Designers and Craftspeople, published by Bloomsbury Academic in February 2017

Making surfaces and exploring print based practices.The lost history of surface prepared papers.

Marta Belkot

Printmaker, Academic, Artist, Student, Printmaker, Academic, Artist, Student

Faculdade de Belas Artes da Universidade do Porto

Born in 1989 in Tarnowskie Góry, Poland. With an integrated master degree in engraving and drawing at the Academy of Fine Arts in Katowice, I’ve also studied at the Faculty of Fine Arts of the University of Porto and the Academy of Fine Arts in Lodz, Poland. In the same area, I’ve completed a professional internship at the University of Porto. As a visual artist, I’ve created objects, illustrations, drawings, photos, movies and graphics.

Graciela Machado

SEEING RED: Hacking anaglyph 3D to manipulate visual perception

David Lyons

Academic, Artist

Abertay University

David Lyons is an artist and academic leading the Computer Arts programme at Abertay University, Dundee Scotland. His artistic practice entails effective translation of perceptual concepts to aid accessibility and enhance understanding.

Raz Ullah

Artist, Musician

Manchester School of Art

Raz Ullah is a musician and sound artist whose work incorporates analogue and digital elements, interactive software, video projection and homemade instruments. He has presented audio-visual works in Paris, Prague, Hangzou, Manchester, Edinburgh and Dundee. A keen advocate of improvised performance, he performs regularly as a solo electronic artist as well as touring internationally with Jane Weaver (Fire Records).