FESPA WORLD Issue 36 - English

The Magazine for Digital & Screen Printers

JUNE 2004 VOL.14 / NO.36 â‚Ź15

Fespa World incorporating European Screen Printer & Digital Imager Translations available at www.fespaworld.com

Textiles with a twist from the former home of the UK silk industry

Fespa World

NEWS ROUND-UP

4 SUPPLIER NEWS The latest supplier news including appointments and installations.

Editor’s letter Although only a small part of Drupa is devoted to screenprinting, you'll find that this magazine is awash with references to the show. This is because Drupa, possibly more than any other exhibition, traditionally provides the perfect launch pad for new product innovations in all of the different print sectors.

This year was no exception and you'll find a review of the show in The Big Story on page 28. Drupa also features in the Opinion piece, penned by Stewart Partridge on page 26.

This month's Face2Face was a joy to write. Textile printing is something I knew very little about but Trish Belford and Magnus Mighall, the subjects of the feature, took me in hand and brought me up to speed with all of the basic processes. I found the whole thing totally fascinating and in future, will certainly be much more appreciative of all the time, effort and energy that goes into producing even the simplest fabric! Read what they have to say on pages 32-35.

As always, I welcome your feedback on both the items that appear in this issue and topics that you would like to see covered in the future. Hopefully whilst you are enjoying a long and lazy summer, you'll also find time to share your views, opinions and ideas with me!

SPECIAL FEATURES

28 THE BIG STORY Flat out at Drupa Flatbed made its mark at Drupa.

8 WHAT’S NEW IN SCREENPRINTING

12 WHAT’S NEW IN DIGITAL PRINTING

18 ASSOCIATION NEWS The latest association news including FESPA diary dates.

22 FESPA NEWSLETTER FESPA 2005: The countdown starts now!

32 FACE2FACE Textiles with a twist Val Hirst goes Face2Face with Trish Belford (Belford Prints Ltd) and Magnus Mighall (R.A. Smart).

With less than a year to go FESPA 2005 promises to be a very successful exhibition.

OPINION

26

It seems to me…

Stewart Partridge of Web consulting poses the question: "Will there be a New World Order Post DRUPA?"

36 FOCUS ON… Textiles

40 SHOWCASE Our regular review of some of the latest screen and digital applications.

INFORMATION

52 Drying or curing of UV-inks UV Inks are now becoming a more viable option for many screenprinters.

Val Hirst e-mail: val.hirst@fespa.com

56 FESPA ‘contact list’ Fespa World The membership magazine of the Federation of European Screenprinting Associations Vol.14 / No.36 June 2004 Published by FESPA Ltd Editorial office FESPA Association House 7a West Street Reigate, Surrey RH2 9BL Tel: +44 1737 24 07 88 Fax: +44 1737 24 07 70 E-mail: info@fespa.com www.fespa.com Publisher Frazer Chesterman – Director Tel: +44 1737 24 07 88

Advertising Michael Ryan – Sales Manager Tel: +44 1737 22 97 27 Fax: +44 1737 24 07 70 Editor Val Hirst Tel: +44 1623 88 23 98 E-mail: val.hirst@fespa.com Graphic Design Bate Brand Communications 8 St Leonard’s Square, Wallingford Oxfordshire OX10 0AR Tel: +44 1491 835835 www.batebrand.com Printing The MANSON Group Ltd Reynolds House, 8 Porters Wood Valley Road Industrial Estate St Albans, AL3 6PZ Tel: +44 1727 848 440 www.manson-grp.co.uk

Fespa World. Designed by Bate Brand Communications. Printed by The Manson Group Ltd. Editorial photographs supplied courtesy of the companies they feature. The publishers accept no responsibility for any statement made in signed contributions or those reproduced from any other source, nor for claims made in any advertisement.

Fespa World is available to individuals who qualify within the terms of a controlled circulation and by subscription.

Magazine coupon

42 MACTAC REVIEW The winners of the 2004 MACtac Awards competition.

AND FINALLY…

58 Fabulous FESPA 48 SIGN SPOT The colour revolution When there are already thousands of different coloured vinyls to chose from, why would we need any more?

49 SIGN SPOT Sign shorts The spotlight on three new sign products.

Cover photograph: Magnus Mighall from R.A.Smart and Trish Belford from Belford Print.

FESPA WORLD 03/04 3

NEWS ROUND-UP – SUPPLIER NEWS

Ratings up across the board MeadWestvaco's Coated Board division has once again achieved record scores in a recent independent customer satisfaction survey of European customers.

The division's European business invited customers from 12 European countries to respond to more than a hundred questions relating to virtually every aspect of product quality, performance, technical support and customer service, and even asked them to rate their perceptions of the division's reputation.

Comparative results reveal that since 2001 the division's European operations have increased their edge over the

competition in perceived benefit and overall value. Ratings were up in the critical areas of product availability, just-in-time delivery, technical support and competitive pricing. Coupled with higher ratings in readiness and ability to deal with complaints and resolve problems, the results reflect greater customer satisfaction with the division's performance right across the board.

Commenting on survey results, Coated Board's European

BOOK REVIEW

Screenprinting – the complete water-based system

By Robert Adam and Carol Robertson

This resource book styles itself as, 'the definitive guide to water-based screenprinting' and provides clear, step-by-step instructions and 265 illustrations, describing the methods and materials that replace traditional toxic screenprinting systems. The book covers every stage of the printing process and opens up new creative possibilities, whatever combination of methods is being used. All in all, it's a useful and inspirational read. The book, which is available in paperback, is published by Thames & Hudson and costs £18.95.

For further information e-mail: a.comben@thameshudson.co.uk

4 FESPA WORLD 06/04

Managing Director, Nusret Kilercioglu, said: "Our customers were satisfied with our overall performance in 2001, but the latest results show we have used lessons learned to increase our lead over the competition. The gap has widened in our favour, and we shall continue to work to remain number one in customer satisfaction."

For further information, visit www.meadwestvaco.com and www.coatedboard.com

Managing Director Bill Baxter celebrating the company's fourth anniversary at Drupa.

SUPPLIER NEWS

Inca celebrates its 4th anniversary Inca Digital Printers celebrated its fourth anniversary in style with Champagne and a birthday cake during the recent Drupa

exhibition. The company was, in fact, formed during the Drupa 2000 show, and rapid growth since then has turned it into one

of the world's leading flatbed inkjet printer manufacturers, with a staff of l00 and 100 installations in 17 countries.

Installations The latest UK installation of an Inca Eagle H has gone to screen printer Polyprint Plastics, who say that the inkjet flatbed printer has transformed the company's workload. The company expect a turnover this year in excess of ÂŁ1m, yet anticipates the Eagle to generate a further ÂŁ500,000 of business during the next 12 months alone.

Like so many traditional screen printers, Polyprint, who are based in Nottingham, UK, had experienced a change in demand in the point-of-purchase sector it serves, and decided that it had to augment cylinder and flatbed screen printing presses with digital output technology. The company spent six months examining the various inkjet options, and chose the Inca flatbed largely because it enables

it to print the same job on both the Eagle and its screen presses with perfect accuracy. It was also the only inkjet printer it could find that offers this level of registration. In addition, Polyprint can now print lenticular work directly on to the lens, an area many customers are extremely interested in.

The ability to print directly on to the substrate, without the need for films and with virtually no set up time, means the Inca printer is cost effective even if printing just one copy, while it is possible to print variable data throughout the run. Polyprint says it has printed jobs with runs of more than 200 faster than it could on its screen presses, while the Eagle's capability of printing on substrates that cannot be put through a screen press means

Inca's Eagle printing Point of Sale Material.

Polyprint flies with the Eagle

that runs can be significantly higher than this. Another important advantage is the reduction in wastage compared to screen printing. The company's Finance Director, Lisa Garner, comments: "Previously, if we were printing 100 backlit panels on a screen press we would allow 50 overs for wastage, whereas the covering power and accuracy of the Eagle means that we would need perhaps three overs for the same

job printed using inkjet. Also, we can print to the edge of the substrate, and a large percentage of subsequent finishing tasks are thus eliminated." She concludes: "The installation went completely without a hitch and we were in production a few days after delivery, creating top quality work with no hassle whatsoever.

We can even set up the Eagle for the next job while printing.

Everyone here is delighted."

FESPA WORLD 06/04 5

SUPPLIER NEWS

Jean-Marc Blum

Appointments

Following the success of its CORjet digital press Scitex Vision has announced a new organisational structure to address its emerging business in the Packaging and Rigid Display markets, with the appointment of key executives in its various operating units who will take responsibility for driving the Display and Packaging business and supporting the company's growing customer base.

Jean-Marc Blum, previously corporate Vice President Marketing, has been appointed Corporate Vice President, Strategic Business – Packaging and Textiles. In Scitex Vision Europe, Ronen Zioni has been appointed European Sales Director Packaging and Displays while in Scitex Vision Asia Pacific, Martin Wong has been appointed Packaging

Sericol receives Queen's Award for innovation

6 FESPA WORLD 06/04

Marketing Director. Finally, Errol Dorris Sr has been appointed General Manager, Packaging Solutions Division, in Scitex Vision America. In each region, a team of trained engineers, sales, and application personnel has been specifically set-up to support them.

Additionally, there are three, state of the art demo suites in the USA, Europe and Israel.

VUTEk is appointing new distributors to sell and service VUTEk products in the Asia Pacific region. As a result of these moves, VUTEk will also close its Shanghai facility and transition its operation and many of its people to the newly appointed distributors by the end of June. There are two additional distributors appointed to the Asia-Pacific region. Yee Fu Industrial Group with headquarters

Sericol has been awarded the prestigious Queen's Award for Enterprise in the Outstanding Innovation category.

This award, which is designed to recognise companies that have demonstrated commercial success through providing innovative products or services, is Sericol's fifth since 1988, and relates to Sericol's work in the development of UV curing inkjet tech-

in Hong Kong has been named exclusive distributor for the People's Republic of China (including Hong Kong), Taiwan, Macau and Vietnam. VUTEk will also soon announce the appointment of a second distributor, who will cover Southeast Asia, Australia, and New Zealand. Both will market VUTEk's full line of products and provide all service and support to VUTEk customers.

VUTEk has recently appointed Kevin Sykes to the position of Vice President of Worldwide Sales.

Previously the National Sales Director, North America for VUTEk, Kevin also rapidly assumed responsibility for the South American market too. Prior to joining VUTEk, he was the Regional Sales Director for Adobe Systems both its Southern and Central Regions based in Atlanta, GA. Kevin also served as Southeast Regional Sales Manager for Compaq Computer Corporation, where he was ranked as the company's number one sales person in North America. He has also held positions with Eastman Kodak's Business Imaging Systems Division, and has been ranked as one of America's 100 Best and Brightest by Dollars and Sense magazine.

nology in digital wide format, flat bed printing. Previous awards were presented for excellence in export, and technological and environmental achievement.

Commenting on the award, Ed Carhart, CEO of Sericol International said, "We are delighted with this award as it confirms our leadership in this comparatively new but fast growing area of ink technology. The introduction of our UV inkjet products is a key element in the development of our business worldwide".

MeadWestvaco Corporation has named Joan L. Keeney as the General Director of WestvacoEastPrint in Moscow, Russia, which specializes in packaging for beverages, confectionery, cosmetics, food, pharmaceuticals, tobacco and other luxury and essential products. She replaces Virginia R. McLain who returned to the United States to accept a new position as Vice-President for International Policy and Strategy, Joan Keeney, who holds a Master's Degree in Engineering from the University of Southern California, started her career as a process engineer for Proctor & Gamble where she held several production and operations assignments. She later joined Johnson Controls, running a plant and a distribution centre for the company before joining MeadWestvaco two years ago as plant manager for MeadWestvaco's Consumer and Office Products facility in St. Joseph, Missouri.

New userfriendly website for Matan Matan has launched a new website to provide clearer and more concise information for its customers and distributors worldwide.

Visit the company on www.matanprinters.com

NEWS ROUND-UP – WHAT’S NEW IN SCREENPRINTING

Reproducible screen tension A tension-measuring instrument with a very attractive cost/performance ratio has now been launched on the market by SEFAR in the shape of the microprocessorcontrolled SEFAR Tensocheck 100.

SEFAR advise that to ensure reproducible screenprinting results are achieved, it is important that the screens should always have the same tension.

Reproducible mesh tension is a very important factor in multicolour halftone printing and also for the precise printing of areas and lines. This is guaranteed by the high resolution of 0.2N/cm in the measuring range up to 30N/cm and 0.5N/cm between 30 and 60N/cm.

The stretched mesh should also have the same tension in both directions (warp and weft).

The Tensocheck 100 clearly reveals any differences, and the viewing direction for the display is identical to the direction of measurement.

The large display range (4 - 60N/cm) means that the Tensocheck 100 can be used for all tension measurements that 8 FESPA WORLD 06/04

occur in screenprinting. The digital display is 10mm high, ensuring that the tension values are easy to read even from a distance – a feature that is particularly appreciated when large frames are being stretched. The instrument is simply switched over to the relevant setting when the tension has to be measured in millimetres.

The measuring principle of the SEFAR Tensocheck 100 is based on a weight which always remains constant, unlike springs and other components, which is why the measured values will not diverge from the actual tension values even after years of use.

The power supply is provided by a normal 9V battery, which can be obtained anywhere. After three minutes without measurement activity, the device shuts itself off to conserve battery life.

The measuring system of the

Tensocheck 100 is matched to DIN 16611 and its accuracy and reliability can be verified at any time: a reset (zeroing) plate is supplied with each instrument so that the zero point can be verified or reset by pressing a button.

Regular checking of the instrument's accuracy with the calibration plate (available as an option) will guarantee maximum process reliability. With this plate, users can verify the instrument's reliability and consistency for themselves at any time. Readjustment in one of Sefar's technology centres would only be required if the checked values are out of tolerance.

To maintain conformance with the conditions specified for the ISO 9001 quality system, the calibration plate can be certified by an accredited measuring authority. Respective institutions exist in every country.

WHAT’S NEW IN SCREENPRINTING

New Agfa Inkjet film for screenprinters Agfa has announced the launch of two new inkjet films especially for the screen industry.

Agfa CopyJet and Agfa SelectJet are clear image-setter style films with a special receptive coating to enable imaging from any inkjet printer, thus producing quality film separations without the need for a darkroom, film processor, chemistry or other expensive equipment.

Agfa CopyJet is a specially formatted instant-dry film for screen and sign print up to A2 in size. The film's high density provides for maximum ink acceptance and it can be used on many types of desktop inkjet printers. With CopyJet, film users can make film separations in-

house giving them full control over their digital work-flow.

Agfa SelectJet is particularly suitable for producing colour separations. The film has a special ink-receiving layer for optimum ink coverage and has been specially developed for the highest registration accuracy.

SelectJet film is supplied in roll format for use with almost all existing large format inkjet plotter/printers. Both films will work with almost any inkjet printer currently available on the market and anything from a desktop printer to a wide format printer can be used.

Sunbeds profit from Autotype UV stabilised film While UV stabilised polyester is usually aimed for outdoor applications, Amkor Electronic Panels of Ede, the Netherlands has turned to Autotype's Autotex for a range of membrane touch switches for sun beds' remote controls.

Established in 1965, Amkor is a specialist screen printer co-developing custom made industrial labels, technical stickers and electronic panels in a range of industry sectors. Electronic panels combine the geographical capabilities of screen printing with functional elements such as LCD displays, integrated LEDs and switches with or without metal domes, all at thicknesses of around 1mm.

The underside of Autotext film is coated with a primer that ensures excellent adhesion of inks and lacquers. Edie Wennekes, Sales Engineer at Amkor observes: "This primer also enables us to use conductive inks to screen print circuit elements and even electroluminescent displays directly onto the film.

LEDs and metal domes are added using a pick and place robot.

This material is our first choice especially when embossing is required." For most applications a standard Autotext film is used, but when high UV stability is key, Amkor used Autotype Autotext XE textured polyester film. Although an indoor application, sun beds are emitting a similar amount of UV-light as the sun. As Wennekes explains: "To be able to guarantee the lifetime of a remote control, we need the long-term high quality physical properties Autotex XE can offer."

Recent sun beds, domes, and sun tunnels projects include top market brands such as Ultrasun, Alisun and Palm Beach. Ellen Kortweg, Marketing Manager at

Amkor adds: "To maintain a competitive edge our clients need to continually improve their products. The attractiveness and user friendliness are key selling points in this segment and our digital printing capabilities offer that opportunity."

Amkor's digital Indigo printer allows them to create full colour labels and electronic panels that can differ with each film being produced. Eddie Wennekes concluded: "We can add barcodes to uniquely identify a product, or print a membrane in multiple languages or decorations with no additional cost. This is a great competitive advantage compared to traditional screen printing where each additional colour or change of screen adds additional costs."

FESPA WORLD 06/04 9

WHAT’S NEW IN SCREENPRINTING

Ultra low-odour, high-performance resins Ashland Specialty Chemical has introduced additional classes of flexure self-initiating resins that improve formulating latitude, decrease cost and expand current UV opportunities.

Flexure resins are based on a platform technology that uses a proprietary, energy-curable acrylic resin chemistry developed

by Ashland. With exposure to typical commercial UV energy dosages, optimum cure can be achieved with little or no photoinitiator. Additional benefits include low odour,

reduced amounts of harmful monomers, and improved depth of cure. FlexCure products have been performance tested in a wide variety of applications including those within the graphic and display industries and offer solutions to the most challenging obstacles. Superior adhesion to very low surface

energy materials can be designed into resin architecture.

Elongation has also been significantly improved for selected packaging applications where storage or temperature changes have previously caused shrinkage or other difficulties.

For further information visit www.ashland.com

SUPPLIER SPOTLIGHT

Unrivalled screen cleaning solutions from CHIM 92 First established in 1984, CHIM 92 specialise in the supply of chemicals for industrial cleaning in areas such as petrol stations, car washes, the food and catering industries and the screenprinting sector.

Since its formation, it has designed more than 300 different products in its research and development laboratory in Lyon, France and has become an official supplier to one of the world's biggest petroleum corporations.

Following an unsolicited request from a large screen printing company some years ago CHIM 92 became aware of the numerous problems that screenprinters experience with regard to screen reclamation and screen preparation.

Accordingly, in 1998 it set up a specialised screenprinting department and carried out a rigorous analysis of screen

10 FESPA WORLD 06/04

reclamation methods so that it could offer a better solution to the problem.

The patented CHIM 92 cleaning solutions have been developed to deal with a wide range of inks and emulsions and can be used in all manner of screen printing applications including textiles, dye-sublimation, transfers, and those carried out within the industrial, and point of sale sectors. Totally biodegradable to EEC standards, the CHIM 92 solutions are completely free of oil based solvents and are environmentally and user friendly. Unlike most other cleaning solutions on the market the company's patented 3-in-1 chemistry will wash, strip and de-grease screens whilst also eliminating ghost images, thus greatly reducing the number of cleaning stages.

CHIM 92 chemicals, together with its range of automated screen treatment units helps

companies to cut costs, increase print efficiency and, at the same time, comply with ever more stringent health, safety and environmental legislation.

It offers four options in the modular M range of automated screen cleaning machines: the M1, M2, M3 and the flagship M4. The machines are differentiated by the number of units they accommodate and all are designed to effectively remove ink emulsion, grease and ghost images in one pass. They handle screens from 1000mm to 2200mm in height and offer screen printers many benefits, from reducing costs and lead times to maintaining and improving quality.

CHIM 92 works closely with its customers in order to satisfy their individual requirements and its on site and laboratory testing allows it to tailor a screen reclaiming solution, that satisfies both

customer and legislative requirements to any given specification.

Farid Lakhal, CHIM 92's International Sales Director concludes: "All the resulting cost benefits, quality improvements and reduced lead times can only help our customers become even more competitive, which is essential for survival in the tough business environment of today."

The rear view of the machine with cooling fans and pull rollers clearly visible.

NEWS ROUND-UP – WHAT’S NEW IN DIGITAL PRINTING

The feed table at the front of the machine.

SEAL Graphics enhances 62 Pro laminator SEAL Graphics, a world leader in image and print finishing solutions, has upgraded the specification of its mid-range 62 Pro mounter/laminator/encapsulator to incorporate a number of the new features found on its recently-launched 'bigger brother', the wide format SEAL 80 Pro. At the time of launching the 2m wide 80 Pro late last year, SEAL stated that some of the

advanced features would be extended to all new models and the 62 Pro is the first to benefit from these. The latter now incorporates the newly designed feed table with inbuilt tensioning rollers and a flip-down image guide, both of which make loading media a great deal simpler.

Also added are new output slitters to trim the finished products inline; as well as cooling fans to aid temperature stability during the production of long runs and flip-up pull rollers, which help, deliver flatter results when the machine is set to produce encapsulated output.

For further information visit: www.sealgraphics.com

WHAT’S NEW IN DIGITAL PRINTING

VUTEk sets a new price and performance standard VUTEk's new PressVu UV 200/600 inkjet printers offer a winning combination of speed, quality and an affordable price.

VUTEk has introduced the all-new PressVu UV 200/600 digital inkjet printer.

Starting at only €199,000, the PressVuUV 200/600 is designed specifically for all of those graphic providers looking to achieve high-end image quality and greater productivity at an affordable cost. It is expected that this addition to the VUTEk range of PressVu UV digital inkjet flatbed printers will help to make the advantages of UV-curing technology available to thousands of print-for-pay providers.

The PressVu UV 200/600 digi-

tal inkjet printer has many features that are more typically associated with more expensive models – like stunning four- and six-colour, 600dpi capabilities that deliver photographic colour reproduction and crisp text reproduction. Virtually limitless versatility and industrial-strength construction allow operators to print on to a variety of sheet-fed or roll-to-roll materials around the clock enabling Press operators to expand their facilities and

satisfy a wider variety of longterm outdoor and indoor application needs.

The printer uses durable UVcuring inks that can be applied directly to both flexible and rigid substrates, so the time and expense of finishing steps, such as mounting and lamination are eliminated. Changing from rollto-roll and rigid materials is a streamlined operation that can easily be achieved by a single operator.

Available in four- and six-colour models, the PressVu UV 200/600 can print up to 2m (80 inches) wide at 33m2 per hour (350ft2 per hour) and print on to rigid materials up to 45mm (1.75 inches) thick. It comes complete with a set of rigid extension tables and easily accommodates the addition of others for handling of longer board sizes. It will be available for shipping imminently.

For further information visit www.vutek.com

Agfa introduces next-generation micro porous inkjet media Agfa has introduced a new range of micro porous inkjet media for poster, display and sign printing, which is suitable for use with both the newest-generation pigment-based inks now available from HP, Epson and Canon, and more conventional dye-based inks.

The new AgfaJet media can be used for both indoor and outdoor applications, is waterproof and works equally well with hot and cold lamination systems. It also dries instantly and offers vibrant, long-lasting colour, excellent colour satura-

tion and a wide colour gamut. In addition, it can be used with most of the popular printers currently on the market.

The range includes UIPP Universal Instant Dry Photograde Paper, a universal resin-coated paper, available in 170 or 250

grs/m2; UFF Universal Front Print Film for backlit display applications, and PV Premium Vinyl, which is self-adhesive. The three new media are available immediately in various roll sizes up to 60inches/152cm.

For further information visit www.agfa.com FESPA WORLD 06/04 13

The Jeti grand-format inkjet printer is now selling at the rate of 16/month.

WHAT’S NEW IN DIGITAL PRINTING

Gandinnovations reach new milestone Gandinnovations showcased its 100th machine at the International Sign Association in Orlando recently.

In brief

14 FESPA WORLD 06/04

This milestone was achieved within 14 months of Gandinnovations' launching the first Jeti grand-format inkjet printer. The Jeti is offered in two model sizes, the Jeti 330 (3m/11ft.) and the Jeti 5000® (5m/16ft.). Both models, which incorporate the "S-Series" spectra high performance piezoelectric jetting assembly technology, are

capable of six colour/600 apparent dpi and are now being sold and installed globally.

During the Jeti research and development stage, James Gandy, President of Gandinnovations, and his team of engineers focused on designing a machine from the end user's perspective. Accordingly, everything from the software to

the media roll lifter, is manufactured with three essentials in mind: ease of use, quality output at real production speed and complete reliability, attributes which are reflected in the success of the machine so far – on average 16 printers are being sold every month.

For further information visit: www.gandinnovations.com

Aslan, the German specialist for self-adhesive films, now offers a new rigid PVC-film for pop-up displays. This non-adhesive and white matt film is highly opaque and has a special surface that is ideal for use with electrostatic, thermal-transfer and all solvent based printing systems. The Aslan N 22 is available in 250µm, 300µm, 350µm and 400µm and is sold in rolls of 50m x 1,23m. Further information about the compatibility with major printers is included in the Aslan compatibility list on the company's website.

For further information visit www.ASLAN-Schwarz.com

Avery Dennison Graphics Division Europe has introduced a comprehensive range of textiles suitable for large-format fullcolour inkjet applications, both water-based and solvent-based.

Ideal for the production of banners, flags, murals, curtains, stage backdrops, and POS displays, these new substrates are a valuable addition to the extensive the Avery range of digital materials.

For further information visit: www.europe.averygraphics.com

Grafityp Self-adhesive Products recently added a crystal-clear selfadhesive GEF film to its range of media designed for wide format eco-solvent digital inkjet printers.

This new UV-stabilised film, reference Grafiprint LE5P, which is offered on a matt white polyester carrier, is provided with a solvent based permanent adhesive.

For further information visit www.Grafityp.com

WHAT’S NEW IN DIGITAL PRINTING

Avery 'easy apply' cast film with lustre finish Adding significant possibilities for large-format solvent inkjet print is a new lustre-finish white vinyl from Avery Dennison Graphics Division Europe, which features patent-pending Easy Apply adhesive technology.

Avery MP1 1007 Easy Apply offers a number of features that digital printers will appreciate in terms of both cost and time saving at application and improved aesthetics for the printed graphics.

Avery MPI 1007 Easy apply is a white, conformable, premium cast vinyl film partnered with the new Avery Easy Apply technology, whose characteristics include repositionability and a smooth blemish-free finish to the applied graphics. Avery Easy apply can also contribute significantly to savings in time and cost for

applying large-format fleet graphics – particularly vehicle wraps for end users, applicators and converters. It gives a high-quality speedy result and also allows for long-term clean removability of the graphics without leaving any ugly marks, patterning or adhesive residue.

Avery's Easy Apply special adhesive system is based on minute, hardened ink dots on the adhesive layer coupled with micro channels. The ink dots allow the applicator to simply slide the printed panels of Avery Easy apply brand film across the

application substrate until their ideal positions are achieved prior to a streamlined application process. Air bubbles are easily expelled through the microchannels in the adhesive (which are invisible once the graphic is applied) and the finished application is like a second skin on smooth surfaces, both contoured and curved.

Easy Apply lustre facefilm also offers special features for the digital printer. It is quick drying – offering improved performance over gloss qualities and so can contribute to enhanced produc-

tivity. The more matt finish makes for smaller differences in gloss levels between printed and unprinted areas of material, giving a more harmonious printed graphic. The material is suitable for use with most popular solvent inkjet printers currently on the market and is also available as Avery MPI-A 1007 Easy Apply on reverse-wound cores for the Océ Arizona printer. A gloss white film, Avery MPI 1005 Easy Apply is also available.

For further information visit: www.europe.averygraphics.com

InteliCoat launches fine art media According to Frans Craandijk, Sales and Marketing Director at Intelicoat, "Ink jet printers with very high output quality have become increasingly more affordable and this is encouraging more and more people within the fine art industry to incorporate the technology into their work. InteliCoat's Magiclée solutions are helping to extend the reach of the technology even further by providing a comprehensive range of artistquality coated media that enhance the images and bring them even closer to the very high standards of the fine art industry." The new range includes Magiclée Torino, inkjet stretch cotton/polyester blend canvas for dye and pigment printers and Magiclée Verona, a textured digital fine art paper with a traditional matte finish designed for long term fade resistant reproduction. Both products are available in 210g, 16 FESPA WORLD 06/04

250g and 310g versions of fine art paper and canvas.

The Magiclée Fine Art range also encompasses Firenzematt, a presentation paper, Sienna, an instant dry photobase paper and MuralPro, a wall covering substrate for fine art applications.

InteliCoat's fine art products recently won first place in the fine art category at the 2003 André Schellenberg Awards Competition, sponsored by the Digital Printing and Imaging Association (DPI). InteliCoat's winning entry was a reproduction of a Panorama, based at Altöttingen in Germany, depicting the Crucifixion.

The Magiclée Fine Art range is available immediately and includes 210g, 250g and 310g versions of both fine art paper and canvas and is ideally suited to the specific requirements of this industry.

For further information visit: www.intelicoat.com

InteliCoat's new range of substrates helps to give fine art reproductions an authentic look.

InteliCoat Technologies has announced a new range of substrates for fine art reproduction, marketed under InteliCoat's new Magiclée brand.

NEWS ROUND-UP – ASSOCIATION NEWS

Market study on fleetmarking Increasingly screenprinters are being asked to produce vehicle liveries that combine advertising messages and this rapidly expanding market now offers many new business opportunities.

New publications from German Screenprinting Association The German Screenprinting Association has recently published two booklets relating to applications engineering for screenprinting and pad printing.

The first booklet, which is entitled, 'Requirements of the Digital Printing Method as it concerns Specific Screenprinting Use', is designed to help screenprinters carry out a full assessment so that they can ensure that they acquire the machine which is best suited to their particular needs. The booklet illustrates large format digital printing according to printing techniques and use and also provides detailed information on many of the most popular digital printers together with the results of material tests.

'Physical Pre-Treatment for 18 FESPA WORLD 06/04

Improvement of Colour Adherence for Pad Printing' examines the problem of poor colour adherence, which often occurs when marking and decorating plastic material. In order to achieve the desired quality the surface of the substrate to be printed required re-treating to ensure good ink adhesion. This booklet describes the functions and main areas of application for high frequency corona treatments, low frequency corona pretreatments, atmospheric pressure plasma, flame treatment and silicate treatment.

Deutsche Institut Druck E.V. and Section Screen Printing of bvdm recently carried out a market survey to determine the volume of this work and its predicted growth, in order to clarify the possible future benefits for screenprinters. It discovered that many advertisers now regard this method of promotion as one of the most effective available and that they prefer to use companies

who can offer a complete service including everything from initial design to final application. The results of the survey have now been summarised in a booklet.

"Fleetmarking – Transport Advertising – Vehicle Advertising: Market Volume and Development Trends". (Booklet, 17 pages, DIN A4, 2003, Item No. 85754, German language) is now available through the Association.

Swedish screenprinters get off to a flying start in 2004 The Swedish Screenprinting Association held its late April Spring Meeting in Jonkoping, the historic Swedish Match town located at the southern tip of Lake Vatter. Some 30 Screenprinters attended and the meeting began on Friday with a visit to a large Flexo Corrugated printer. This was followed with a trip to the wellknown Husqvarna factory, which was originally famous for making weapons for the Swedish Army during the seventeenth century.

The company has subsequently manufactured motorcycles, sewing machines and a host of agricultural and household equipment. A further planned visit to a local screenprinter unfortunately had to be abandoned due to internal problems.

Attendees spent Saturday enjoying a stimulating lecture program, which included various

sessions devoted to Inks, Profitability and Working Environment Issues.

The Association's AGM took place later that day and the Board was re-elected for another year.

The meeting also provided members with an opportunity to participate in the Association's regular quarterly business review. It emerged that most screenprinters felt that the first quarter of 2004 had been a very positive period as far as business was concerned, with 70% reporting an improvement in orders and 60% declaring that they were enjoying higher levels of work than previously predicted and were also receiving a higher level of enquiries compared to the same quarter in 2003.

The Association decided to organise a joint trip to FESPA 2005 and has arranged for the Autumn meeting to be held at the end of September.

NEWS ROUND-UP – ASSOCIATION NEWS

Spanish book a hit

New user friendly website

A book detailing both the technical and practical aspects of screenprinting published by The Spanish Screen and Digital Printing Association has received widespread praise from the Association's members.

The Spanish Screen and Digital Printing Association has recently redesigned its website to make it more user friendly and also to reflect the new image of the Association.

Produced with the help of sponsors, the publication is the first of its kind to be written especially for Spanish screenprinters and covers topics that are of interest to screenprinters of all denominations. They include the theory of the screenprinting process and the possible areas of application, together with practical information about the preparation of

As well as the revamped home pages, the site also includes a new 'members only' area, which facilitates access to various technical publications and all sorts of other relevant information.

It also boasts nine easily navigable areas which cover the Association's activities, its affiliations with various professional

screens, the correct selection of inks, pad printing techniques and materials.

To acquire a copy of this publication which is entitled, 'A Technical and Practical Guide to the Screenprinting Process' contact the Association on Tel: ++ 34 91 307 74 44, E-mail: aedes@asibnet.org or visit www.asibnet.org

journals and FESPA, plus a diary of events, a resources directory and an 'online shop' for the Association's various publications. In addition it offers a special 'Employment Market' for associate companies to post their latest vacancies.

Visit the new site at www.asibnet.org

Excitement builds for Sign India 2004 "FESPA Vice President Hellmuth Fry (4th from left) presents a special award to the board of the Screenprinting Association of India (SPAI) to mark the inaugral meeting of the two associations, which was set up to explore future mutual co-operation, Nigel Steffens, General Secretary of FESPA (4th from right) looks on."

Thousands of screen printers are eagerly awaiting the sixth Screen Print India 2004 exhibition, which will take place at Nehru Centre, Worli, Mumbai from 20-22 August 2004 and provide a unique opportunity for international companies to promote their products to this rapidly developing market. The scope of the 2004 show has been extended to include materials, equipment and accessories relating to Ceramic Printing, Textile/Garment Printing, Electronic/PCB Printing, CD Printing, Pad Printing, POP/Signs, Wide Format Digital Printing as well as Mini/Baby Offset Machines. Despite adverse 20 FESPA WORLD 06/04

world economic pressures on the region during the past, there is now unprecedented economic and industrial growth potential throughout the Asian region and Indian Subcontinent. Mr. Madhukumar Doshi, President of the Screen Printer's Association of India (SPAI), the national apex body of the Industry, which is supporting the show, says: "We are heading towards a future where modern communication methods are rendering geographic distance irrelevant and, at the same time, screenprinting is rapidly advancing. We now have recourse to all sorts of innovative products to help us enhance the value of our

output, many of which will be on display at the show."

A biennial event, Screen Print India 2004 is also being actively supported by various regional and state level associations, technical institutes and colleges and will be inaugurated by Michael Robertson of the SGIA (USA) who says: "SGIA is looking forward to participating in this event. The speciality imaging community is growing rapidly in India and we are pleased to have the opportunity to take an active role in this important show."

A number of ancillary events and activities have been designed to coincide with the exhibition.

These include the Screen Print

India 2004 Awards for Excellence in Screen Printing, a national level competition for the screen print industry and all of the winning entries will be on display at the exhibition. Visitors will also have the opportunity to purchase Screen Print India Buyers' Guide (2004 Edition), which provides reliable details about the industry, during the show.

Screen Print India 2004 will be fully supported by a comprehensive marketing campaign directed at both national and international companies.

For further information and the latest show updates, visit www.adityaexpo.com

NEWS ROUND-UP – DIARY DATES

Diary dates for 2004

If you would like your event to feature on this page, please send full information via e-mail to Val Hirst at: val.hirst@fespa.com

Image Expo

ASGA

SGIA

Pro Sign 2004

15th-17th July Hordern Pavilion at Fox Studios, Sydney, New South Wales, Australia The premier exhibition for screen printing, digital imaging, signmaking and associated industries in the Pacific region.

Organiser: Cygnet Exhibitions: Tel: 61 8 (08) 9322 1168, Fax: 61 8 (08) 9321 2602 e-mail: info@imageexpo.com.au www.imageexpo.com.au

15th-18th September Beijing, China The major annual screenprinting event in Asia Organiser: Chinese Screenprinting and Graphics Association Tel: +86 10 8404 3402 64001990 Fax: +86 10 6403 4996 e-mail: shenchunyan@csgia.org www.asganet.com

6th-9th October Minneapolis Convention Centre, Minneapolis, Minnesota The annual US Screen and Digital Imaging exhibition.

Organiser: Speciality Graphic Imaging Association Tel: 001 703 385 1335 Fax: 001 703 385 1339 e-mail: sgia@sgias.org www.sgia.org

21st-23rd October 2004 Frankfurt Fairgrounds, Germany The German sign and digital printing show.

Organiser: Reed Exhibitions Deutschland GmbH Tel: + 0211 / 90 191 - 197 e-mail: pschmitz@reedexpo.de www.prosign.de

Screen Print India 2004 20th-22nd August Nehru Centre, Worli, Mumbai India's 6th International Exhibition on Screen Printing Equipment, Materials and Accessories.

Organisers: Aditya Exposition (P) Ltd. Tel: ++(022) 2614 8345 Fax: ++(022) 2614 9984 e-mail: devangns@vsnl.com devangns@hotmail.com

Visual Communication Europe 15th-17th September Parc des Expositions, Porte de Versailles, Paris The European sign show returns to Paris this year.

Organiser: Reed Exhibitions Tel: 1 33 (0) 1 47 56 24 82 E-mail: eric_carabajal@reedexpo.fr www.visualparis.com

Photokina World of Imaging 28th September - 3rd October Koelnmesse, Cologne, Germany A biennial exhibition dedicated to photographic and digital imaging in all its many variations.

Organizer: Koelnmesse GmbH Tel: +49 221 821-2497 Fax: +49 221 821-3413 e-mail: c.mueller-rieker@koelnmesse.de www.koelnmesse.com

Screenprinting Forum Budapest 2004 1st-2nd October Headquarters of the Hungarian Chamber of Commerce and Industry, Wszent Laszlo ter 16, Budapest, Hungary.

Organiser: Hungarian Screen Printing Association Tel: ++36 28 516-615 Fax: ++36 28 516-616 e-mail: mszsz@vnet.hu

Sign Spain - Visual Communication 7th-9th October Feria de Madrid, IFEMA Pavillion No. 4, Madrid, Spain The 17th Edition of Spain's comprehensive visual communication show.

Organiser: Reed Exhibitions Iberia, S.A. Tel: +34 93 452 07 22 Fax: +34 93 45249 13 e-mail: rtorner@reediberia.com www.sign-viscom.com

K 20th-27th October 2004 Dusseldorf Fairgrounds, Germany.

The international exhibition for Plastics and Rubber.

Oganiser: Messe Düsseldorf GmbH Tel: +49 (0)211 45 60 01 Fax: +49 (0)211 45 60-668 e-mail: k-online@messe-duesseldorf.de www.k-online.de

Sign Italia, Seriprint, GravoIncisoria Visual Communication 2004 4th-6th November Fiera Milano, Milan, Italy Arguably the biggest and best of all of the European sign related shows.

Organiser: Brigitte Hunt - Reed Exhibitions Italia S.r.l.

Tel: ++39 0744 400544 Fax: ++39 0744 403708 e-mail: viscomit@tin.it www.visualcommunication.it

Glasstec 2004 9th-13th November 2004 Düsseldorf, Fairgrounds Germany The International show for glass.

Organiser: Messe Dusseldorf GmbH Tel: +49 (0)211 / 4560-01 Fax: +49 (0)211 / 4560-668 www.messe-duesseldorf.de

FESPA 2005 31st May-4th June 2005 Munich, Germany The world's largest event for screenprinting and digital imaging.

Oganiser: Fespa Tel: 01737 24 07 88 e-mail: info@fespa.com www.fespa.com

FESPA WORLD 06/04 21

NEWS ROUND-UP – FESPA NEWSLETTER

FESPA 2005 The countdown starts now!

With less than a year to go until the largest international event for the screen printing and digital imaging industry begins, FESPA 2005 promises to be a very successful exhibition.

Corporate sponsor

Platinum sponsors

TM

22 FESPA WORLD 06/04

With over 75% of total floor space already sold and 225 exhibitors signed up, the 2005 show is expected to break all previous records. In March, FESPA opened a fourth hall especially for companies operating in the area of textile decoration and the FESPA sales team has already sold 60% of the available stand space, with companies such as MHM, M&R, B&C and TAS all taking large stands. Sales Manager, Michael Ryan confirms that he is delighted with the interest shown so far. He says: "After listening to both exhibitors and visitors from the specialised sector of garment decoration, we recognised that there was a real opportunity here for FESPA. Garment decoration has traditionally been one of the primary screenprinting applications and is the sector where many visitors originally learn their trade. As soon as FESPA made the decision to open another hall, we immediately knew that it was the ideal location for all our garment related exhibitors."

By locating textiles in the new hall (A2), FESPA is effectively able to provide a dedicated hall (A1) for decorative and industrial applications, including printing onto glass and ceramics, whilst the remaining two halls (B1 and B2), will comprise general screen exhibitors and technologies, together with digital imaging.

This zoning of halls will help visitors to plan their visit to this global exhibition more effectively.

Pre registration Since FESPA's online registration system was launched in February, visitor registrations have been received from more than 62 different countries! This is a tremendous response, especially since the show is still a year away. Karen Bentley, Marketing and Operations Manager comments: "I am very pleased with the take up of this online registration system. The large number of registrations received so far is a very encouraging sign and certainly reflects the show's global reach." She adds that all registrants will receive a FREE visitor entrance pass, together with regular updates on the event. You can register on the FESPA website in English, German, French or Spanish, simply by visiting www.fespa2005.com

Get the best from the show Although enjoyable, visiting exhibitions can also be a tiring experience, so to make your visit to FESPA 2005 easier and more worthwhile, follow the top tips below: Plan your visit: use the website to research which exhibitors you want to see and schedule meetings to suit your requirements.

Research seminar programme: look at the seminar timetable and plan your meetings around the sessions you wish to attend.

Network: arrange to meet up with colleagues from across the industry.

Book accommodation and travel early: As the show gets closer, accommodation and travel options get smaller; use FESPA's online booking service.

Use the catalogue: mark off the location of the exhibitors you wish to see on the floor plans.

After the exhibition review the information you have received and use it to your advantage.

Finally, don't forget to take plenty of business cards and most importantly of all, wear comfortable shoes!

Hotel accommodation in Munich Given the continued growth and recognition of FESPA as a truly international event, it is advisable to book your accommodation as early as possible in order to avoid disappointment. Maritz Travel, Germany, are FESPA's official handlers for hotel reservations and offer accommodation at a wide selection of hotels.

Rooms can be reserved through Maritz by visiting the the FESPA 2005 web site www.fespa2005.com

Exhibitor workshops In order to help exhibitors get the maximum return on their investment in FESPA 2005, FESPA ran two exhibitor workshops, the first of which took place on 9th June at the Munich Trade Fair Centre, swiftly followed by another at the ExCel Exhibition Centre, London on 30th June.

Both workshops were well

FESPA NEWSLETTER

“

In our view, five days at FESPA should provide the same value as a whole year's worth of general marketing activity.

”

a a

Frazer Chesterman, Exhibition Director.

Noch ein Jahr vor der Messe und 75% der verfügbaren Ausstellungsfläche ist schon verkauft.

(225 Aussteller). Die vierte Halle wurde im März eröffnet. Die zusätzliche Stellfläche wird dazu dienen, die wachsende Zahl an Textildruckausstellern unterzubringen.FESPA2005hat schon Besucherregistrierungen aus 64 verschiedenen Ländern bekommen.

Registrieren Sie sich auf deutsch online, besuchen Sie jetztwww.fespa2005.com. Im Juni organisierteFESPAzwei Workshops, um Ihre Aussteller dabei zu helfen, eine erfolgreiche Messe zu haben.

Ratschläge über Marketing, Logistik, den Katalog und wie man am besten ausstellen sollte, wurde gegeben. Sie können kostenlosen Seminare auf derFESPA2005besuchen, wenn Sie ein Seminar organisieren möchten oder falls Sie ein Thema vorschlagen möchten, schicken Sie ein Email anKaren.bentley@fespa.com Lesen Sie den ganzen Artikel an www.fespaworld.com/27.1

Avec encore une année avant l'ouverture de l'exposition, on a alloué 75% de l'espace totale, 225 exposants. En mars nous avons ouvert le 4ème hall, qui est ciblé principalement sur des exposants de l'industrie textile. Pour le salon de la FESPA 2005 nous avons déjà reçu des inscriptions des visiteurs venant de 64 pays différents. Inscrivez-vous dès maintenant en français sur: www.fespa2005.com! En juin on a organisé 2 séminaires, pour aider nos exposants à s'apprêter effectivement au salon. Nous avons donné aux exposants des conseils sur des sujets comme: le marketing pré-salon, comment exposer effectivement et le catalogue du salon. Il y aura des séminaires gratuits au salon de la FESPA 2005. Si vous voudriez organiser un séminaire ou si vous avez des suggestions pour des sujets de discussion, veuillez envoyer un email à Karen.bentley@fespa.com Lisez tout l'article en français sur www.fespaworld.com/27.2

A un año vista de la feria, el 75% del espacio total ha sido vendido con 225 expositores. El 4° Pabellón abierto en marzo se ha enfocado a los expositores textiles. FESPA 2005 ha recibido ya inscripciones de 64 países diferentes. ¡Para registrarse ya en inglés, alemán, francés o español visitar www.fespa2005.com! Se organizaron 2 talleres en Junio, para ayudar a los expositores a que tengan éxito durante la feria. Se dieron consejos sobre el marketing pre-feria, operaciones, como exponer de manera efectiva y el catálogo Fespa 2005. Los seminarios serán gratuitos en FESPA 2005. Si está interesado en organizar un seminario o dar sugerencias sobre temas contactar con Karen.bentley@fespa.com. Para leer el artículo completo en español ver www.fespaworld.com Para leer el artículo completo en español ver www.fespaworld.com/27.3

FESPA WORLD 06/04 23

a

a b

The Munich Exhibition Centre.

c

The Fespa Team at Sign UK.

b

See over 350 exhibitors from all over the world under one roof.

From left to right: Karen Bentley, Jonathan Wake (AD Communications), Nigel Steffens, Sarah Gladstone, Frazer Chesterman, Michael Ryan, Ruth Fahie.

c

attended and both contracted and potential exhibitors listened to lively and informative presentations covering topics as diverse as: 'How to exhibit effectively'; 'The power of exhibitions'; 'How to increase the number of visitors to your stand'; 'How to experience stress-free build-up and break-down' and, most importantly, 'How to successfully record and follow up leads'. They also provided advice on general sales, marketing and public relations issues.

Commenting on the workshops, Exhibition Director, Frazer Chesterman says: "Quite simply, we wanted to help our exhibitors multiply the value of participating at FESPA 2005. In our view, five days at FESPA should provide the same value as a whole year's worth of general marketing activity."

For a FREE copy of these presentations please email: karen.bentley@fespa.com

Ten top tips for exhibiting 1 Set objectives: Decide why you are exhibiting and what you want to achieve.

24 FESPA WORLD 06/04

2 Stand design: Make sure your stand follows your objectives, be creative, bold and professional - be noticed!

3 Operations manual: Order all services and products you require by the deadlines given.

4 PR and Marketing: Send invitations to your customers and offer incentives for them to visit your stand. Advertise your presence at the show. Have a good story for the press.

5 Train your staff: Do this before the exhibition and make sure they know what the objectives are and what message they need to give out to visitors.

6 Appoint a stand manager: One person should take overall management of the stand and ensure that your objectives are achieved.

7 Book your travel and accommodation: The earlier, the better!

8 Lead handling: Categorise your leads for follow up and devise an effective lead capture system.

9 On the stand: Listen to your visitor, smile, make eye

contact, and sell the benefits not the features.

10 Follow up the leads: Contact all the visitors to your stand and effectively manage this new database. Continue to follow up these leads.

FREE seminars FESPA 2005 will boast two theatres on the exhibition floor, which will run a series of seminars and workshops aimed at educating visitors on the latest issues and developments in screen and digital printing. If you have any suggestions for hot topics you would like to see discussed, or if you are interested in hosting a session yourself please email: karen.bentley@fespa.com

FESPA 2005 promotions The FESPA 2005 team has been very active in both exhibiting at and visiting other industry shows. At the end of March FESPA had a stand at the SIGN UK show, which helped to increase awareness about FESPA 2005 and also facilitated space sales. In April, Michael Ryan,

attended the ISA Expo in Orlando, where he was able to make good contacts with Chinese and American companies. In May, the entire team attended DRUPA, a very tiring but ultimately rewarding experience, which enabled it to have some extremely useful meetings with existing and potential exhibitors as well as the world's trade press. Further such trips are planned for the autumn period and full details will appear in the next issue of Fespa World.

Coming next: In the September issue of Fespa World there will be news on FESPA's VIP programme, FESPA 2005 awards and a review of the FESPA Fest. There will also be information on FESPA going east and building relationships with the SPAI. If you have any comments or questions please contact Karen Bentley on Tel: +44 1737 240788 or email Karen.bentley@fespa.com.

Register now for your FREE visitor entry badge at www.fespa2005.com

OPINION

It seems to me...

In this issue, Stewart Partridge of Web consulting poses the question: "Will there be a new world order post DRUPA?"

“

The Germans certainly ‘put the boat out’ for me at DRUPA – quite literally, in fact. Unavailability of reasonably priced hotel rooms forced me to stay on a cruiser on the Rhine, actually a pleasant experience and only a 15 minute walk from the Düsseldorf Messe.

There is no doubt whatever that DRUPA 2004 was a great show. Whilst attendance figures were not up on 2000, this was because of the fall-off in attendance of domestic German visitors. Perhaps smaller German printers were put off by the €30 daily entry fee, and yet others impacted by the relatively slow growth in the German economy. However, foreign visitorship, especially from Asia and Eastern Europe, was considerably up, emphasizing DRUPA's role as the major global print show. As ever, screenprinting did not feature very highly on the DRUPA agenda, although digital printing certainly did.

26 FESPA WORLD 06/04

My lasting impression from DRUPA, other than to wear more comfortable shoes next time, was the maturing of digital printing as a serious printing and imaging technology.

Since the millennium event, a series of major acquisitions have transformed the structure of the industry.

With its purchase of Indigo, HP has now emerged as a serious provider of digital offset printing solutions, to complement its laser printer, plotter and wide format printer businesses.

Other companies such as Kodak, FujiFilm and Agfa have also undergone major change. The onward march of the digital camera has impacted sales of consumable photoproducts (films, papers and chemicals), and we have seen in printing a growing presence of the photo giants such as FujiFilm ($23 billion), Kodak (>$12 billion) and Agfa.

This is evidenced

by Kodak's publiclyannounced strategy to migrate much of its business into digital imaging and printing, demonstrated by its 2002 acquisition of Encad, followed more recently by that of Scitex Digital Printing (now Kodak Versamark) and the purchase of Heidelberg's 50% stake in NexPress Solutions. Meanwhile, Agfa has acquired Dotrix, the former digital print division of Barco Graphics, and recently announced an alliance in flatbed inkjet with screen machinery manufacturer Thieme. FujiFilm has progressed by a mixture of acquisition and strong organic growth in digital pre-press, whilst defending its domestic Japanese photo business using creative and effective strategies. Where these go, will the PMAI follow?

These large photographic corporations, were originally fringe players in pre-press for the printing

industry, fighting against other corporations of the size and calibre of HP, Epson, 3M and Xerox.

Now they are capable of revolutionising the whole structure of the global printing and imaging industry, of which screen printing is a relatively minor part. As it happens, we do not even have to wait for these corporations to integrate their newly adopted daughter companies and get their act together, as the industry change is happening now, from the printers and end-users up. The identity of the end-users – the screen printers, professional photolabs, sign shops, reprographics houses, even quick printers and newer digital printers - is changing and evolving as we watch.

This is actually a serious challenge for FESPA and its component associations, and even the FESPA Show. Will production wide format graphics – formerly the domain

OPINION

mainly of the graphics screen printer, and the major lynchpin of FESPA, be an area that the SPA's and FESPA can claim for their own? Probably not.

The competition will mainly come from DRUPA, the sign shows such as ISA and Sign Europe, photo events such as Photokina and PMA, and the struggling upstart digital tradeshows.

FESPA and its member associations appreciate the need for redefining their core business in terms of the applications they serve, and in this respect are going through the same processes as their own members. At the same time, consolidation in the printing and imaging industry is happening at an end-user level, and this is squeezing the funding base of all those print trade associations based in developed economies.

Everyone needs to recruit new members.

How the ‘old screen industry allies’ – the

screen printing manufacturers, FESPA, the SPA's and the screen printers – redefine their businesses can have a major effect on the way in which the industry develops.

So I would like to pose the question for FESPA: in terms of applications and technologies, what's IN, and what's OUT? FESPA's position, both

as an umbrella trade organisation and a specialist exhibition organiser, will be tested by many competitors over coming years. And despite the obvious success of its revitalised management in wooing many new exhibitors to FESPA 2005, the real challenges to FESPA and its allies are only just beginning.

Web Consulting is a global consultancy and research group for the sign, screen and digital printing industries, with offices in Abingdon, UK, Orlando, USA and Shanghai, China.

Typical projects for Web include conducting market research and industry analysis globally, assisting manufacturers with strategic and marketing projects, and undertaking due diligence work for mergers and acquisitions. In addition, the Company will be issuing over 14 new industry survey reports in 2004.

Over to You

”

Do you agree with Stewart Partridge or think that he has got it totally wrong?

Whatever your views we want to hear them.

Please address your thoughts on this or indeed, any other industry related topic to: Val Hirst Editor, Fespa Association House, 7a West Street, Reigate, Surrey, Great Britain RH2 9BL or e-mail to val.hirst@fespa.com

FESPA WORLD 06/04 27

THE BIG STORY

FLAT OUT at Drupa This is not, as you might imagine, a description of the exhibitors at the end of a gruelling 14 day exhibition, but relates instead to the number of flatbed digital printers that were on show at Drupa this year.

Val Hirst reports

28 FESPA WORLD 06/04

If anyone was still harbouring any doubts as to the future of wide format digital inkjet flat-bed printers, they should have certainly have been laid to rest following this year's showing at Drupa. All of the main players were fielding either new or enhanced models and it was plain for anyone to see that this technology is now well and truly established. There is also no doubt that any initial early teething problems have now been resolved and that anyone thinking of investing in any of the machines reviewed here should be able to proceed with confidence.

However, as with all previous generations of digital printers, the trick is matching the machine to its intended usage, so, as always, the crucial questions have to be: "What do I need this machine for?" followed swiftly by "How much do I want to spend?"

Although it would be easy to break the bank, it is interesting to observe that NUR, VUTEk and Durst are all now offering more affordable options, whilst the more cautious might want to investigate the efficacy of the smaller machines from Zund, Océ and Mimaki.

Mimaki's new UJF-605C flat bed printer is not a wide format machine since it offers a print area of just 600 x 500mm. However it uses UV curable ink to print on to rigid substrates up to 5cm thick at a dpi of between 2400 x 1200 and boasts seven colours, including white, which can either be used as a spot or background colour. Mimaki suggest that this printer is ideal for printing membrane switch panels or, alternatively, for producing samples.

Océ's T220 is now available in both solvent and UV versions, the latter of which was introduced at Océ's recent Open House in Germany. Both models can accommodate substrates up to 5.08cm and offer a print width of 1.6m and lengths of up to 3m. The T220 prints at up to 16m2 per hour, which although not blistering, is perfectly respectable.

Océ has also introduced another budget conscious machine in its Arizona 60UV, a versatile six-colour machine that is designed to print on to both rigid and flexible substrates. This machine can tackle materials up to 1cm in thickness and prints at up to 5.1m2 per hour with a maximum size of 152mm x 243cm. The 60UV has portable roller tables at both front and back, which can easily be removed when printing on flexible substrates. It

provides another option for the many Arizona fans who have expanded their businesses on the back of the original Arizona solvent inkjet printer.

Zund's UVjet 215C flat bed printer used Sericol's UV curable inks and offered improved handling and an optional rear loading table when it was upgraded last year. It is designed to print on to a wide array of different rigid substrates and has always been a favourite with those seeking a budget priced flat bed machine. It can accommodate materials up to 4cm thick and 2150mm wide of any length. Now the UVjet 215-Plus offers an increased speed and uses six colours to output on to both rigid and roll-to-roll materials. Zund's newest flat-bed machine, UVjet XY can be used to produce the ever-increasing number of lenticular applications, printing on substrates up to 3cm thick and 2450mm wide at up to 720dpi.

Finally, Zund has also introduced the UVjet 250 Combi which provides users with a choice of four or six colours, together with an optional white ink and the ability to output on to both rigid substrates up to l0cm thick and flexible substrates.

Meanwhile, VUTEk is now offering a mid priced version of its PressVu UV 200/600 flat bed printer which comes in at under E200,000, yet offers many of the features of the more expensive machines within the PressVu series. It is available with both four and six colour options and offers both roll-toroll and sheet fed capabilities, printing on to substrates with a maximum thickness of 4.45cm at 33m2 per hour. This machine complements Vutek's two more established models, the Press UV 180/600 and the 180/360.

Inca chose Drupa to show its two new digital inkjet flatbed printers, the Columbia Turbo and the Spyder 150, which are distributed by Sericol. Both printers feature new UV curing inkjet ink systems.

Since the launch of the Columbia in 2003, Inca and Sericol have collaborated further to produce the faster Columbia Turbo, which achieves speeds of up to more than 160m2 an hour. Designed to produce large volume graphic displays and POP material, the Columbia Turbo can accommodate substrates up to 4cm thick and up to 40kg in weight, offering resolutions of up to l,000dpi. And, according to Sericol's Digital Marketing Manager,

THE BIG STORY

a

a

Mimaki's new UJF-605C flat bed printer.

Zusammenfassung "Big Story" Auf der diesjährigen "drupa" in Düsseldorf konnte man einen beträchtlichen Zuwachs an auf dem Markt verfügbaren großformatigen digitalen Inkjet- Flachbettdruckmaschinen beobachten. Alle bekannten Hersteller boten neue oder weiterentwickelte Maschinen an und traten so in einen Marktbereich ein, den seinerzeit die Firma Lüscher erstmals erschloss.

Die in erster Linie für den Druck auf starren Substraten ausgelegten Flachbettmaschinen, obwohl viele Maschinen zur Erhöhung deren Einsatzflexibilität auch als Rollenmaschinen angeboten werden, verwenden im allgemeinen UVFarben, bei welchen die mit der Trocknungszeit verbundenen Probleme von Lösemittelfarben nicht mehr bestehen. In diesem Artikel behandeln wir die verschiedenen Optionen, wie sie von VUTek, NUR, Sericol/Inka, Durst. 3M, Lüscher und Gandinnovations angeboten werden, als auch die erschwinglicheren Maschinen von Zund, Oce und Mimaki, und heben ihre speziellen Merkmale und ihre Eignung für besondere Einsatzmöglichkeiten hervor.

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Cette année, à la Drupa, il y eu un accroissement incontestable du nombres des presses jet d'encre à plat, tous les joueurs officiels offrant leur version nouvelle ou améliorée, avec en plus la première apparition de Lüscher sur ce marché.

Dans la mesure où elles ont été au départ créées pour imprimer sur des supports rigides, encore que de nombreuses machines offrent des possibilités d'impression en bobine à bobine pour encore plus de souplesse, les presses à plat travaillent généralement en encres UV qui suppriment les problèmes des temps de séchage (et la pollution) qui sont un élément incontournable des encres à solvants. Dans cet article, nous examinons les différentes options offertes par VuTek, NUR, Sericol/Inca, Durst, 3M, Lüscher et Gandinnovations, aussi bien que des machines plus abordables comme celles de Zund, Océ et Mimaki en mettant en lumière leurs caractéristiques principales et leur adaptation à des applications spéciales.

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Este año en Drupa, hubo un notable incremento en el número de impresoras digitales inkjet planas de gran formato, con todo el mercado de fabricantes ofreciendo máquinas nuevas o renovadas y la aparición de Luscher por primera vez.

Partiendo de que las máquinas de formato plano están diseñadas para imprimir sobre soportes rígidos, aunque muchas impresoras también ofrecen la opción añadida del formato cilíndrico, generalmente utilizan tintas UV que resuelven los problemas relacionados con el tiempo de secado característicos de las tintas solventes. En este artículo se examinan las diferentes opciones que ofrecen VUTek, NUR, Sericol/Inca, Durst, 3M, Luscher y Gandinnovations, así como las máquinas más razonables de Zund, Océ y Mimaki, destacando sus características propias y su adaptabilidad para aplicaciones específicas.

Para leer el artículo completo en español ver www.fespaworld.com/27.3

FESPA WORLD 06/04 29

THE BIG STORY

Tudor Morgan, it can also help to extend the economic digital print run up to around 400 – a level that combines nicely with screen printing.

The Spyder 150 is an affordable, compact printer that delivers near photographic quality at speed.

With a small footprint and a 1.5 x 1m bed, the Spyder is designed for specialist screen printers, repro houses and firms turning out high quality POP displays, exhibition graphics, backlit and lenticular prints. It uses new head technology and a new ink system, which together offer high quality, edge-to-edge print on virtually any substrate up to 30mm thick. Because the ink drop size is small and accurate, it is ideal for direct to media 3D and lenticular printing which it prints at 24m2 an hour.

These two new machines, along with Inca's Eagle H, an updated version of its original Eagle 44, which can handle materials up to 40mm thick and offer resolution up to l,000dpi, will shortly be complemented by another new launch in the form of the Fastjet. This machine, which Inca is developing as the result of a partnership with Sun Chemical will print onto substrates up to 1,200mm wide and 7mm thick and is expected to be of special interest to companies specializing in packaging.

Of course, Scitex Vision's CORjet is already aimed at the packaging sector and this machine, which is water-based and prints with either four or six colours using eco-friendly inks also developed by Scitex Vision, outputs at up to 150 m2 per hour. It can cope with sheets up to 160 x 320cm and thicknesses of up to 1cm. Scitex also offer the VEEjet a UV machine that is designed to print on to rigid materials of up to 2 x 3m in size and thicknesses up to 4cm with output speeds of up to 36m2 per hour.

Because the substrate does not move during the printing process – rather the print heads travel the length of the substrate – it responds equally well to

both fragile and heavy materials, producing print of a consistently high quality.

Drupa also saw the launch of NUR's new Tempo L, is another UV machine which has been priced to appeal to budget conscious customers who like the look of the original Tempo machine but aren't yet confident enough to make the bigger investment that it demands. The Tempo L borrows many of the refinements of the original Tempo, but offers four colour printing instead of eight. However, customers do have the option to upgrade as and when they are ready.

Durst's Rho 205, which we covered in some depth in the last issue, was further upgraded at Drupa to the Durst 205-16. This enhanced offering features 16 heads over the original eight and thus effectively doubles the overall productivity of the machine whilst maintaining the same level of output quality.

More interesting was the introduction of Durst's Rho 160W Plus, which has the ability to print white ink on to a wide range of rigid and flexible materials.

The Rho 160W Plus is the latest version of the recently introduced Rho 160 Plus, which itself is an upgrade of the highly successful Rho 160. The white ink feature allows users to create a white background, ideal for coloured and clear media.

Several different user selectable white ink print options include, underprinting white areas, filling white areas or details, printing white as a spot colour, producing cleaner backgrounds on coloured media, and creating greater contrast in images. The Rho 160 Plus also offers many new features over its predecessor, which include a revolutionary print head layout that facilitates faster printing speeds without sacrificing image quality. There are four printing modes, offering real high speed printing up to approximately 80m2 per hour.

Last but by no means least is Lüscher's entry into the large format digital printing sector, with the JetPrint, a UV ink-jet printer which is mounted on a unique fixed vacuum table and employs Spectra piezo print heads, with 1024 jets per colour. Using four, six or eight (or two x four) future-oriented SunJet UV curing inks, JetPrint prints virtually any rigid or flexible substrate up to 80mm thick or even numerous small formats simultaneously, whilst achieving a true resolution of 400 x 400dpi and a speed of up to 100m2 an hour (with eight colours).

Plenty here then for everyone to choose from and with manufacturers continuing to refine and hone their offerings, as they receive customer feed back, it is safe to assume that the flatbed market will continue to gather momentum for the foreseeable future.

a

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30 FESPA WORLD 06/04

Inca exhibiting at Sign Italia.

FACE2FACE

Textiles with a twist Once upon a time, Macclesfield was the home of the UK silk industry. But although silk production has long since ceased and most of the former silk mills have now been converted into desirable homes or swish offices, the Cheshire town hasn't entirely lost its connections with the textile Industry. Belford Prints Ltd. is one of the very few British companies to produce short run textiles to order, whilst its sister company, R.A. Smart, sells both traditional screenprinting equipment and the latest digital technology.

Val Hirst goes Face2Face with Trish Belford and Magnus Mighall to find out more.

If you have ever owned a garment from Vivienne Westward or Jasper Conran, worn one of Georgina von Etzdorf's sumptuous signature scarves, or covered a sofa in a colourful Liberty print, the chances are that the fabric will have come from Belford Print.

First established in London in 1985, the company marked a collaboration between Ron Smart, owner of R.A. Smart, a supplier of traditional screenprinting equipment and materials and Patricia 'Trish' Belford, a textile designer, who, on her own admission, "prefers the practical side of fabric production."

Originally created to fill a gap in the market for very high quality, short run bespoke textile printing, Belford Prints soon became the darling of all of the leading British fashion designers as well as the manufacturers of the most coveted furnishing fabrics. Trish Belford, who now presides over a factory that employs 24 people, remembers the early days when she was the company's sole employee.

She explains: "As a supplier of screenprinting equipment, Ron realised that there was no UK company that specialised in short run textiles and so designers and manufacturers who wanted something original had to source printers in Europe. We started off in a small way - just me working in a disused railway arch – the only place we could find that was big enough to accommodate the 20m printing table!"

“

Paradoxically we became the victims of our own success. We had earned ourselves a name for being able to come up with the goods no matter how fanciful the concept or difficult the fabric.

”

However, after five years of successful trading it became clear that a move was necessary to enable Belford Prints to keep up with the growing demand it had been responsible for creating. Cheshire was the obvious choice for the new headquarters, since R.A. 32 FESPA WORLD 06/04

Smart, which had gradually expanded its repertoire to include all sorts of screen related equipment, had also outgrown its original Macclesfield premises and was planning to move into a brand new factory unit in nearby Bollington. It seemed only sensible then, that Belford Prints should occupy a neighbouring unit on the same industrial estate so that the two companies could take full advantage of the cross fertilisation that their complementary activities provided.

During the 90s, Belford Prints gained a reputation for being able to accommodate even the most esoteric of requests and became especially skilled in the production of the devoré velvet that was one of the defining fashion statements of the decade.

During this period the company's profits soared, but by 1999 devoré had rather had its day and in any case, many foreign printers had also got to grips with the complexities involved in producing this luxurious fabric. Belford Prints needed to find another unique and lucrative area in which it could excel, but although the commissions it undertook continued to test its resources to the limit and also provided the sort of challenges it relished, as Trish bluntly asserts: "We didn't make an awful lot of money." She says: "Paradoxically we became the victims of our own success. We had earned ourselves a name for being able to come up with the goods no matter how fanciful the concept or difficult the fabric. But although we were running 24 hour shifts and working hard all of the time, practically everything we did was fiddly and labour intensive and, as a result, not that profitable."

A major rethink was needed, which lead to Belford Prints swapping the capricious World of female fashion for the more conservative and predictable area of menswear and also devoting more production time to the growing requirement for unusual furnishing fabrics. Trish continues: "Nowadays we are printing a lot of the fabric used in men's tailoring, which provides us with a steady influx of work that is much more manageable." In fact Belford Print now numbers companies such as Gieves and Hawkes, the upmarket mens' tailor amongst its current clients. That is not to say

FACE2FACE

Left:

Magnus Mighall from R.A. Smart

Right: Trish Belford from Belford Prints Ltd

Belford Prints und R.A. Smart sind Schwesterngesellschaften, die jeweils kurzfristige und maßgeschneiderte Textildrucke produzieren, welche innerhalb des Modensektors und dem Bereich der Heimtextilien eingesetzt werden. Zusätzlich liefern sie sowohl „traditionelle" Siebdruckals auch Digitaldruckausstattungen für den Textildruck. Beide Firmen erklären, dass der Digitaldruck es den Designern ermöglicht, ihre Originalkonzepte auf Weisen zu realisieren, wie das zuvor unmöglich gewesen wäre. Aber sie betonen auch, dass Siebdruck immer noch der kosteneffizienteste Weg sei, Stoffe und Gewebe zu bedrucken und dass die besten Ergebnisse oft dann erreicht werden, wenn die zwei Prozesse zusammen verwendet werden, um einander zu ergänzen.

Belford Prints produziert derzeit Drucke, die für Herrenbekleidung und Heimtextilien eingesetzt werden. R.A. Smart war einer der ersten britischen Unternehmen die sich eine „Mimaki TX1" Textildruckmaschine anschafften, ist nun Wiederverkäufer von Mimaki- Produkten für den Textildruck und verkauft diese in ganz Großbritannien.

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Belford Prints et R.A. Smart sont deux entreprises sœurs qui fabriquent en petite quantité de l'impression textile pour la mode et la maison et fournissent des équipements pour la sérigraphie et le numérique. Ces entreprises expliquent que l'impression numérique a permis aux créateurs de réaliser leurs concepts originaux ce qui était autrefois impossible, mais tous deux insistent sur le fait que la sérigraphie reste le moyen le meilleur marché d'imprimer des tissus et que les meilleurs résultats sont souvent atteints quand les deux procédés sont utilisés en tandem en se complétant.

Belford Prints produit des imprimés pour la mode masculine et l'habitat. P.A. Smart a été une des premières entreprises britanniques à acheter une imprimante pour textile Mimaki TX1 et elle est ensuite devenue un revendeur des produits Mimaki aux imprimeurs textiles britanniques.

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Belford Prints y R.A. Smart son compañías hermanas que realizan, respectivamente, impresión textil a medida en tiradas cortas para su uso en los sectores de moda y textil hogar y suministro de equipos de impresión en serigrafía tradicional y digital.

Estas compañías nos explican que la impresión digital ha permitido a los diseñadores realizar conceptos originales en formas que antes habrían sido imposibles, pero insisten que la serigrafía es todavía la forma de impresión más eficiente en costes y que los mejores resultados se alcanzan a menudo cuando los dos procesos son utilizados conjuntamente como complemento uno del otro.

Los trabajos impresos que actualmente produce Belford Prints se utilizan en moda hombre y textil hogar. R.A: Smart fue una de las primeras compañías en adquirir una impresora textil Mimaki TX1 y ha llegado a ser un distribuidor de productos Mimaki para impresores textiles de todo el Reino Unido.

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FESPA WORLD 06/04 33

however, that the company's collective expertise is being wasted. A quick stroll around the factory reveals that along with the sober dark fabrics destined for suit linings and the jauntily discreet patterns that will be made into ties, there are still lots of more obviously eyecatching designs passing through the various printing, steaming and washing processes. Many of these will eventually find their way into the fabulous houses that frequently feature in the glossy home and interior magazines.

Remarking on the hundreds of multi-hued samples that cover every available surface of Trish's office, Magnus Mighall, who has worked for R.A. Smart for the last 17 years, attributes this glorious explosion of colour to the advent of digital technology. He says: "When we had to rely on screenprinting there was a limit to the number of different tones and shades that could be used in one design, but now thanks to digital printing there are no restrictions at all." Trish agrees saying: "Often designers create a design which couldn't have been printed six or seven years ago – now they simply take it for granted that they can have anything that they want and, by and large, they can!"

R.A. Smart are now resellers for Hybrid, the exclusive UK distributor for Mimaki printers and were one of the first companies to acquire Mimaki's original inkjet textile printer, the Textile Jet TX1600, when it was introduced some six years ago.

Especially designed for printing directly on to fabric, the TX1600 was superseded by the faster TX2-1600 model some three years later and the range has now been further complemented with the introduction 34 FESPA WORLD 06/04

of the TX3 which was launched last year at ITMA. Magnus explains that, as is the case with other industry areas, once companies adopt digital technology and grow to appreciate the advantages it can offer them, they are keen to trade up to a new and faster model as soon as it becomes available.

However, textile printing throws up extra challenges. He says: "Unlike paper and other flexible substrates, cloth is not necessarily always of a totally uniform quality and any slight imperfections in the weave can play havoc with the smooth operation of the printer and the final effect. Therefore, textile printers seldom offer quite the same plug and play facilities as the latest generation of printers designed for the graphics industry. For example, the TX3 is not necessarily any speedier than its predecessors but it does feature a much more sophisticated belt system which minimises any problems with the smooth flow of the fabric through the machine. It also achieves the same high quality at a lower print resolution, which in turn promotes faster throughput overall." Trish adds that although in theory it should be possible to simply set the printer and walk away, this seldom happens in real life. "You have to be on hand in case the fabric gets jammed or anything else goes wrong," she says, visibly palling at the thought of ruining several metres of exquisitely expensive silk or cashmere due to a printing glitch.

Initially inkjet textile printers were most often used for sampling but increasingly, they are being used to produce an entire fabric run. Trish though likes to harness both old and new technology in

FACE2FACE

tandem. "Screen printing is still the best and most cost effective method for producing a large quantity of a simple one or two colour print," she says firmly. Other designs feature both screen-printed and digitally printed elements with Trish using her skill as a designer and expertise as a printer to advise clients which method will produce the desired result at an affordable price.

“

It's very important that the next generation of textile designers are up to speed with the technology and know how to use it.

�

Magnus feels that soon the balance will tip a little further in the direction of digital printing. As someone who has witnessed the growth of digital methods and seen R.A. Smart's core business move from a ratio of one third digital to two thirds traditional a mere three years ago, to two thirds digital to one third traditional today, he is preparing to up the ante. He confides that R.A. Smart is preparing to take delivery of the brand new Monna Lisa printer from the Italian manufacturer Robustelli. This heavy-duty inkjet machine, which is to the textile industry what the superwide format inkjet machines are to the graphics industry, features tried and tested piezoinkjet technology and uses Epson printheads. The machine is the result of a collaboration between Robustelli, Epson and For Tex SRl who specialise in the production of dyes and who are producing a new range of Genesta inks specially designed for use with the Monna Lisa. These three companies have taken heed of the wish lists of the many textile manufacturers who inhabit the Como area of Italy and who between them produce the majority of fabrics used by all of the leading design houses and couturiers.

"The Robustelli machine will print at up to a blistering 118m2 per hour compared to the 22m2 that can be achieved with the TX3, so someone with a cool quarter of a million euros to invest can really start stepping up a gear or two." Magnus says with enthusiasm. Trish too welcomes the opportunity to re-define the term 'short run'. At present it's feasible to produce up to l000m of fabric digitally, and she is looking forward to being able to treble that quantity within the same time span.

However in textile terms, fast is a relative term.

Although the actual printing time might have become faster, the process is still a slow and laborious one. A walk around the Belford factory reveals that digital methods aside, the textiles still need to be pre-coated and, after printing, they have to be steamed so that the dyes will adhere properly and finally, washed. Unlike the graphics industry, textile printing is not an area, where people can dip in and out at will. "The initial investment is a much higher one although we can provide smaller versions of

the traditional steamers and washers if the company concerned are only going to operate on a smaller scale." says Magnus.

Over at the R.A. Smart factory it quickly becomes obvious that company has retained its ability to produce traditional materials as well as all of the latest innovations such as digital printers and heat presses for use with dye sublimation. Remarking on the latter, Magnus observes that this is another area that has benefitted from a digital approach. "When you look at the scope for personalisation it's quite remarkable," he says. "Just look at the current crop of football strips all of which feature multi- coloured logos as well as the more prosaic team names and numbers. None of that would have been possible without the digital method of dye sublimation."

As well as dealing with textile printers of all denominations, R.A. Smart has also made something of a specialty of supplying equipment to colleges and universities, who provide a sizeable chunk of the company's business. As Magnus explains: "It's very important that the next generation of textile designers are up to speed with the technology and know how to use it." The company also operates its own bureau service, using its demonstration machines to either supplement a client's own in-house capacity or to provide 'testruns' for those who are considering investing in a machine. This and the close links with Belford Prints means that Magnus is uniquely placed to appreciate how equipment needs to operate in an everyday working environment and which new innovations would be most useful for the industry.

He confirms that R.A. Smart customers get the benefit of the company's hard-won expertise. "When a customer first acquires a new digital printer, there's an awful lot of hand-holding and we try to guide them through all of the possible problems they might encounter. Then as resellers, we are also in a position to provide useful feedback to the distributors and manufacturers who in turn can use it to enhance future models." He feels though that the next advancements will concern dye development rather than machine modification. "There is a real need for a machine that can deliver white dye," he says, acknowledging that this is something that is only just happening with the graphic sector. "That would really help to open up a lot of different markets since at the moment it is only possible to print on to a dark fabric using discharge inks.

It would also be nice to think that a dye that does away with the necessity for pre-coating, yet still delivers the same vibrant colour gamut, isn't very far away. These two developments would certainly open up all sorts of new markets, although when I look back there are already many new applications in a dozen different sectors that wouldn't have been possible without the advent of digital imaging. In another ten years time, I'm sure that textile printers will be doing all sorts of things that we can't even conceive of now." And whatever they are Belford Prints and R.A. Smart are sure to be leading the way!

FESPA WORLD 06/04 35

FOCUS ON

textiles

A perfect pairing Domingo Pannon, Managing Director of a Spanish screenprinting equipment manufacturer, believes that when it comes to textile printing screen is the best method.

First established in Spain more than 40 years ago, C.M. Pannon, S.L. is a manufacturer of screenprinting equipment who prides itself on using its years of hard won experience to help its customers select the best products for their specific areas of application. The company is particularly involved in the production of equipment used in the textile printing sector and offers a range of both manual and automatic linear and carrousel machines, as well as drying tunnels and silkscreen printing accessories. Its machines are exported worldwide to customers in countries such as Brazil, Argentina, Mexico, Portugal, Italy and Bangladesh, all of whom appreciate the fact that C.M. Pannon offer a full service that includes installation, training and after sales support.

When asked to describe a typical Pannon customer, Managing Director Domingo Pannon responds that there is no such thing.

He says: “Our customers include the smallest family run screenprinting company who

specialise in garment personalisation to the largest textile companies who provide fabrics for all of the leading fashion houses. In the same way, we supply equipment that is suitable for printing anything from short run promotional goods to textiles that will be used for haute couture.” He adds that the company has its own in-house technical development department that is dedicated to continually improving quality and keeping C.M Pannon at the forefront of manufacture.

Although he acknowledges the growth and increasing popularity of digital printing technology in the textile sector, Domingo Pannon feels that it will have to progress a long way before it truly rivals screenprinting.

He explains: “It’s true that digital printing is developing in leaps and bounds, but screenprinting still offers many more possibilities for inspiration and creativity than digital methods yet provide. For example, visit any shopping centre and see all of the different designs that have been achieved using screen-

printing – you’ll find glitter effects, spangling, flocking, foam, vintage, tri-dimensional, etc.

Add to this the fact that you can take a single T-shirt and use several different kinds of ink which combine to produce many different textures and decorative effects. I don’t believe that this level of variety and originality is possible with digital printing methods” He adds that at present at least the desire for ethnically inspired fashion is working in screenprintings' favour, but maintains that even when tastes change, screenprinting will still allow for more original innovation. He concludes: “Our customers use different ink formulations to print on everything from cotton, nylon, polyester, lycra, non-woven fabrics, paper and PVC and the finished products include T-shirts, caps, bags, trousers, paper for transfer. And happily the more inventive they become the more the demand grows. I think that screenprinting will remain the process of choice for most companies in the textile sector for many years to come.”

Hungarian rhapsody Hungarian screenprinter Gábor Poos of SzitaGrafix Kft, explains why textile printing will always remain his first love.

Gábor Poos and his wife first established SzitaGrafix Kft in 1990 and although nowadays the company has expanded its area of operation to include pad-printing and printing on to both flexible and rigid substrates, it started off more modestly. As Gábor explains, SzitaGrafix Kft was originally formed to print T-shirts. He says: “We made a very limited investment at first, but very quickly the demand grew and soon we were able to extend our repertoire somewhat and move into other areas such as transferring images on to hats, umbrellas, bags and so on.”

Nowadays the company, which operates from a 200m2 factory, boasts 12 employees and despite its frugal start, has invested a lot of money in equipment. Gábor resumes: “We recently bought a 7-colour automatic screenprinting machine which will help to facilitate further growth.” He adds that the company’s latest venture is printing on to 36 FESPA WORLD 03/04

CDs and DVDs using a machine that it has developed itself, but despite all of these enhancements, Gabor declares that textile printing remains his ‘first love’.

He goes on to explain that quality is always given a high priority which is probably why SzitaGrafix Kft was rewarded with the first prize in the Textile Section of a competition run by the Hungarian Screen Printing Association.

He says: “I am looking forward to the future, primarily because I feel that Hungary’s acceptance into the EEC will help to boost the economy at home and also enable us to service clients in other areas of Europe. I also am looking forward to enjoying a more regular workload and am anticipating a move into larger premises in order to cope with any extra demand.”

According to Gabor, textile printing will develop in three different ways: he foresees that there will be an increasing demand for

high quality hand made printing which will run in tandem with the greater automation of the process. He says: “Whilst all of the advances in equipment are helping to make the screen process, quicker, easier and therefore cheaper, I think there will always be an equal need for really original hand-crafted items and some companies, particularly those operating in the luxury goods market will be prepared to pay the extra premium that this kind of work deserves.” He also recognises that the advances in digital printing techniques will also leave their mark. He continues: “Already digital printers are facilitating greater creativity and permitting the production of complex designs that simply wouldn’t have been possible before. I expect this trend to continue but at the same time, I don’t think this will be to the detriment of screen printing. Rather we will be combining both conventional and new methods to produce something really unique.”

FOCUS ON TEXTILES

The worldwide name for thermo transfer onto textile Based in Vincenza, Northern Italy, Siser s.p.A specialises in the manufacture of materials suitable for thermo transfer on to textiles and is recognised as one of the leading companies within this field.

First established in l970, when it invented an original CAD-CUT material, Siser is responsible for helping to create the latest trends in leisure and sports personalisation and now sports such as basketball, volleyball, athletics and football, are all benefitting from the company's products.

In the same way, its customers can also take full advantage of the profit potential in this lucrative and rapidly growing market. Custom lettering and logos can be applied in minutes onto T-shirts, jackets, bags and all sorts of other ancillary sports items, and, because the process is now so quick and convenient, there are few restrictions as to minimum size of order or turnaround time. In fact most companies are able to offer a next day delivery service.

Siser predict that in future there will be an even wider selection of materials to choose from, including thinner fabrics, an expanded colour gamut and lots of eyecatching special effects as personalised clothing follows the ever-changing dictates of fashion. Currently its products are suitable for use with plotter cut applications, die-cutting, digital printing, and screenprinting and can be used on cotton, polyester, poly cotton blends, lycra, woven nylons, knitted nylons, nylon mesh and all light silicon treated textiles. It currently stocks a variety of 23 different products in up to 20 different colours. They include: 38 FESPA WORLD 06/04

Videoflex and Videoflex PU These materials are suitable for plotter cut, sport specific applications, due to their high opacity and matt finish. Videoflex PU is a PVC free material that features a thin layer (about 100 Micron thick only) which is best suited for multi-layer decorations.

Sublistop This newly introduced material was designed to provide embellishments on polyester textiles dyed with the traditionally difficult red and blue sublimation inks, and eliminate the possibility of bleed-through. Sublistop features a thin layer and offers superior colour fastness during washing. It is particularly suitable for use in conjunction with football shirts.

Videoflex Perforated This is another new material that is especially suitable for large decorative motifs since it allows the fabric to 'breathe' even after heat application on to the garment.

Perforations are available in different shapes, for example as circles, stars, etc. thus further enhancing the overall decorative effect.

Videoflex FASHION This special plotter-cut material can be used for any decoration requiring a fashionable glitter or transparent effect and is available in gold and silver glitters and a new 'Glossy Paint' effect.

High Q Flock™ A new and innovative flock material made

of a special high quality fibre, High Q flock offers outstanding colour brilliance and wash fast performance in any plottercut application.

Thermoreflex and Thermoreflex 2000 This is a highly reflective product designed for plotter cut applications and manufactured through glass micro ball technology.

Both products are compliant with the EN471 European safety standard whilst Thermoreflex 2000 features special washing resistance even at temperatures up to 90°.

Colorprint / Colorprint Extra An improved medium for digitally printed high-resolution images and logos, this product has been designed to accommodate different printing processes. It has been certified by Roland for use on its ecosolvent Versacamm SP 300 printer and its solvent inkjet Soljet II machines. It can also be used on thermal transfer printers such as the Gerber Edge II and Roland's PC60 and PC600 printers. Colorprint Extra is most suitable for use on lightly silicon treated garments.

Finally Siser recommends the TS-ONE Heat Seal Press, a professional press that provides trouble free application for all Siser materials and which is very popular with customers who appreciate both its patented design and its easily operated 'swing' opening.

For any further information visit www.siser.it

SHOWCASE

Showcase Three companies from different sides of the globe have recently both used the Vutek PressVu UV flat bed printer to provide imaginative graphics for the retail environment.

Clegg Media of Brisbane, Australia, used

its PressVu UV to print 106 individual graphics, totalling 640m2 and ranging in size from 60cm x 1.2m to 6.44 x 5.05m, for The Arbour Lane Shopping Center, in Robina Town Center, Queensland. The graphics included a wide variety of directional signs, advertising banners and billboards and even wallpaper!

40 FESPA WORLD 03/04

The PressVu also enabled Clegg to print the Arbour lane logo directly on to pillars of Satin ice polycarbonate with a textured finish – previously this could only have been achieved with the use of clear selfadhesive vinyl. Other graphics were printed on to backlit flex face vinyl, frontlit and backlit self-adhesive vinyl which were used to produce banners and

a

billboards around the centre. Each graphic carried advertising images, with the front and backlit self-adhesive vinyl graphics being mounted onto steel and acrylic.

Clegg also produced and installed wallpaper between the ground and first floors of the shopping centre and printed billboards for the entrance of Arbour Lane's cinema.

Meanwhile on the other side of the World, The Store Décor Company of Rowlett, Texas, used its PressVu UV180/600 EC

to print graphics for Lowe's, a leading US grocery chain based throughout the United States. Responsible for transforming seemingly unexciting grocery stores into fun, themed shops, Store Décor designed, printed and installed this

SHOWCASE

a

&

b

Clegg media used its PressVu UV to print

on to a wide variety of different substrates to provide colourful displays throughout the shopping centre.

c

&

d

Group 360 Display printed in-store graphics

required to match existing in-store signage printed on offset litho and silkscreen presses.

e

&

f

Store DĂŠcor produced colourful Hispanic

themed graphics for Lowes grocery chain.

c

b

e

f

d

Hispanic themed signage for a store in Anthony,Texas. Designed to enhance the store's appearance, the graphics featured vibrantly coloured signage, Mexican replica tiles, awnings and life-size Mariachi singers. The awnings, which were printed on to PVC that was heated and bent into shape, ranged in size from 1.2m in height to 6.1m in length. The striking Hispanic style tiles were designed and printed on sheets measuring 1.2 x 2.4m and attached to the walls with silicone, whilst the Mariachi singers, were printed directly onto one-inch gator foam, cut out and then placed in the balcony over the produce department. Designed to appeal to a range of ages, each 'singer' was portrayed as a different animal, holding a musical instrument and dressed in a

Mariachi costume. Following the success of the Hispanic themed store, Store DĂŠcor has recently printed 'oil ranch' themed graphics for another Lowe's grocery store in West Odessa, Texas.

Another VUTEk devotee, Group 360 Display of Missouri, USA, used its VUTEk UltraVu 3360 SC to print in-store graphics for a nationally recognized specialty retailer. Promoting a new 'wellbeing' theme, the retailer's graphics were required to match existing in-store signage printed on offset litho and silkscreen presses. A short deadline meant that the retailer needed high quality print produced very quickly, so traditional printing methods were not an option, but despite production differences between the new and the

existing graphics, the visual effect was seamless. The new images were digitally printed onto self-adhesive vinyl, and then backed onto 12pt cardstock. The UltraVu 3360 SC was calibrated to match the previous screenprinted graphics, ensuring colour print and consistency between all applications.

Measuring a total of 18,529m2, the graphics, which were pure white and pale blue in colour and designed to reflect the calming benefits of the retailer's product range, were printed on multiple panels measuring 3.124m2. These were then combined to create graphics in two different sizes – 2.8 x 2.6m and 1.4 x 1.3m.

In one area, nine individual panels were placed on a large board above a counter, to create the image of a lady sleeping.

FESPA WORLD 03/04 06/04 41

SIGN SPOT

Winning ways When vinyl manufacturer MACtac first launched its biennial European Awards competition six years ago, it attracted 120 entries. However, this year more than 800 companies competed throughout Europe and the competition has been extended worldwide. Val Hirst reports.

Like many manufacturers, who sell through a distributor network, MACtac can only guess at the many different ways in which its products are being used. The MACtac Awards competition then, does something positive to redress this balance and enables the company to receive some important feedback whilst also honouring the most original and imaginative uses of MACtac materials. When the competition was first established in 1998, the judging panel, which comprised the editors of sign and screen magazines throughout Europe, together with industry guru Michel Caza, gathered together in a Barcelona hotel to consider the 120 or so entries that had been submitted.

MACtac offer a wide range of self-adhesive films, including those suitable for use in conjunction with screenprinting and most recently, digital printing technologies, and the entries reflected these different uses. As the competition gathered momentum over the next six years, it was interesting to note that, although, unsurprisingly, the number of digitally produced entries increased, there were also very many entries which combined cut vinyl with a screen or digitally printed element to achieve unusual and innovative effects.

The competition has also served to highlight how the boundaries, which separate the different graphic disciplines are gradually disintegrating. Nowadays it is evident that many companies who would have previously described their main activity as signmaking or screenprinting are gradually becoming general graphic providers, who can use their skills and resources to

provide a wide variety of different work.

This year the judging took place in Prague and the regular jury of magazine editors was presided over by Ricardo Rodriguez Delgado, President of FESPA, who remarked: "The display of entries provided a unique presentation of achievements from both a graphics and application point of view. It is evident that the industry is increasingly exploiting the advanced technology that is now available and that design studios are thinking creatively in sign industry terms".

He added: "It was also very interesting to see the representation of virtually every west and east European country and the extent to which the sign and display industries are assuming a major communications role".

Opening the European adjudication session, Max Linder, MACtac Marketing Director Europe, said: "As a leader within the self-adhesive graphics market, MACtac acknowledges responsibility for taking the whole industry forward. In addition to setting and maintaining the highest standards of film quality, we also strongly promote the value of self-adhesive graphics versus other media, amongst communications professionals. Our aim is to help our customers generate additional business. This is the philosophy behind the MACtac Awards program".

He continued: "The high quality standards of the projects submitted ensures the continued success of the program and will help us promote new, creative and ingenious ways of getting attention. This year, the extension of our European Awards program around the globe will further contribute to the cross-fertilization of ideas

a

European winner – Interior Category.

b

Regional winner – France, 1st prize.

c

European winner – Technical Category.

d

Regional winner – Germany, 1st prize.

a

b

c d

FESPA WORLD 06/04 43

SIGN SPOT

a

amongst sign experts and creative designers worldwide".

All the winning, second and third placed entrants stand to gain highly advantageous new business exposure from inclusion in the "MACtac Worldwide Awards – 2004" prize book, which will also include Special "MACtac mentions" and all commended entries. Three prize books will be published, one for each territory. In Europe, the prize books are distributed to more than 3000 of the largest commercial and public companies as well as to all of the leading advertising agencies and design studios. The prize books will be available from MACtac subsidiaries from June onward. In addition, the European winners in each of the four categories will win a weekend trip for two people in New York, including air fare and accommodation, whilst participants gaining first position in the eight geographic areas will win a weekend trip for two people to either Prague, Lisbon or Vienna.

European winners European winner – Technical Category: "Seasons' Greetings", Belgium Sign Maker M@kom, Belgium End-User ING Bank Distributor GPG Advertising Agency Magic Monkey Products IMAGin JT 5829 R The European prize for the "Technical Category" has been attributed to Makom Belgique for the outstanding decoration of the ING façade building in Antwerp, created by Magic Monkey, the advertising agency specialized in wide format graph44 FESPA WORLD 06/04

ics. The 200 windows and window frames of the building required 350m2 digital printed film, two applicators and 20 hours of work under adverse winter conditions.

Perfect overlap was essential to create the required effect. The high gloss IMAGin film allowed the exact rendering of the "metallic effect" of the stars versus the background colour. Giant spotlights with rotating colour filters further enhanced the "glittery" effect of the image, transforming the 2-dimensional visual into a 3-dimensional object suspended in the night.

European winner – Interior Category: "The swatchfloor", Spain Sign Maker End-User Distributor Product

Ades Ripollet, Spain Casadecor Polynorma, SA IMAGin JT 5000, Permacolor PF 6400 The European winner for the "Interior Category" is Ades Ripollet for the original and colourful transposition of the traditional "swatchbook" into a "swatchfloor" for the promotion of a new range of paint, in Barcelona. The bright and vivid colours of the 200m2 floor and stairs were achieved with high gloss IMAGin film.

Superior film resistance was obtained with the use of a Permacolor film as a protective layer.

European winner – Exterior Category: "Formula 1 in the city", Belgium Sign Maker End-User Distributor Advertising Agency

Craset s.a., Belgium Toyota GPG Event Business

Products

IMAGin JT 5915 P one way vision film and MACscreen 8129 R The jury awarded the European "Exterior Category" prize to Creaset S.A. for this awesome, high impact visual that decorates the front of the Toyota building located in a strategic avenue of Brussels. A total of 1800m2 of films was necessary to cover the facade. Composed of MACscreen film and one-way vision film for windows coverage, the Formula 1 car on the building draws the attention of the heavy traffic to and from the airport.

European winner – Fleet Category: "All Green", U.K. Sign Maker End-User Distributor Products

Sign Language, U.K. Black Cab Advertising Andersons MACmark 9900 and 8300 PRO Sign Language received the European "Fleet Category" prize for the outstanding graphic treatment created for the promotion of "Green Park", an ecological industrial estate. The concept is particularly remarkable for its transformation of objects into "all green" visuals and the way they were displayed on cars. Their "clever" application using the curves of the car even when parts of the images are missing contributes to a dynamic graphic effect. To make each element of the graphic stand out, a multi technique approach has been selected. The cab has been first covered with white vinyl.

Then visuals were printed and overlaid on the white vinyl before plotter cut letters were finally added.

b

c

d

e

f

g

h

a b c d e f g h

Regional winner – East Europe, 1st prize.

Regional winner – Iberia, 1st prize.

Regional winner – Benelux, 1st prize.

Regional winner – United Kingdom, 1st prize.

European winner – Exterior Category.

Regional winner – Scandinavia, 1st prize.

European winner – Fleet Category.

Regional winner – Mediterranean, 1st prize.

FESPA WORLD 06/04 45

SIGN SPOT

Regional winners – Benelux

Products

1st prize Almost real image of supermarket shelves in a food products fair.

Sign Maker Numeris Printing s.a., Belgium End-User Supermarket Louis Delhaize Distributor GPG Advertising Agency Carr & Associs Products MACscreen 8129

2nd prize Brightness and subtlety for a day and night van decor.

Sign Maker Boss Design, The Netherlands End-User Boss Design, The Netherlands Distributor Multifoil b.v.

Products MACmark 9800 PRO and MACmark 5700 reflective film

3rd prize Getting attention with 10 decorated unusual objects for the promotion of a construction site.

Sign Maker Blomsma XL Colorprinting, The Netherlands End-User Woning bedrijf, Amsterdam Advertising Agency t Idee! Communicatieprojecten BV Products MACscreen Promotional 29 R

Regional winners – East Europe 1st prize Creative graphic effect for a bicycle manufacturer van.

Sign Maker Pramustgalvis, Uab, Lithuania End-User Baltic Vairas, Ab Distributor Sesoma, Uab Products MACfleet 6569-00 and IMAGin JT 5529 P

2nd prize Delicate and complex glass decor for 10 windows in motor museum in Latvia.

Sign Maker Auto Dizains, Latvia End-User Sia MOORA Distributor Sesoma, Uab Products MACmark Glass Decor

3rd prize High impact visual for the total decoration of a tram & bus.

Sign Maker Comp Deco, Hungary End-User Auto Media Kft Distributor Polinoor Kft Products IMAGin JT 5829 R

Regional winners – France 1st prize Successful product branding on van by using digital images plus gold marking film.

Sign Maker Publicit Franois, France End-User Coeur de Lion, Messageries Laitires Products MACmark 9879-00, 9899-00, IMAGin JT 5929 P

IMAGin JT 5928 P, Permacolor PG 7075

3rd prize

1st prize Astonishing and "almost real" 17m long floor graphics featuring a 13th Century road at Middle Age exhibition.

Sign Maker Fotostudio Henke, Germany End-User Historische Museum im Marstall Products IMAGin JT 1828 R, Permacolor PF 6300

Biennale di Venezia – decoration of 16 pipes used as access corridors.

Sign Maker Eurostands, Italy End-User Biennale di Venezia Distributor Sidec Advertising Agency Studio Archea Products MACmark 8900 PRO

2nd prize

Regional winners – Scandinavia

Optical illusion to promote sign maker services: a car decorates a van.

Sign Maker Salmeri, Germany End-User Salmeri Distributor Brunner GmbH Products MACmark 9800 PRO

1st prize High impact achieved with cut-by-hand vinyl for van decoration.

Sign Maker ABM Reklame, Norway End-User Eik senhet Distributor Basberg Papir Products MACmark 9800 PRO

3rd prize Successful "see through" impression for visual promoting seat manufacturer products.

Sign Maker G. Werbetechnik & Design, Germany End-User DE-Autosahlerei Distributor G. Werbetechnik & Design Products MACmark 9800 PRO, IMAGin JT 5529 P

Highly Commended

Regional winners – Iberia

1st prize

1st prize

Vinyl goes offshore. 500m2 of vinyl were applied on aluminium sides of a boat.

Sign Maker ORCA Maritime, Norway End-User Stena Carisma Distributor MACtac Products MACmark offshore vinyl

Regional winners – United Kingdom

Impressive 369m2 decoration of underground station in Barcelona.

Sign Maker Soluciones Pirez Sl, Spain End-User Metro di Barcelona Distributor Legon Plas Advertising Agency Magic Touch Iberia Products MACmark 8929-00

Joyful hospital entrance decor combines coloured and transparent films and features the 4 seasons.

Sign Maker Vinylize, U.K. End-User John Radcliffe Hospital, Oxford Distributor Andersons Designer Judy Foote Products MACmark 9700 PRO, 8400 and Glass decor

2nd prize

2nd prize

Off the wind with an eye catching and dynamic promotion for mobile phones.

Sign Maker Integral de Imagen Corporativa, Spain End-User Siemens, s.a.

Distributor Legon Plas, s.l.

Products MACfleet 6529-00, 6559-12, 6589-00

Artistic and complex design for shop window.

Sign Maker Onward Display Ltd., U.K. End-User LEVIS Distributor Andersons Designer Art Student Products MACmark 8948-04, MACmark 8400

3rd prize 3rd prize 720m2 vinyl for wall and ceiling decor at Barcelona airport.

Sign Maker Soluciones Pirez Sl, Spain End-User Barcelona Airport Distributor Legon Plas, s.l.

Advertising Agency Magic Touch Iberia Products MACmark 8929-00

Regional winners – Mediterranean countries

Amazing wooden car to promote wood floor covering.

Sign Maker Frouin Publicit, France End-User Wood Concept Distributor DIS Nantes/Cotonnire Lyonnaise Products MACmark 9800, MACfleet 6529-00 IMAGin JT 5915 P one way vision film

Attractive and bright colours for shop window display in Milan.

Sign Maker Nuova Graforel Snc, Italy End-User Nadine Distributor IMAS Grafica Products MACmark 8400 and 8900 PRO IMAGin JT films, Permacolor PP 2011 and PG 7285

3rd prize

2nd prize

Attractive decoration of a retail/shop/café in the Paris underground.

Sign Maker En Apparence, France End-User Relay H Implantation Distributor K Plastic

Wall and roof decoration for the 12m access gallery of the Chibicart exhibition.

Sign Maker Grafix, Italy End-User Fiera di Milano Distributor IMAS Grafica

46 FESPA WORLD 06/04

MACmark 9889-00, IMAGin JT 5929, IMAGin LF 3699

Regional winners – Germany

1st prize 2nd prize

Products

Dynamic crowd movement for visual in EMI building foyer.

Sign Maker Jupiter, U.K. End-User EMI Distributor Andersons Products MACmark 8959-01 For more information, please contact: Nadine Quetin Strategy International Communications Tel : ++32 (0)2 679 00 30 Fax: ++32 (0)2 679 00 49 E-mail: nadine.quetin@strategy.be Max Linder MACtac Europe Tel: ++32 (0) 67 34 62 11 Fax: ++32 (0) 67 33 05 74 E-mail: Max.Linder@mactac.com

SIGN SPOT

The colour revolution When there are already thousands of different coloured vinyls to chose from, why would we need any more? In a bold new move, Avery Dennison is extending its Pantone colour matching service.

Val Hirst investigates

a,b,c a

48 FESPA WORLD 06/04

&

d

These arresting images promote

the vast choice of Pantone matched colours now available from Avery.

c

b

From this month onwards, UK signmakers working with corporate clients will no longer have put up with a 'good enough' colour match. In future, it will be possible for them to specify a precise Pantone reference and ensure complete conformity.

This follows the announcement that Avery Dennison Graphics Division Europe has joined forces with Pantone Inc in a unique licensing agreement, which Avery claims, is designed to bring more clarity and consistency to colour specification across the whole spectrum of print and graphics.

Commenting on this innovation, which is initially being launched in the UK, but will gradually be extended across the rest of Europe this autumn, Evert-Jan Vries Communications Manager Europe for Avery Dennison Graphics Division, explains that it follows an initial 'trial run'. He says: "Pantone has set colour standards since the 60s and every designer has his or her own Pantone reference book which they constantly refer to for ideas and inspiration.

Accordingly, when we offered a limited platform of the most popular Pantone shades, we received such an enthusiastic response that we decided to expand the system to cover more than a l000 different colours in the 2004 Pantone System. Now, for the first time, signmakers will be able to match corporate colours precisely, thus

ensuring that signs are perfectly consistent with all the other elements of an overall corporate identity program."

He adds: "Nowadays so much work goes into brand development and colour plays such a major part in the recognition process. In fact, it is often the defining element, more so than the actual logo style, which is why it is so important to maintain complete conformity across the board."

Avery has chosen to combine the Pantone Matching System with its flagship 900 Series film. This premium quality film works well across the broad spectrum of applications and is particularly suitable for use in conjunction with vehicle liveries since it is highly conformable and can cover even the most challenging combination of contours without any problem. The Avery Series 900 is also the material that is most frequently specified for use in conjunction with major corporate identity programs since its high gloss finish helps to provide the perfect finishing touch to any high profile signing. Signmakers will be able to order the Pantone colour specified by their customer, simply by quoting the Pantone reference, for custom manufacture in the Avery Graphics clean-room cast films plant in Alphen aan den Rijn, in the Netherlands. But despite what amounts to a bespoke manufacturing process, the

d

minimum order quantity is for a single roll (1.23 x50m) with a delivery period of just three weeks following receipt of order. For orders of l0 rolls or more, the cost differential between the Pantone matched vinyl and standard colours is negligible.

However, according to Evert-Jan Vries, cost won't be the first consideration for companies who use this service. He confidently asserts: "Primarily, sign buyers and specifiers will be looking for quality and will be happy to pay what ever extra it costs in order to maintain the integrity of their brand."

At first glance this development would seem to be most relevant to companies who are involved with major resigning programs, particularly those that spread across several continents. However, Avery anticipates that once news of the Pantone Matching Service spreads, sign buyers of all denominations will increasingly specify its use. Evert-Jan de Vries concludes: "We feel that once people know that a precise match is within their grasp they won't be content to settle for second best, and happily, because they will be able to order a comparatively modest minimum quantity, they won't have to".

For further information, visit the Avery Graphics Division Europe website at: www.europe.averygraphics.com FESPA WORLD 06/04 49

SIGN SPOT

Sign Shorts Short-term graphics at an affordable price As part of an ongoing commitment to product innovation in the intermediate market where high quality is set alongside genuine affordability, 3M has now introduced 3M Scotchcal Series 20 specifically for use on piezo inkjet printers. Apart from carrying the powerful Scotchcal brand and all that means in terms of quality and reliability, this latest 3M film product can match and invariably beat similarly targeted alternatives from other major manufacturers on both price and performance.

Available in three formats (white glossy, white matt and transparent) to accommodate different interior and exterior graphics solutions requirements, the calendered monomeric films incorporate a pressuresensitive removable adhesive that will provide both outstanding adhesion and easy removability when applied to flat surfaces commonly encountered in the sign and graphics industry. Additionally,

the opaque film versions in the range have a grey pigmented adhesive to impart a superior 'no show-through' quality.

Designed for cost-effective, short-term (up to two years) quality graphics, 3M Scotchcal Series 20 can provide the ideal low-cost solution for multiple signing and graphics applications. Typically, these include promotional fleet graphics, public transport advertising, general signing and displays (including backlit signs and window graphics), exhibition panels and point-of-sale product displays.

3M Scotchcal Series 20 supports all of the major inkjet printer platforms and in pre-launch tests has demonstrated its capabilities in terms of image brilliance and reliability. Printer profiles have been produced to allow optimum print conditions to be set for the Series 20 materials.

For further information visit: www.3m.com/uk/graphicsolutions

a

b

Brett Martin turns green!

Brett Martin Ltd has developed a new 'green' substrate, which is especially suitable for sign and display work. Foamulux Xtra is a l0mm thick foam PVC sheet featuring a black core of recycled material, which accounts for over 80% of the sheet structure, with a co-extruded 'virgin' white Foamalux foam PVC outer skin on both faces. Its high content of recycled material helps users comply with company and/or ethical demands to adopt a sustainable approach by using recycled and recyclable products, which is increasingly an issue with municipal organisations and large corporations. However, Foamalux Xtra is competitively priced against the more traditional material options.

It also provides a hard surface, which is ideal for all types of sign and display applications, coupled with a reduced weight and can be etched, engraved, routed and processed in the same way and to the same standard as traditional foam PVC. Foamalux Xtra also offers the perfect surface for the precise reproduction of even the most challenging graphics, whether they are produced in vinyl, ink or by photographic methods. The material is available in 10mm x 3050mm x 1560mm sheet from Brett Martin's international network of distributors.

For further information visit www.bretmartin.com

New metal-effect films from Aslan

a b

3M Scotchcal Series 20 building application.

3M Scotchcal Series 20 window application.

50 FESPA WORLD 06/04

Aslan, the manufacturer of speciality selfadhesive films has added a new metal-effect film to its Aslan CA 23 range. Available in a matt, copper-brushed effect, this polyester film has a copper colour on both sides and is therefore also suitable for interior use on glass. With an outdoor durability of at least two years, this film can be used for a wide range of different applications. Aslan has

also introduced a new series of metalised polyester films: the Aslan CA 24 range. This series consists of highly glossy metal films in a variety of different colours and designs to facilitate the production of highly original signs and graphics. The CA 24 range also offers a two year outdoor durability.

For further information visit: www.ASLAN-Schwarz.com

INFORMATION

Drying or curing of UV-inks UV Inks are now becoming a more viable option for many screenprinters. J Bauer and the TDS Committee of ESMA provide some good advice on the possible test methods for drying and curing.

Basic Information regarding UV inks and their curing The most commonly used ink types for graphic screen printing still are 1-component solvent based inks. These inks dry physically by evaporation of solvents.

UV-inks on the other hand "dry" by a chemical curing reaction initiated by UVradiation. Basically there are two types of reaction, radical and cationic reaction.

Apart from a few rare exceptions the radical version is mainly used for screen applications.

Components of UV inks (prior to curing): Oligomer binder, main component, highly viscous, contains active groups for cross linkage.

Monomer Used as "thinner" (substitute), low viscosity, reacts with the oligomer during the curing process.

Photoinitiator UV-sensitive component; under UV radiation polymerisation is initiated by its decomposition into radicals.

Pigments Additives

Radical Curing Reaction: Under UV-radiation so-called free radicals form by degradation of the photo initiator.

These initiate polymerisation between the double bonds of the oligomers and monomers. In that respect it is important that an adequate amount of UVenergy will initiate a sufficient amount of photoinitiators to form radicals. For optimal polymeri52 FESPA WORLD 06/04

sation the UV-radiation has to penetrate the complete ink film to the substrate.

The curing reaction depends on many influencing factors:

1. Binder base of the inks: Oligomers, and above all monomers show quite different reactions in reference to their cross-Iinking speed depending on their raw material base.

There are quite reactive products (e.g. inks for paper, thermoplastics, plastics), however there are also systems with a much slower reaction by factor 5-10 (inks for duroplastics, coated surfaces metals).

2. Pigmentation of inks: UV light can penetrate non-pigmented varnishes without any major loss. Thus practically the whole amount of energy emitted by the UV radiator is available for curing.

Pigmented inks exhibit a certain absorption ability towards UV-radiation, which depends on the type of pigment and the amount contained in the formulation. So pigments inhibit the polymerisation to some extent.

Therefore pigmented inks require more UV energy than non-pigmented inks in order to cure. Under most unfavourable conditions, e.g. very high ink deposit, polymerisation may therefore be insufficient.

3. UV-radiators: Depending on the composition of the spectrum of the UV lamp there are different effects on the curing process.

The usual "conventional" high pressure mercury radiators used for graphic screen printing show a more or less even energy distribution covering the whole UV-spectrum.

The flash discharge lamps used for the so-called flash cure on the other hand have more UV-A radiation. Inks for these lamps have to contain special photo initiators which react to this UV spectrum.

4. Efficiency of the UV-radiators: The efficiency of a UV-radiator is given in W/cm e.g. 80 W/cm, 120 W/cm. This value refers to the efficiency supplied and serves as an indication regarding the efficiency of the UV-drier. However these values do not refer to the actual energy amount emitted to the substrate or the ink film.

Discharge of the UV-energy of the radiator decreases with life time to a large extent. Thus uncontrolled working methods will result in adhesion problems sooner or later.

5. Construction of the UV-Iamp reflector: For optimal use of the energy of UVIight discharged by the UV-radiators the UV-tunnel is surrounded half-way by a reflector in order to reflect the light emitted towards the top down to the print. The quality of the reflector (mirror-plated, chromium-plated, Aluminium polished, mat Aluminium) and construction (focussed, semifocussed, defocussed) has a significant influence on the quality of curing.

INFORMATION

For reasons of heat emission distribution of the UV-radiator (prevention of the burning glass effect), defocussing or semi-focussing reflectors are often to cure temperature sensitive substrates.

However highly pigmented dark colours, especially those with a low reactivity may then show inferior curing quality. In that case focussing reflectors are required.

6. Substrate colour: White substrates re-reflect a big portion of the UV-radiation emitted through the ink film. Therefore the ink reacts and thus cures faster. Transparent substrates do not reflect the UV-Iight. lt will be absorbed by the dark colour of the drier.

The missing reflected share of light has to be compensated by a higher radiation emitted by the lamp. Dark substrates show similar properties.

Evaluation of ink curing and indicators for insufficient curing Drying of air drying solvent based inks is usually evaluated as follows: 1. Stacking/blocking resistance: Printed sheets do not block under significant load.

2. Finger nail test: Ink cannot be scratched off the substrate (under the precondition that the ink is basically suitable for the substrate).

3. Cross-hatch testing: (under the pre-condition that the ink is basically suitable for the substrate).

However residues of solvents contained in the ink cannot be determined by the above testing methods. These have to be found by analytical methods. The most simple method is a weighing process of the printed specimen by oven curing.

Basically UV-inks can be tested for sufficient curing by the same methods.

However, the following has to be taken into consideration:

1. Stacking/Blocking resistance: Printed sheets do not block, even under significant load. Instead of insufficient curing the reason for blocking of UV ink in the rack may also be a thermoplastic effect. The ink is sufficiently cured, however, when stacking it is still too “soft” due to too much heat absorption and will therefore stick. This especially happens with very elastic inks, above all if there is no cooling period for the prints (mere UV-drier with low cooling efficiency, UV-unit is installed at the end of a circulation drier).

“Thumb test”: A quick testing method is the “thumb test”. The printed, cured ink is pressed with the thumb with high pressure.

Also with high pressure the thumb tip is tumed several times (approx. 90 – 120°)

on the spot. lf the pressure point will then look mat, or if there was any abrasion curing has been insufficient.

2. Finger nail test: (under the pre-condition that the ink is basically suitable for the substrate). The polymerisation of the UV ink in the ink film takes place from the top (facing the lamp) to the bottom. Insufficiently cured UV-inks show a rigid surface, however they are still soft inside.

Thus the finger nail test will result in a “smearing” scratching off after the finger nail has penetrated the film. lf, however the scratch test results in rigid, dry splitting off from the substrate there is probably an adhesion problem and rarely over-curing. Flaking due to over-curing can be excluded with thin thermoplastics as they would deform due to strong heat influence before the over-curing reaction of the ink.

3. Adhesion on substrate by cross-hatch testing: (under the pre-condition that the ink is basically suitable for the substrate). This test is a common method to determine basic suitability of the ink for the substrate. If the ink is insufficiently cured there is a “smeary” scratch off of ink at the bottom of the ink layer pulled away with the tape. Ink residues remaining on the printed matter by

FESPA WORLD 06/04 53

INFORMATION

splitting of the ink layer with the tape may show the same property.

4. Chemical tests: Evaluation methods used for solvent based inks or other chemical substances cannot be used. Depending on their type UV-inks show different reactions in reference to chemical resistances.

Even if an adequate testing solution is available there may be significant falsifications. Insufficiently cured UV-inks may show rigid surfaces, however their underlayer is still soft and un-cured. The surface will be resistant to the testing solution and thus show a positive result, which is wrong.

5. Other Methods There are no other testing methods the printer can carry out.

Control of degree of curing with a UV-dosage meter This measuring device, commonly known as a UV-integrator and mostly formed as flat disc or plate contains a sensor, adapted to measuring of UV-radiation. When going through the UV-radiators the device will measure the whole energy hitting the surface in milli-joule per cm2. This is in direct proportion to the belt speed of the drier (J=W x s) and the number of UV-radiators.

The best possible curing parameter of an ink, differentiated according to ink type, colour- shade, possibly additives and fabric used are determined empirically.

Then measurement will be carried out with the UV-integrator in the curing unit to be used. The value(s) determined (mJ/cm2) is (are) the essential values for the future productions. When starting an order the UV-drier is adjusted to the corresponding measurement value and test prints are made. As described adhesion, scratch, crosshatch and thumb tests are carried out. Usually the results should be positive, production can start.

Attention: Measurement devices from different manufacturers can show deviations up to a factor of 2, sometimes even more.

Measurement values under the same conditions can be quite different. Even devices of the same make and manufacturer may show deviations of up to 50%.

These devices can only be used individually for safe quality control with the measurement values determined as described above. Measurement values cannot be used for other devices. In that respect there is a requirement for standardisation!

54 FESPA WORLD 06/04

Determination of content of residue monomers (non polymerised) in UV-inks As already mentioned, when curing an ink the splitting of the double bonds of molecule structures of the monomers and oligomers will result in a polymerisation/ cross linkage between both substances. Net work complexes are the result of this film formation. Depending on the properties of the UV-ink these net works show a coarse or fine mesh and various properties, e.g. very flexible/soft:, very rigid/brittle or extremely chemical resistant.

1. Degree of cross linkage: A UV-ink is considered to be cured, e.g. optimally cross linked, if it fulfils the properties described in the requirement profile. Basically these are the criteria regarding adhesion, scratch resistance, tape resistance, stackability, in individual cases especially high mechanical or chemical resistance. This optimal cross linkage however, does not present a real 100% cross linkage of the double bonds.

UV-inks reach their best possible cross linkage at approx. 70-90% average.

The remaining 10-30% of non-split double bonds cannot form any further bonds as due to the very high density of the 70-90% network there is no further room left. These non-cross linked molecules are closed in the network and cannot evaporate.

Safety An optimally cross-Iinked ink can be considered as completely cured and does not present any risk in reference to irritants.

Special cases in reference to consumer protection: Food and partially toys and health articles are problematic applications of UV-inks.

One cannot exclude with absolute certainty that non-crosslinked or nonlinked components of the cured UV-ink migrate from the UV-ink film to the surface or penetrate into foods, e.g. butter, grease etc. and thus present a potential health risk to human beings.

For that reason UV inks are not used for print likely to come in direct contact with food.

In border cases, such as medicine and toys, the possible interactions of UVprints with certain substances is tested in time-consuming analysis processes.

2. Measurement of degree of cross linkage Actual measurement of degree of cross linkage of a cured UV-ink can only be carried out by scientific analytical methods. Literature available mentions

the following processes: IR spectroscopy: Measurement of concentration of double bonds.

Temperature sequence measurement: Temperature emission during polymerisation.

Discolouration reaction: Colouration of non-cross linkable components with potassium permanganate (tetraoxomanganate).

IR Spectroscopy: With this method, especially the FTIRspectroscopy (real time Fourier transform-IR spectroscopy) the reaction amount of the printing ink is measured after UV-radiation. This is a comparing process, i.e. printing ink is measured before exposure and after UV-curing.

Based on the different peak curves (decrease of the C=C double bonds) the degree of cross linkage can be determined.

Temperature sequence measurement: This measurement method has been described in connection with the topic ink curing with flash discharge lamps.

Measurement of conventional UVradiators may not be possible, as there is a significant temperature increase of UVradiators during the radiation process.

During the curing process heat is emitted from the polymerising ink (exothermic reaction). First this process measures the low temperature of the ink layer from a blind specimen (non cross linkable ink without photoinitiator).

Then temperature development of a cross linkable ink is measured. The heat emitted during the polymerisation will rise above the level of mere heat emission of the flash lights. Following a number of flashes the temperature curve will not increase any further. This indicates optimal cross linkage and further reaction heat is not emitted.

The process described in relevant literature is based on measurements carried out with high layer thicknesses (2mm) and non-pigmented varnishes: Suitability for usual screen ink layer thicknesses is questionable.

Discolouration: With this process non cross-linked ink components become visible by discolouration reaction using potassium permanganate (tetraoxomanganate).

The reduction of the potassium permanganate by reaction of chemicals with the non-cross linked ink components results in manganese dioxide. The stronger its colouration the lower the cross linkage and vice versa.

INFORMATION

This method is only suitable for nonpigmented varnishes. Evaluation factors regarding colour scale of the brown colouration have to be determined empirically for each varnish type.

Residue monomers: Residue monomers are non-cross linked monomers of an insufficiently cured UV-ink, which can exit from the ink layer due to insufficient cross-Iinkage/ film formation and present an active irritation potential or quality problem.

Measurement of residue monomers: Insufficient cross linkage (just like the degree of cross linkage) can be recognised indirectly by adhesion, scratch, cross-hatch and strain tests. Direct measurement of residual monomers on the other hand can only be carried out by scientific analytical methods.

This is possible e.g. by substance analysis with the gas chromatograph.

Using this device first the non crossIinked reactive component of an ink are dissolved individually using a suitable solvent. Each solution will then be analysed with the gas chromatograph.

A characteristic peak line appears for each reactive raw material (on a time

axis). Then a potentially insufficiently cross-Iinked ink film will be placed in a solvent. No linked reactive components from the insufficiently cross-Iinked film will then elute into the solution, which will now be analysed. A comparison of this peak curve with the curves of noncross linked raw materials will result in determination of residual monomers.

Summary Various evaluation methods used to determine sufficient or insufficient curing of UV-inks have been described. In addition to suitable, manual, albeit, insecure methods, there are quite some demanding scientific, analytical methods. There is no intermediate solution for screen printers, i.e. to-date there is no simple, cost efficient and exact evaluation method. According to many discussion with chemists and members of the technical committee of FOGRA there is no solution at present.

In our opinion the only way is the twoway-concept: The method for daily work: manual – quick – easy – cost-efficient – however, too inaccurate for some applications.

The method to exclude (if required) any unsafe inks: scientific – time-consuming – complex – expensive – accurate.

Recommended reading: Georg Bolte: "Den Nachteilen geht die Luft aus", UV-Trocknung mit Sauerstoffreduzierung Druck & MedienMagazin 5/ 2001 (Disadvantages disappear – UV drying with oxygen reduction) Georg Meichsner / Klaus Vogg "Mehr Aufmerksamkeit für einen Strahlertyp: Die UV-Blitzlampe" Untersuchungen zur Lackhärtung (more attention for a radiator type: the UV flash radiator, examinations about ink curing) Andrea Prager-Duschke / Reiner Mehnert "UV-härtende, lösemittelfreie Tiefdruckfarben" (UV-curing, solvent based gravure inks) Fa. Fusion UV-Systems Inc., MarylandUSA "Fascination UV"

FESPA WORLD 06/04 55

INFORMATION

FESPA ‘contact list’ The following list of Telephone, Fax and E-mail numbers will help you when you need to contact a colleague in FESPA.

FESPA board

Telephone

Fax

E-mail

Ricardo Rodriguez Delgado – President

34 914 85 28 70

34 916 71 02 73

rrd@panorama-sa.com

Michel Caza – Past President

33 1 34 30 87 78

33 1 34 30 87 79

michelcaza@aol.com

Hellmuth Frey – Vice President

49 408 50 40 21

49 408 537 18 12

siebdruck@aol.com

Lascelle Barrow

44 207 537 42 00

44 207 531 12 77

las.barrow@amartin.co.uk

Gyorgy Kovacs

36 28 51 66 15

36 28 51 66 16

imago@vnet.hu

Anders Nilsson

46 493 130 40

46 493 121 20

info@gamlebyscreen.se

Enrico Steijn

31 79 343 5353

31 79 343 5354

enrico@imaba.nl

Kurt Sperisen – International Ambassador 41 19 10 51 50

41 19 10 38 66

kurt.sperisen@bluewin.ch

Nigel Steffens – General Secretary

44 1737 22 53 21

44 1737 24 07 70

info@fespa.com

Frazer Chesterman – Exhibition Director 44 1737 22 97 26

44 1737 24 07 70

frazer.chesterman@fespa.com

Val Hirst – FESPA Magazine Editor

44 1159 81 81 99

val.hirst@fespa.com

44 1623 88 23 98

ESMA board Rudi Röller – ESMA Chairman

49 62 22 57 80

49 62 22 57 82 00

rudi.roeller@kiwo.de

David Parker

44 12 35 77 11 11

44 12 35 77 11 96

dparker@autotype.com

Pedro Rodriguez

34 944 02 27 47

34 944 71 11 82

rodriguezpj@sunchem.com

Eckhard Napp – TDS Ctee Chairman

49 21 53 71 901

49 21 53 71 917

e.napp@hurtz.de

Sem Seaborne – HSEP Ctee. Chairman

44 12 35 77 11 11

44 12 35 77 11 96

sseaborne@autotype.com

Heinz Brocker – IA Ctee. Chairman

41 71 24 28 686

41 71 24 28 989

Heinz.brocker@gallus.ch

Bryan Collings – General Secretary

44 12 27 28 25 73

44 12 27 28 25 74

bryan@brycol.demon.co.uk

Ralph Roschlau

49 71 41 69 11 26

49 71 41 69 11 03

ros@marabu.de

Daniele de Rosa – EPP Ctee. Chairman

39 03 19 711

39 03 19 33 392

DDerosa@saatiprint.com

Bob Watson – Digital Ctee. Chairman

44 1843 87 21 10

44 1843 87 21 26

bob.watson@sericol.com

FESPA secretariat 44 1737 22 97 23

44 1737 24 07 70

mandy.goldfinch@fespa.com

Michael Ryan – Sales Manager, FESPA 2005 44 1737 22 97 27

Mandy Goldfinch – PA to Nigel Steffens

44 1737 24 07 70

michael.ryan@fespa.com

Karen Bentley – Operations and Marketing 44 1737 22 97 25 Manager FESPA 2005

44 1737 24 07 70

karen.bentley@fespa.com

Ken Chan – Accounts Department

44 1737 24 07 70

ken.chan@fespa.com

44 1737 22 97 24

Secretaries of FESPA national associations

Telephone

Fax

E-mail / Website

Franz Kimberger

Austria

43 15 12 66 09

43 15 13 28 26 19

verb.druck.u.medientechnik@aon.at

Isabelle Lefebvre

Belgium

32 25 12 36 38

32 25 13 56 76

isabelle.lefebvre@febelgra.be / www.febelgra.be

Eugeny Ivanov

Bulgaria

35 96 082 39 48

35 96 082 39 48

ett@popovo.net

Mirjana Bjelan

Croatia

38 51 45 52 327

38 51 45 52 327

mirjana.bjelan@zg.htnet.hr

www.druckundmedientechnik.or.at

Vladimir Havel

Czech Republic

420 487 71 27 12

420 487 72 63 55

vladimir.havel@sca.com

Finn Obbekaer

Denmark

45 63 12 70 00

45 63 12 70 80

fo@ga.dk / www.ga.dk

Regina Aas

Finland

35 89 71 72 99

35 89 73 84 52

toimisto@suomenseripainoliitto.fi

François Faurien

France

33 1 47 20 33 46

33 1 49 52 01 47

gpsf99@aol.com / www.gpsfr.org

Torben Thorn

Germany

49 611 80 31 15

49 611 80 31 17

tt@bvdm-online.de / www.bvdm-online.de

Kimon Papas

Greece

30 210 52 39 41 6

30 210 52 48 23 7

papath@ath.forthnet.gr

Janos Buranyi

Hungary

36 28 51 66 15

36 28 51 66 16

mszsz@vnet.hu

Giuseppe Scozzi

Italy

39 06 44 18 82 71

39 06 44 24 95 15

siaf@cna.it

56 FESPA WORLD 03/04

INFORMATION

Marius Gort

Netherlands

31 20 5 43 56 78

31 20 5 43 55 35

zso@kvgo.nl / www.zso.nl

Jon Halvorsen

Norway

47 33 07 15 30

47 33 07 15 31

jeh@ahml.no / www.serigrafer.org

Wojciech Kwinta

Poland

48 12 29 60 385

48 12 65 60 132

biuro@ssp.com.pl / www.ssp.com.pl

José Carragosela

Portugal

35 12 18 49 10 20

35 12 18 43 87 39

geral@apigraf.pt

Marius Codirla

Romania

40 722 28 21 22

40 264 59 71 39

viking@mail.dntcj.ro / www.arsitd.homestead.com

Artem Nadirashvili

Russia

7 09 53 65 38 96

7 09 52 32 18 66

info@midiprint.com / www.rspa.ru

Dusan Golubovic

Serbia and Montenegro 38 11 63 21 23 49

38 11 13 61 50 23

tehnologika@beotel.yu

Ludovit Bartos

Slovakia

42 1 32 74 43 589

42 132 74 30 434

bartos@bartos.sk / www.sietotlacouyzvaz.sk

Mateja Skrl

Slovenia

38 65 36 66 010

38 65 36 66 022

info@efekt.si

Pablo Serrano Cobos

Spain

34 91 307 74 44

34 91 307 76 08

pserrano@aspack.es / www.asibnet.org

Else-Britt Lindeborg

Sweden

46 87 62 68 17

46 86 11 08 28

else-britt.lindeborg@grafiska.se

Walter Trösch

Switzerland

41 71 38 58 81 7

41 71 38 58 84 3

wtroesch@bluewin.ch / www.vss-apss.ch

www.screentryck.org Ibrahim Demirseren

Turkey

90 21 22 22 83 30

90 21 22 21 69 46

ared@ared.org.tr / www.ared.org.tr

Michael Turner

United Kingdom

44 1737 24 07 92

44 1737 24 07 70

info@spauk.co.uk / www.spauk.co.uk

SGIA

1 70 33 8513 35

1 70 32 73 04 56

miker@sgia.org

Other associations Mike Robertson

Magazine coupon for ordering Fespa World All members of FESPA receive this magazine every three months free. If you are not a FESPA member and wish to order a copy, the annual subscription for four copies, including postage, is €63.00.

Please complete the following order form to ensure your copy for the future. The magazine is published in English with selected summaries in German, French and Spanish. Full translations are available on www.fespaworld.com to members and subscribers.

I enclose my cheque for €63.00 payable to FESPA for issues 37, 38, 39 and 40.

Future issues Issue 37 September 2004, Issue 38 December 2004, Issue 39 March 2004 (Block capitals please)

Name Company Address

Tel: Fax: Photocopy this sheet and send by post or Fax to: M. Goldfinch, FESPA, 7a West Street, Reigate, Surrey RH2 9BL, UK, Tel: +44 1737 240788 Fax: +44 1737 240770 FESPA WORLD 03/04 57

AND FINALLY‌

Fabulous FESPA In our Opinion piece on page 26, Stewart Partridge poses the questions, "What's in and What's Out?" in relation to the FESPA 2005 exhibition.

Here, Frazer Chesterman, FESPA's Exhibition Director, explains what he and his team are doing to ensure that FESPA remains a key global event rather than just another exhibition.

"One of the questions that I am asked most frequently with relation to the next FESPA show is whether screenprinting is in decline. Whilst I would certainly agree that as a technology, screenprinting is more widespread in certain geographical regions than others I have to say that its presence throughout the graphic, textile and industrial sectors is still pretty extensive.

Eastern Europe, Brazil and China are all places where screenprinting is thriving and you only have to look at the phenomenal size of the whole 'Bollywood' film industry in India to see that it relies upon a terrific amount of screen printed signage and poster displays, plus the full gamut of promotional goods, to appreciate that it is being used to its fullest extent. Further, reel to reel screenprinting is also the application of choice behind 95% of all printed textiles worldwide, so it is premature to talk about it as if it were a process teetering on the brink of oblivion.

As an organisation FESPA remains dedicated to the promotion of screenprinting and is continuing to develop solid relationships through trade organisations, associations and federations throughout the world, in particular in regions where screen printing is still growing, such as those named above. We have an ongoing initiative to develop and improve the core technology in these markets, while in Europe, where the technology is more 58 FESPA WORLD 06/04

established, we are working to ensure that the level of quality is maintained. At the same time, we feel its imperative to promote a spirit of learning to ensure that the right educational means are provided to promote screenprinting as a technology. Our 'MiniFESPA' programme is a medium that we use to answer market demands for information, technology and training and this is soon to be expanded upon when our FESPA Technical Academy is established.

However, no one, FESPA least of all, can dispute the growth of digital printing. But most graphic professionals feel that rather than reducing the size and importance of the screen market, the two technologies are actually complementary to one another and give service providers extra versatility and an additional means to fulfil specific applications dependent upon the precise requirements of the client. The recent announcement by Agfa and Thieme to jointly develop a flatbed digital press for screen printing applications reinforces this approach and dispels any myth that one technology is superior to the other.

So although FESPA 2005 will obviously reflect the increasing popularity of digital printing, visitors will be treated to more than just the latest in digital hardware alone. Only around a third of the exhibitors will be digitally orientated and FESPA will continue to champion both the screen process and a number

of other allied technologies, such as pad-printing.

In addition FESPA 2005 will also include a number of new and innovative technical applications which use both screen and digital printing - applications like glass, ceramics, and electronics to name but a few. At the same time, it has expanded to address areas where there was no previous requirement for printing – I am thinking now in terms of items such as mobile phones and DVD's. In fact, we plan to split the show up into dedicated villages, which represent the different industry sectors so that the respective exhibitors are located in the right place to attract the right type of traffic to their stands. As an example, we will be allocating almost a whole hall to a Textile Village next year, reflecting the continuing importance of this particular sector.

This approach also assists visitors, since it will allow them to plan their visit more effectively.

I think that visitors will also notice how the 'whole workflow picture' is more represented as printers strive to enhance the overall efficiency of their operations. As such, the event will not just comprise exhibitors from the hardware side, but also those representing such divergent areas as prepress and finishing as well as all the stages that take place in between.

Other new features will include a series of lunchtime educational debates with key industry spokes-

people, as well as conference sessions and showcase theatres focussing on the different niche sectors. We also intend to offer a VIP programme and plan to provide exhibitor/product news via a show daily. Meanwhile, Visitors will be able to keep themselves up to date with all of these innovations and more by regularly visiting our revamped website.

This time around, exhibitors are also receiving increased support. Because the venue of the show is constantly changing, all exhibitors are effectively new exhibitors each time and we are doing everything we can to ensure that their exhibiting experience is as hassle-free and productive as possible.

A year out from the show itself I am delighted to report that FESPA 2005 is already 60% sold and that sales are actually up by 50% when compared to the same period before the 2002 event. It would be both stupid and complacent to dismiss all of the other established and new shows that compete either directly or peripherally, and I appreciate that will have to continue to evolve and effectively re-invent the show each time if it is to remain both viable and relevant.

But in spite of this, I remain totally confident that FESPA will retain its reputation and continue to be regarded as a premier global event, not just by those active within the screen sector, but also by graphic professionals of all denominations.