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| SCREENTEX | April - May 2019

FORWARD

Vol : 09 • Issue : 03 April - May 2019

PUBLISHER / EDITOR IN CHIEF

Jignesh Lapasia +91 98679 78998 MANAGING EDITOR

Supreeth Sudhakaran

Time is Now

ASSOCIATE EDITOR

Sonal Shah LAYOUT DESIGNER

Pravin Gohil GRAPHIC DESIGNER

Preetam Shetty WEB SUPPORT

Pratik Shah REPRESENTATIVES HYDERABAD

Arihant Sales Dinesh Chauhan +91 93469 51232 KANPUR

Sandeep Keshari +91 98391 23611 +91 93363 32742 Ritesh Agarwal +91 93355 89233 SAMBALPUR(ODISHA)

Sushant Dash +91 93373 32323 PRINTED AT

Om Sai Printer, Mumbai

Colonel Sanders and Jack Ma are two names which every entrepreneur takes inspiration from. They are not just interesting for their successful venture but more because of the undying spirit. Sanders’ life is little more interesting because he defied the general notion that entrepreneurs should start young.

At 65 years of age, he decide things had to change. So he thought about what he had to offer. His friends raved about his chicken recipe. He decided that this was his best shot at making a change. Rest is what led to the KFC chain of restaurants. Alibaba was the result of Jack Ma’s determination.

What does it teach us? There is no perfect time to start something. Like in Hindi we say, Jab jaago tabhi savera.

Moving on, in this edition of ScreenTex, we are tip our hats to the winners of Fespa Awards. Indian companies once again made us proud. Durpa, the biggest printing exhibition in the world, has released its report which states “All izz well” in the printing industry.

Closer home the Indian Readership Survey, backed the claim. Regional print media has shown considerable growth despite the hard push of digital.

The Fespa report based on a survey too shows wide format continuing its growth momentum.

In our columns section, we discuss a lot of varied topics from how to deal with late payments, to tips to find new customers. In our technology section, we discuss transmission densitometers, spectrophotometer, and how to find the right monitor.

Wrapping up, here is Master Oogway’s quote that is inspiring and deep:

MEMBER OF

Yesterday is history Tomorrow is mystery, But today is a gift.

That is why it is called the ‘Present’ All material printed in this publication is the sole property of SPRY MEDIA. Reproduction in any manner is prohibited.

SCREENTEX is a bi-monthly printed and published by Jignesh Lapasia. All printed matters contained in the magazine are based on information from those featured in it. The views, ideas, comments and opinions expressed are solely of authors, SCREENTEX does not subscribe to the same.

SPRY MEDIA 702, Jugal Apartment, Liberty Garden, Road No 3, Malad (W), Mumbai 400 064, Maharashtra, India.

Mobile : +91 98679 78998 E Mail : jignesh@screentex.in • Website : www.screentex.in

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| SCREENTEX | April - May 2019

CONTENT REPORT

24 26

Over 325 printers partake in Print Innovation 2019 - Rajkot and Nadiad A Classic, Spectrum, and Perfect win at Fespa Gold Awards for India

MARKET

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Drupa Global Trends report claims ‘All Izz Well’

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60 62

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Le´er [er efÒebeì f ib e ceW HeeJe[j HeÌuees keÀe cenlJe

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GUEST COLUMN

32 34 38

Wide Format gets a Thumbs up from industry 14 tips to drum up new print customers Examining the benefits of screen printing in the modern market

BUSINESS

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How to deal with late payment

TECH TALK

44 48

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Transmission densitometer: what is it and how should you use it?

Love your monitor

TECHNOLOGY

52 56

How to decide on the right spectrophotometer for you A myriad of technologies, the value chain of Digital Textile Printing April - May 2019 | SCREENTEX |

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NEWS

Xeikon Has Developed a Digital Printing Solution for Pouches Xeikon has launched its digital printing solution for pouches. This latest innovation has been developed for consumer goods markets – food, beverage, chemical and pharmaceutical industries. The digital process for printing on pouches responds to current trends, i.e. significant numbers of SKU’s, shorter lead times, and the rising popularity of pouches in store.

Pouches can be reasonably complex to manufacture because of the flexible nature of their multilayers. It is essentially a laminated bag made from several layers of material that requires a number of different steps in production.

Xeikon is helping to simplify the overall process by firstly digitally

printing the text and graphics on a thermal laminate, the outside layer of the pouch is prepared and ready for the next steps. A variety of different layers is then constructed by lamination with a series of barriers for protection before the pouch is finally put together in the manufacturing process.

Marketers and brand owners see a lot of value in this kind of packaging for a variety of reasons, such as product presentation and functionality for the consumer.

Pouches can also be sustainable: a pouch has a so-called “productto-package” ratio of 35:1, which essentially means that it can carry up to 35 times its own weight, resulting in less energy consumption to produce and to transport. Pouches can have a variety of different shapes depending on size, end-use

application and functionality. Many brands are transitioning from rigid types of packaging to more flexible versions such as pouches.

Digital printing with Xeikon’s dry toner technology has many advantages. It is not only the highest print quality on flexible substrates but there are also reductions in start-up costs and no job changeover costs. Importantly, the printer has the ability to print variable data information in both single and full colour.

Xeikon’s digital dry toner technology allows JIT production, versioning and last minute adaptations on the fly. For busy print operations with a high volume and complex jobs looking to assess which process and technologies will give them an advantage, the crossover point for flexo and the digital process is at least 4000lm.

Schaetti and Dakota merge to create Fixatti Schaetti Holding of Switzerland and Dakota Group of Belgium have merged to become Fixatti, a global niche market leader in thermoplastic and thermosetting adhesives.

The transaction was already announced to its business partners in October and has closed on 7th November 2018.

Schaetti and Dakota are both considered to be market leaders in the adhesive powder and coating industry. Whereas Schaetti can leverage on their own polymerization of thermoplastic co-polyamides and co-polyesters, next to grinding, compounding and blending of a variety of polymers.

Together they target to expand their product ranges to

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further supply the automotive, building, textile, furniture, footwear and metal coating industry.

Fixatti further stands for two complementary companies Schaetti and Dakota, with the same DNA and track record, both provider of a wide range of products, worldwide offices and production sites in Germany, Belgium and Shanghai. Fixatti will further facilitate the timely development of new projects, optimize manufacturing and provide a short supply chain close to customer’s needs.

The extended product portfolio includes co-polymers such as co-polyamides, copolyesters and polyurethanes and

many more for specific applications.

Gertjan De Creus has been appointed as the group CEO of the new company. He has been leading Dakota very successfully for the last 5 years.

He is driven by the opportunity to create one passionate team and build a highly customer-oriented organization.

Apart from the absorption of Schaetti America Inc. by Dakota Coatings Inc. and the absorption of B-Polymers (Suzhou) Trading Co Ltd by Schaetti (Shanghai) Hotmelt Adhesive Co Ltd, the group structure remains unchanged.

Tejas Vora will continue to be Sales Director - Fixatti India and RSM - South East Asia for the new entity.

NEWS

Massivit 3D launches Massivit 1800 Pro in the US Massivit 3D Printing Technologies, the leading provider of large format 3D printing solutions, has expanded its portfolio of solutions with the new Massivit 1800 Pro that offers brand-new features including ground-breaking, patented Variable Resolution, new advancements optimizing durability and resolution, and remote-operation options to significantly enhance operation efficiency & convenience.

The Massivit 1800 Pro brings to the market a patented Variable Resolution capability that can be predefined via the printer’s Massivit SMART Pro software to allow a change of print mode

(resolution level and layer thickness) on-the-fly during the printing of a model, according to the varying requirements of different model sections. In addition, a new Mega Quality resolution mode allows for faster, high-quality printing of large objects, optimizing gel consumption and printing time.

These two new features enable an even more cost-effective production process.

An all-new, remoteoperation capability has been developed allowing users to operate the printer and monitor printing progress remotely via a tablet, as well as directly contact Massivit 3D’s responsive customer support and service team if needed.

Uptime is maximized by new, simple, automated maintenance procedures that are triggered according to collected data, as well as customizable priorities for preventative maintenance.

Designed to serve the visual communication, entertainment, concept prototyping, and interior design arenas, the Massivit 1800 Pro 3D Printer produces super-sized, captivating signage, displays, and props at high speed, high resolution, and with perfect repeatability.

This new addition joins the Massivit 1800 Flagship 3D Printer and the Massivit 1500 Exploration 3D Printer in a portfolio developed to empower print service providers as they expand their business into new markets with high quality 3D printing capabilities.

“The Massivit 1800 Pro is the next generation of large format 3D printers with enhanced efficiency, flexibility and control,” stated Amir Veresh, VP of Marketing and Business Development. “Its allnew Mega Quality mode, Variable Resolution capability, and remote monitoring offer cost-effective and reliable production and repeatability.”

EFI reiterates textile ink focus with BDR acquisition Electronics For Imaging (EFI) has acquired privately held Turkish company BDR Boya Kimya to support its ongoing efforts to develop new ink products for the digital textile print market.

BDR, which specialises in the manufacturing of reactive inkjet inks for industrial digital textile printing, will now be integrated into the EFI Reggiani, where it will

continue to develop these inks.

Under the terms of the acquisition deal, BDR will now rebrand as EFI Reggiani BDR. Its products are now available as new offerings alongside the EFI Reggiani inks and will be marketed through EFI’s combined sales teams and channels as EFI Reggiani BDR. BDR co-founders Serra Saatçıoğlu Yildiz will stay on as sales director, Ink WW, and Ibrahim Demir as director for technical ink and development, under the leadership of Antonino Tricomi, EFI Reggiani’s ink and business development director.

BDR’s employees will also join EFI, but remain based at their current sites in Turkey.

Despite having only launched in 2016, BDR has already built up a presence in Turkey and Pakistan, with plans to pursue further growth opportunities across Europe, the Middle East and India.

Although EFI opted not to disclose the financial terms of the agreement, the manufacturer has issued a statement to FESPA.com about the deal, saying that textile ink is a critical part of the EFI textile offering and the addition of BDR to the business will support this focus.

April - May 2019 | SCREENTEX |

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NEWS

DTG Digital launches new G4 DTG ink set for high fidelity colour and increased washability DTG Digital the maker of the veteran DTG line of direct to garment printers has announced a new DTG Ink set custom made for its DTF G4 Direct to Garment Printer.

Roderik Verweij, European Operations Manager at DTG Digital says: “We’re even more impressed with the results of this new G4 DTG Ink set than we thought we’d be. . The research has paid off and the result is amazing looking prints that last”.

The CMYK and White is delivered via cartridge for consistency

are tuned specifically to work with the G4 printer. Coupled with new pre-treats that offer softer hand feel, greater wash-ability and easier application.

The ink itself has a higher viscosity with less surface tension in comparison with previous DTG branded inks. The inks produce high quality prints with an industry first in colour gamut, while it takes advantage of the hardware configuration to reduce maintenance.

Jerry Erich, Product Manager for DTG Digital says: “There’s no air in the ink delivery to the print head nozzle plates, this produces more reliable

and predictable printing results without the maintenance levels currently seen in the market. We adapted the WIMS system for white ink management for the G4 DTG printer which greatly contributes to preventing settling.”

The main features of the new DTG ink set include: Less white ink settling, Higher viscosity for continued ink delivery to the nozzle plate, No dye migration in heat setting, Lower cure times, Less machine maintenance needed, Better consistent colours batch to batch, Latex derivative formulation, Superior wash-fastness, Superior dry and wet rub, and an unbelievable soft hand feel.

Magic Textiles reveals expansion opportunities with Roland RT-640 from QPS Quality Print Services (QPS), a wide-format print specialist and the main UK distributor of Nazdar digital inkjet ink products has installed a Roland RT-640 dye-sublimation transfer printer at Magic Textiles’ custom-built facilities in Leek, Staffordshire.

The Roland RT-640 printer was installed by QPS in late January 2019 and will enable Magic Textiles to expand its services to include printed products made from man-made fabrics such as polyester.

Ideal for businesses looking to get into sublimation printing, the Roland RT-640 has been designed to combine superb quality, productivity and value

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with ease-of-use.

Magic Textiles offers a full, bespoke textile printing service to a wide variety of customers ranging from major household brand names - including Rolls Royce, J Barbour & Sons, and Paul Smith - through to small, independent designers.

Established in 2003, the company employs 23 people.

Regarding the new purchase, Lee Casswell, Owner of Magic Textiles, comments: “Our new Roland printer has opened the door to some exciting expansion opportunities and enables us to offer printed polyester textiles alongside our existing range of cotton and cotton mix products.

“It really was a case of dipping our toes in the printed man-made fabrics market. Since installation, we’ve also had enquiries from existing customers interested in flags and banners

for outdoor use - something we were unable to offer until now.”

The new printer is running Nazdar NDT600 Series high quality, alternative inks which are also supplied by QPS. Designed for use on any printer platform using Epson print head technology, Nazdar NDT600 Series inks deliver an incredibly high print density, meaning customers such as Magic Textiles can expect strong, vibrant prints, with less ink required to achieve these results. Moreover, Nazdar inks are typically up to 30% cheaper than those offered by the original equipment manufacturer.

Lee Casswell concludes: “We are really pleased with our recent hardware acquisition and are very optimistic about the opportunities it will open up for us. QPS have been a really helpful throughout the purchasing and installation process - they’ve been a great “help.”

NEWS

Printers converge to attend seminar on ‘Romancing Print East’ A one day seminar on ‘Romancing Print East’ was jointly organized by All India Federation of Master Printers (AIFMP) and the Nagaland Master Printers Association (NMPA) recently at Hotel Japfu. Subhash Chander, Former President AIFMP was present at the event as the chief guest, while Dibyajyoti Kalita, Former President of AIFMP and Dalip Tuli, President, Greater Delhi Master Printers Association were

invited as Guest of Honours.

The seminar included talks on the technological advancement on printing business. Mhiesizokho Zinyü, President of NMPA in his welcome address expressed his gratitude to the top leaders of AIFMP based in New Delhi and Guwahati for having sponsored the Seminar having highlighted with lot of information and knowledge on printing business.

All the speakers from the AIFMP emphasized the importance of upgrading technology in printing works as well as the technical problems being faced by the printer community in the country

with special reference to the Northeast India.

In technical session-1, R.N. Dutta Boruah Vice-President East AIFMP spoke on “Cluster development & CFC for MSME” and Shajahan Kazi, Proprietor of Top printers, Guwahati spoke on the topic “Breakthrough” in printing business.

In technical session-2, Vizayie Kar and Sentikala Sanglir, both Inspectors of Taxes from the Department of Taxes highlighted on the topic, GST with relevance to printing and allied Industry along with power presentation.

Over 60 members representing various printing houses mainly in Kohima and Dimapur participated in the seminar besides 12 strong delegation representing AIFMP.

Siegwerk to open Blending Center in Bangladesh Siegwerk, has announced plans for a new Blending Center in the Dhaka region, in Bangladesh.

The center is expected to start operation in the fourth quarter of 2019.

With this expansion, the company significantly strengthens its domestic business in the country while extending its position across the overall Asian region.

Siegwerk has been supplying inks to printers in Bangladesh since the mid-nineties.

“We have established a very good customer base with sustainable growth in Bangladesh.

We now want to get closer to our customers supporting them more effectively with

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individually formulated ink solutions which match their local printing requirements,” says Ashish Pradhan, Director Siegwerk Bangladesh and CEO – Siegwerk India. Presently, inks are imported from Siegwerk’s plant in India.

Going forward, the new center will blend solvent- and water-based inks, as well as UV and conventional offset inks directly in Bangladesh. “The new Blending Center will enable us to make our products and solutions even more accessible to local customers and enhance our service capabilities across the country, while strengthening our leadership position,” adds Pradhan.

Subsequently, the company will be able to reduce lead times and provide Bangladesh

customers with the highest global technology expertise directly in their own country.

The new center will be a toluene-free environment.

This means, toluene, or any raw materials containing toluene, will not be used as intentionally-added ingredients at all. All produced inks will be compliant with global regulatory and brand owner requirements to ensure products are safe for the end-use packaging applications.

The raw materials and intermediate products are as close to identical as possible, laying the foundations for consistent product quality. Blending Centers in more than 30 national subsidiaries worldwide ensure that Siegwerk printing inks are subsequently tailored to meet individual customer’s requirements.

Kolkata : Mr. Firoz - Mob : +91 9874445151 / 7219664855

NEWS

Arrow Digital installs superfast large format 3D printer Massivit 1500 Ahmedabad-based Arrow Digital has recently installed the largest, fastest and most advanced large format 3D printer Massivit 3D 1500 at its R&D centre.

Based on its proprietary GDP (Gel Dispensing Printing) technology that enables highspeed printing and instant solidification, Massivit 3D 1500 can produce highquality 3D pieces up to 54 inches (137 cm) high.

Talking about how 3D printing solution will help in retail application, Sam Patel, Founder and Director of Arrow Digital told media.

Sharing the idea behind installing the Massivit 3D printer, Patel

said, “3D printing technology has made substantial advancements in developed countries like the US, Europe and now thriving in India.

The market in India is growing at a rate of 20%. This technology allows designing without constraints, thus, enabling further creativity and innovation.

Compared to the global 3D printing market, Indian market is relatively at a nascent stage; however, the growth has been quite encouraging especially due to wide range of applications, faster production, and large size props.

Apparently, people thought 3D printing could be a slow

process and can only produce relatively small object but with Massivit 3D, Arrow is prepped to change the myth for an Indian industry.”

In addition to Massivit 3D 1500, the company is also planning to install Massivit 3D 1800, which can produce high quality 3D piece up to 70 inches (180 cm) high.

The system is also equipped with dual process option which allows easy printing of two different objects in parallel.

While revealing the future plan, Patel sums up, “Our aim is to pave the path for many such technologies in India and create an environment for the industry to acquire it and to give Indian end consumers preeminent experience.”

Blackstone commits $460 million to acquire a majority stake in Essel Propack Private equity funds managed

by Blackstone have entered into a definitive agreement with Ashok Goel Trust to purchase a majority stake in Essel Propack, a leading global specialty packaging company and the largest global manufacturer of laminated tubes.

Ashok Goel Trust and its affiliates currently hold approximately 57% of EPL. Blackstone will pay a purchase price of INR 134 per share to acquire a 51 % shareholding from Ashok Goel Trust.

Ashok Goel will retain a minority stake in the company.

The sale is expected to complete in the coming months, subject to customary closing conditions and approvals.

EPL, founded in 1982, is a global leader in laminated tubes.

Through its 20 state of the art facilities across 10 countries,

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employing over 3,158 people, EPL manufactures 7 billion tubes annually. EPL’s clientele includes marquee global brands in the oral care, beauty, cosmetics and pharmaceutical industries. EPL’s last twelve months revenue as of December 31, 2018 was INR 2,642 crore ( ~$380 mm), registering~ 10% year on year growth against industry growth of ~2%.

Amit Dixit, Senior Managing Director and Head of Private Equity in India at Blackstone, said: “We are excited to partner with the management team and support EPL’s customers with continued investments.

Leveraging the ongoing industry shift to laminated tubes and EPL’s leadership position in oral care, our plan is to accelerate growth in fast-growing end categories such beauty, cosmetics and

pharmaceuticals. This investment follows Blackstone’s long-standing belief and track record in the B2B2C sector.”

Ashok Goel, Chairman and Managing Director EPL, said: “It has been a wonderful journey for me leading EPL to a position of global leadership in specialty packaging especially laminated tubes. Today, EPL is a partner for leading global customers across sectors and geographies through sharp focus on innovation, sustainability and agility. As we embark on the next trajectory of growth at EPL, Blackstone brings deep expertise in packaging space globally with senior team of highly experienced professionals with a proven track record of creating value. I see Blackstone as a partner with the same values, culture and ethos. The company’s management team is excited to welcome Blackstone.”

NEWS

vhf launches CNC milling machine with futuristic design Vhf have launched its latest flagship product: the X. The new CNC milling machine for plate processing optimally combines precision, drive power and stability.

Vhf will be celebrating its 30th anniversary this Autumn and has equipped the machine with numerous standard extras.

The X offers both innovative technologies made in Germany and intuitive operational convenience. vhf have specially developed, pressed and anodized aluminium profiles that give the machine extreme rigidity.

Their internal X-shaped structure is where the X gets its name.

Together with massive

machine castings especially quiet operations are ensured.

Compared to steel designs, this Xstructure in combination with a robust construction provides maximum load-bearing capacity at a significantly lower weight which results in traverse speeds of about 30 m/min.

Many parts of the X’s cutting-edge technology are also integrated into the Xstructure of these profiles to save space.

The vhf X uses innovative drives: three axes are driven by three motors at a time and an intelligent gear design which guarantees precise propulsion and excellent milling results.

With a processing spindle that reaches 5,8 kW peak power and spindle speeds of up to 40,000 rpm, the X can mill numerous materials, including aluminum, plastic, wood and even

stainless steel sheet. However, the X is capable of more than just milling.

On request, an optionally integrable cutting and creasing unit with switchable lance oscillation can process soft materials such as cardboard and seal material.

This means that V-cuts, kisscuts and creasing operations can be performed reliably and without retooling.

The electronic workpiece leveling system enables the user to achieve perfect engraving and chamfering across the entire 2 x 3 meter machining area, even with material thickness tolerances.

With the development of the X, vhf is also breaking new ground digitally: The system can be operated via tablet – enabling future-oriented and intuitive controls.

Print Innovation – India’s first English-Gujarati bilingual magazine launched Gujarat is one of the biggest printing and packaging markets in the country.

A large share of the market is led by small and medium enterprises. Considering the views of the market to gain access to magazine that offers updates on the industry in both English and Gujarati, the team of ScreenTex led

by Jignesh Lapasiya, and organizer Gujarat Print Awards, Nayan Rawal are launching a Print Innovation.

Print Innovation is India’s first bi-monthly and bi-lingual magazine that will cover trends and news from the printing and packaging industry.

The magazine was launched during the Print Innovations 2019, a one-day technology seminar

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and table top exhibition jointly organized by Screen Printers Association of India (SPAI) and ScreenTex in XXXXX. Speaking on the initiative, Jignesh Lapasiya, co-founder of Print Innovation, said, “Printing is one of the oldest industry which has a strong presence and contribution from the state of Gujarat. Indian printers have been competing with global brands with high quality works.

However, the industry has been witnessing a swift change in trends, and to sustain in the market, it is necessary that printers are always up to date with the technological changes.

Sometime the challenge is to share the knowledge with the

workforce in a language that is easy to comprehend.

We had conducted a survey in the market Rajkot and Nadiad are maturing as markets for screen and commercial printing. The oneday Print Innovation provided a platform to exchange ideas, learn from experts and network.”

QUICK BYTES

HP TARGETS GROWING TEXTILE MARKETS WITH STITCH S SERIES HP has launched its new HP Stitch S Series portfolio of digital textile printers in an effort to help its customers access work in expanding sectors of the wider textile print market.

The HP Stitch range comprises three models: the 64-inch HP Stitch S300 and S500, and the HP Stitch S1000 126-inch device. All machines in the portfolio feature what HP said is the first-ever built-in spectrophotometer, which it said enables fast and exact colour-matching.

The HP Stitch S300 has the first user-replaceable printhead, helping to reduce down-times and service costs, making it suitable for new-to-dye sublimation professionals, prototyping departments and growing print providers.

SAI LAUNCHES MORE POWERFUL FLEXI SIGNMAKING SOFTWARE

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TARSUS AND APTECH ANNOUNCE STRATEGIC ALLIANCE

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Ai has announced the introduction of Flexi 19, a more powerful and feature-rich update of its flagship signmaking software, engineered to meet the demanding design to production challenges of sign & display and large format print providers.

Central to the super-charged Flexi 19 is a faster and more highperformance 64-bit RIP engine offering an increase in speed of more than 30%. Flexi 19 also comprises a host of easy-to-use features. These include more than a dozen brand new additions, each geared towards improving the design, production and business aspects of users’ operations.

Among the convenient new tools introduced to ensure a more efficient and hassle-free design workflow, is Find my Font. This lets users open different photo files – including Bitmaps – before automatically detecting the font or the best match of that used in the file.

arsus Group (owner and organizer of the Labelexpo and Brand Print Global Series of trade shows) and the Association for PRINT Technologies (owner and organizer of the PRINT® event) have today announced that they will combine efforts to launch Brand Print Americas. This will take place in lieu of PRINT® 2020 and will be co-located with the 2020 edition of Labelexpo Americas, happening at the Donald E Stephens Convention Center in Rosemont, IL, from September 15-17. Lisa Milburn, MD, Labelexpo Global Series and Brand Print, said: “We are delighted to collaborate with the Association for PRINT Technologies on the first Brand Print Americas. By combining efforts where we see crossover among segments, we are strategically connecting the print supply chain. This will give printers and converters access to a huge platform for exploring all of their print needs and finding the right solutions at a single venue.”

FESPA LAUNCHES NEW SPORTSWEAR PRO EVENT

MIMAKI ANNOUNCES JFX200-2513 EX LARGE FLATBED UV INKJET PRINTER

FESPA is proud to announce the expansion of its textile portfolio with the launch of Sportswear Pro, a new exhibition dedicated exclusively to sportswear manufacturing.

The first event will run alongside the flagship FESPA Global Print Expo 2020, from 24 to 27 March at Feria de Madrid, Spain.

Michael Ryan, Event Manager for Sportswear Pro at FESPA, explains the rationale for this addition to the global FESPA event portfolio: “Our core FESPA community is heavily engaged in the production of sports apparel, with 80% of textile printers active in this dynamic segment, according to our 2018 FESPA Print Census.

But what is clear is that, despite 7% growth in 2018, sportswear producers are not currently served by an event focused on how to optimise their processes and meet the global trends of customisation and speed to market.”

Mimaki Europe, a leading manufacturer of inkjet printers and cutting systems, today announces the European launch of the new JFX200-2513 EX large flatbed UV inkjet printer at FESPA Global Print Expo 2019 (Munich, Germany – 14-17 May 2019).

Introducing a new print mode and an extra printhead, the JFX2002513 EX boasts substantial productivity increases on previous JFX models – 280% faster in new draft mode when printing in four colours plus white, and 100% faster for all other print modes.

This entry-level printer also uses Mimaki’s 2.5D Texture Maker to enable smooth embossed print at the touch of a button.

For the first time, this allows print service providers to offer large format digital print with enticing-to-touch dimensional textured effects without lengthy file preparation.

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QUICK BYTES

ADOBE HONORS COMMERCE LEADERS WITH IMAGINE EXCELLENCE AWARDS

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t its global ecommerce conference, Imagine 2019, Adobe announced the winners of its Imagine Excellence Awards. The highly coveted awards, which span 15 categories, honor the incredible business successes of Magento merchants and partners on the industry’s leading digital commerce platform for next-generation shopping experiences. This year’s awards garnered nearly 230 submissions that exemplify some of the best commerce innovations across B2B and B2C use cases. “Whether it’s delivering a great omnichannel experience, adeptly using data to enable a better customer journey, or rolling out a new mobile shopping capability, this year’s winners have set the standard for innovation and creativity in delivering incredible commerce experiences,” said Gary Specter, vice president of commerce sales and customer success, Experience business, Adobe. “On behalf of everyone at Adobe, congratulations to all the finalists and winners.”

RICOH RESEARCH FINDS GENERATIONAL DIVIDE IN WORKPLACE TO BE A MYTH

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CANON EXPANDS UVGEL PRINTER FAMILY WITH NEW OCÈ COLORADO 1650

icoh USA, has unveiled the findings of new research that shows the reality of multi-generational relationships to be more collaborative than past perceptions of conflict. According to new research commissioned by Ricoh,1 which included 1,500 respondents across the United States and Canada, 71% find a cross-generational workplace an asset to a company and 76% of those same workers enjoy working alongside colleagues of different ages. Additionally, today’s workforce is more united than ever in its demand for a seismic change in the way we all conduct business in the future. It’s no longer enough to measure just financial success, with employees from across the generations2 calling on businesses to be a force for good and drive positive change in the world.

Canon has launched the new Océ Colorado 1650 large format graphics printer, expanding the family of roll-to-roll devices featuring Canon UVgel technology. The Océ Colorado 1650 introduces Océ FLXfinish technology that enables both matte and gloss print finishes, a new ink, increased media and application versatility and a fully integrated double-sided printing feature.

This new 64-inch production graphics printer builds on the breakthrough productivity, output quality, ink savings and automation of its predecessor, the Océ Colorado 1640. This new product delivers optimal performance for print service providers (PSPs), producing applications such as self-adhesive vinyl, canvas, wall-coverings and front- and back-lit graphics that require a high degree of flexibility for finishing, mounting and framing.

UNVEILED: KARIBU, THE SWISSQPRINT ROLL TO ROLL PRINTER

ADOBE TEXTILE DESIGNER PLUGIN FOR ADOBE PHOTOSHOP

K

aribu, the first swissQprint roll to roll printer, has made its public debut. This is a UV inkjet printer with a maximum print width of 3.4 metres. As the Swiss manufacturer hinted in advance, Karibu incorporates ingenious features aimed at high efficiency and reliability as well as huge versatility.

Karibu features a Light Box right next to the printing area, for immediate and continuous quality control of backlit prints.

Karibu has a Mesh Kit integrated with the print bed.

For users who regularly print in parallel, swissQprint offers a dual roll option capable of handling two rolls each up to 1.6 metres wide. This doubles Karibu’s productivity. The roll holders are split into two sections with each half of the shaft driven individually, thus ensuring optimum web tension and perfect results on both rolls.

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L

ast October Adobe announced Project Paras, a plug-in to Photoshop. A broad range of textile designers, from major brands to independent professionals to part-timers and hobbyists signed up to test it. Our team listened closely to their feedback, and used it to make the product even better. The result is Adobe Textile Designer Plugin for Adobe Photoshop. Adobe Textile Designer Plugin for Adobe Photoshop is now in beta. So it is free for anybody to try out, test and provide feedback to Adobe. Like most Adobe Creative Cloud applications, Adobe Textile Designer supports non-destructive elements, with independent layers, adjustments, filters, and allowing users to place an Illustrator smart object (vector) in a Photoshop design that can be edited later. After a design is ready to print, designers can save their work in various formats, and can include XMP metadata in their output files that will be used in the fabric production process.

REPORT

Over 325 printers partake in Print Innovation 2019 - Rajkot and Nadiad

Screen Printers Association of India (SPAI) and ScreenTex in April jointly organize Print Innovations 2019, a one-day technology seminar and table top exhibition in Rajkot and Nidiad. The event, which was held on 18th April in Rajkot and 20th April in Nadiad saw over 325 printers from the region take an update on new technology trends.

The one day techno-seminar received roaring support in Rajkot and Nadiad from the printing fraternity. In Rajkot, the event was supported by Rajkot Printing and Packaging Association, Rajkot Commercial Printers Assocation, and IPAMA. Similarly, in Nadiad, the Nadiad City Printers Association extended its support to the technology driven seminar. The credit of this successful tour also lies with Hemant, president, Rajkot Printing and Packaging Association, and Hiten, President of Nadiad City Printers Association. Both the leaders stepped ahead in support of an endevour that benefits their

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fellow printers.

At the event, Grafica will conduct a live demonstration of its latest Nano-Print 1015 screen printing machine. Nano-Print 1015 is one of the most compact, easy to use and affordable screen printing machine. This machine has a print area of 10x15 Inch (25 x 38 cm) and has speed of over 1550 impressions per hour.

It is a plug and play single phase machine and consumes only 0.5 units / per hour at 220 volts / 2 amps.

The machine was fit with an inline UV Dryer manufactured

by Pinnacle. The machine demonstrated UV jobs utilizing paper and films using UV inks

by Colors and printing sheets

by AND Global. The day-long seminar also saw Photokina highlight its hydrographic (water transfer) printing on substrates.

Hitech demonstrated its digital lamination as well as computer to foil machine, while Patel Enterprises brought in its OM

brand half cut machines. Sky Screen too was present with its cutting plotter machine for T-Shirt machines, Gurubakshish group highlighted its pre-press chemicals and inks, and Beautyflex sampled its Textile printing water based and plastisol inks.

Speaking on the initiative, Jignesh Lapasiya, Head - Print Innovations 2019, said, “Printing is one of the oldest industry.

In contrast to global markets, Indian printing industry has been witnessing a healthy growth.

Indian printers have been competing with global brands with high quality works. However, the industry has been witnessing a swift change in trends, and to sustain in the market, it is necessary that printers are always up to date with the technological changes. Rajkot and Nadiad are maturing as markets for screen and commercial printing. The oneday Print Innovation provided a platform to exchange ideas, learn from experts and network.�

REPORT

A Classic, Spectrum, and Perfect win at Fespa Gold Awards for India

The winners of this year’s FESPA Awards were announced at FESPA’s annual Gala Dinner, which took place on Wednesday 15 May at Löwenbräukeller in Munich, Germany, during FESPA Global Print Expo 2019.

Indian companies once again made the country proud by winning several accolades at the gala night.

This year’s People’s Choice Award winner, which is voted for online

by FESPA’s global speciality print community, was presented to PVG’S Maharashtra Institute of Printing Technology in India for their entry titled “Screen Printing Graphics” submitted in the Young Star Company name Prefect Packaging Spectrum Scan Classic Stripes pvt ltd Classic Stripes Feather graphics Spectrum scan Classic Stripes Dhanvi Rasiklal Shah Arts company Feather Graphics india pvt ltd PVG MAHARASHTRA INSTITUTE PUNE

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category.

Spectrum Scan won Gold in Display and Packaging on Plastic category categories. The first it clinched was for its work for Elephant House ice cream brand which commissioned this multicolour exterior projecting sign for attracting attention during both day time and at night. The artwork has been pre distorted to compensate for thermo forming process and screen sub surface printed in four colour process with spot colours. After thermo forming the signs have been assembled with LED internal lighting, power supply and bracket for wall mounting.

Category Display and packaging on paper and Board Display and packaging on plastics Decals and Printed Labels Glass ceramic metal and wood products Functional printing Posters Functional Printing Serigraphy’S and Fine Arts Decals and Printed Labels Young star

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Awards Gold Gold Gold Gold Silver Bronze Bronze Distinction Distinction People’s choice

Perfect Packaging also won a gold in Display and Packaging on Paper and Board category for its work titled Lory. This perfume box is printed offset litho in four colour process on high quality folding box board and soft touch laminated, and enhanced with gold, blue and silver foil. To add an extra dimension of textured finishes, UV varnish is screen printed to produce four different texture effects.

The biggest winner was Classic Stripes. The company won a Gold in the Decals and Printed labels category. This decal set has been screen printed in three colours over white, including metallic gold at 20 lpi using extended light fast, solvent based inks on automotive grade transparent vinyl. It won another Gold for its work titled Elephant under the Glass, Ceramics, Metal and Wood category. This elephant badge has been screen printed on a semi automatic flatbed printer in nine colours using solvent based inks on chrome ABS, before being vacuum formed to its final shape.

In total, it clinched four trophies.

Jignesh Lapasiya, who represented Indian printing fraternity during the event, commented, “It’s a proud moment when you hear an Indian company winning awards on global platforms. We are a talented industry which has always been shying away from showcasing our works. Gladly this is changing and the result is the change of perception among the global fraternity. I congratulate all winners, and sincerely wish we win more awards in the coming time.”

MARKET

Drupa Global Trends report claims ‘All Izz Well’

The 6th drupa Global Trends Report shows that the global print industry as a whole is in a stable condition.

Global figures remain positive overall, with some regions and markets doing much better than others. Political and economic concerns for the future cloud otherwise positive prospects for the majority Globally 40% of printers stated their company economic condition was ‘good’ in 2018 versus 13% who described their condition as ‘poor’, the rest were ‘satisfactory’.

This gives a positive net balance of 27%. For Suppliers the

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positive net balance was 19%. Both groups remain optimistic with c.50% expecting things to be better in 2019.

Conditions vary between regions and between markets.

So North America continued to enjoy strong growth in 2018, Europe and Australia enjoyed steady growth, whilst Asia, the Middle East and S/C America were cautious and Africa was in decline.

The 2018 results reflect the established pattern in most regions, although the decline in the Middle East and S/C America appears to be worsening.

The Packaging market thrives as does Functional, but there are clear signs of increasing caution in the Commercial market and Publishing remains subdued, with the encouraging exception of the books market.

Sabine Geldermann, Director drupa, Messe Duesseldorf, commented, “The report shows that with a little more than a year to go to drupa 2020, the global industry is in robust health overall.

Clearly, there are significant differences in prospects across different regions and markets as demand rapidly changes with economic conditions and evolving uses of print.

That is the real value of this drupa Global Trends series.

It allows readers to track those trends over time and identify how printers and suppliers alike

can best invest to secure a strong future within the industry.”

The findings come from the 6th major annual survey issued last autumn to the drupa Expert Panel of senior decision takers recruited from printers and exhibitors at drupa 2016 and run

by Printfuture (UK) and Wissler & Partner (CH). Over 600 printers and 200 suppliers participated with all regions well represented.

Richard Gray, Operations Director at Printfuture stated, “Most panel members are positive overall about the future, despite very clear concerns about the economic and political prospects for 2019 and beyond. It is striking that many show an increasingly confident grasp of how to exploit the rapidly changing opportunities for print, as the wider markets make increased use of digital communications.“ Most printers make money despite huge pressure on margins by increasing revenues through raising utilisation while keeping overheads as stable as possible.

Globally we even saw a small increase in prices, despite substantial increases in paper/ substrate prices.

Suppliers also saw revenues and prices rise globally but with an even sharper decline in margins.

Conventional print volumes continue to decline but slowly. In 2013, 23% of printers reported that Digital print was more than 25% of turnover. In 2018, the proportion of printers had increased to 29%.

Nevertheless, Sheetfed offset remains the most common form of

MARKET print technology, present in 66% of all printers.

Sheetfed offset volume continues to grow in Packaging but there was a clear decline amongst Commercial printers for the first time.

Web to Print volumes are climbing, but slowly. In 2014, 17% of participants with W2P installations reported more than 25% of turnover came from that source. By 2018, that proportion of particip ants had increased to 23%.

Yet the proportion of printers with W2P installations is static – 25% in 2014 and 25% in 2018.

In terms of Capital Expenditure, 41% of printers spent more in 2018 than 2017, while just 15% spent less and expenditure grew in all regions except Africa.

Those in Packaging and Functional markets were very bullish while those in Commercial and Publishing markets were more cautious.

It was broadly the same pattern amongst Suppliers. For printers, Finishing equipment was the most common target in 2019, followed by Print technology and then PrePress/ Workflow/MIS. As for Print technology, Digital toner sheetfed colour was the most common target for investment in 2019 for all markets, except for Packaging where Sheetfed Offset took first place.

Yet the Packaging market saw a 5% growth in the proportion of SKU’s specifying digital print across all applications, except for Labels where the figure is already 40%.

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GUEST COLUMN

Wide Format gets a Thumbs up from industry

Digital wide format is set to innovate speed and profit throughout the industry, according to the latest FESPA Print Census.

Positivity and optimism are abundant in print service providers’ (PSPs’) own businesses as well as in the industry at large, according to the 2018 FESPA Print Census.

Wide format’s popularity was not limited to sign and display or fabric PSPs. It continues to expand across all segments of the industry represented in the survey – indicating general optimism among respondents in their own businesses and in the industry as a whole.

Two-thirds of all respondents (66%) said they already used wide format printers in their business – a 10% increase since the last FESPA census in 2015. And continued growth seems inevitable.

The survey showed that business from digital wide format had grown from around 36% in 2015 to make up 44% of total revenues today and forecast growth

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to 53% over the next two years. As might be expected, for example, 56% of fabric printers had invested in wide format printing equipment in their establishment already. but another 19% had plans to invest in wide format devices within the next two years.

Even those who saw no use for wide format technology in their own businesses, for almost half (45%) the technology was still employed – and outsourced to a service provider.

Respondents from the sign and display sector expected a 9% growth in their wide format revenues over the next two years, and those who expected wide format to represent 80% to 100% of their businesses in the next two years showed a 12% spike.

Sign and display specialists expected digital wide format to speed up printing processes, allow special functional fluids such as white and UV varnish and print onto textiles. And they are prepared to pay for this improved

functionality: sign and display businesses expect to pay almost €150,000 for their next wide format printer (nearly half as much again as the price tag in 2015).

Textile screen printers also had a need for speed from new technology (69%), but for DTG screen printers, the ability to put white ink to work interested directto-garment (DTG) printers the most.

Only a minority of graphic art and creative respondents (34%) owned wide format technology, but even in this segment, almost as many again (29%) were planning to invest in the next two years and make wide format owners the majority in this industry sector. Of those who owned wide format printers, the primary use was for dedicated wide format production (45%) on flexible media.

The perfect complement Even in packaging, which traditionally has used offset and flexo, wide format is still set to grow in terms of revenue contribution to the admittedly small sample of packaging businesses that used digital wide format (mostly UV-curable inkjet for corrugated cardboard). Productivity of digital was considered low and running costs high by many packaging respondents.

However, short runs are increasing for packaging PSPs worldwide, due to the brands’ drive towards mass customisation and more frequent new versions and formats, as well as a desire to cut waste. Digital printers are perfectly suited to short runs, particularly when complementing analogue processes.

GUEST COLUMN

14 tips to drum up new print customers also Etsy. Ensure you’re registered on relevant industry forums, boards and indexes – Google Business at least – so people can find you easily. The power of social media is great to showcase your latest projects and show the types of companies you are working with, which always helps when speaking to larger organisations.

Each social media platform has its strengths: Instagram can help you put out great pictures of print work quickly and fuss-free to a highly engaged audience; Twitter is best for snappy engagement with clients and can also help with customer support; and Facebook, which still has the biggest reach (2.2 billion active users) can bring you the greatest visibility.

New business is your lifeblood, so here are some simple tips to keep it flowing in.

Customers never just fall into your lap, and usually you need to work really hard to get new clients to commit.

It pays to be prepared when expanding your customer base.

That means doing things in the right order – do you really want to advertise a new product when the market for it simply doesn’t exist, or offer a service that won’t be profitable in the long run? Not all of these 14 tips will be of use for your particular circumstances, but a combination of several might just hit the sweet spot.

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1) Polish your online presence – Do you have a website?

Would one help? How could you make yours better? The model of sales reps chasing customers is looking threadbare. In today’s market, customers search online, with an idea of what they want to buy – and they expect fast delivery and desire a minimal environmental footprint.

Social media is great to showcase your latest projects and show the types of companies you are working with People are focusing on social media, so think about selling on different platforms to maximise reach and open up new avenues – look at eBay, but

2) Look inwards – Some self-analysis can really help. Crunch the numbers, audit your business and decide what you’re good at and where you want to be. A SWOT analysis – strengths, weaknesses, opportunities and threats – can help you see what you’re good at, what are good areas to expand into and what you can do better.

It’s vital to understand what your customer wants and needs.

Market research can give you an invaluable insight 3) Web to print – Have you thought about web-to-print or online sales avenues? Bluetree Group started life as a humble screen printing business in 1989, but after merging with Instantprint in 2012, is now an automated print procurement

GUEST COLUMN and production hub and one of the fastest growing companies in the UK. You can slash transactional and administrative costs by using similar API-driven businesses that allow mass customisation and hand back control to the customer.

Other companies such as Pwinty and Kite.ly allow simple drag and drops to satisfy on-demand print demands. Can you use these platforms to bring value to your own business?

4) Market research – It’s vital to understand what your customer wants and needs.

Market research needn’t be over-complicated or expensive, but it can give you an invaluable insight. Consider Survey Monkey questionnaire or a simple google form as a low cost option.

5) Advertising – Once you know your market, you can advertise. But don’t just do this blindly – target, be bold and original. If you’ve got a good online presence, consider dipping your toe into Pay Per Click (PPC) ads, which can be lucrative and get you to the top of the search results.

6) Co-operate with industry peers – Can you link up with other companies for a joined-up approach? Perhaps your offerings can complement each other and dovetail. Perhaps you can share online content with each other, cross-pollinate and share technology. If that’s too much, it can be as simple as swapping adverts on each other’s website or premises. PSPs are often protective of their own technology and contacts, but a brave new world calls for brave new businesses.

7) Invest in the most relevant print technology – Don’t fall behind your rivals. Research and implement the latest tech if you think it can deliver a competitive advantage – combine this with your market research for maximum impact.

8) Up your marketing game – It’s not just about advertising or a professional website. Make sure your external signage is up to date, your logo is professional and appealing.

A dated image can turn off new customers who want to use a print company they think are abreast of the latest methods.

9) Exporting – Are there foreign or developing markets you can find an opening in? This links directly with your online presence – websites are international, and your business can be too. If you attend expos or trade shows, network with reps from around the world. You never know where an opportunity might spring up.

10) Tie up loose ends – Quoted for work but never heard back? Got any loose approaches with questions in your inbox? Time for some follow-ups. You might want to ask these people if they’re still in the market for your services. You might want to go further and ask for feedback on why they didn’t use you in the first place. If they answer, you might glean some valuable insight into why you didn’t get that work – something you can action.

11) Tell a story – Never underestimate the power of the local press online or in print. If you’ve got an

interesting angle, approach a local publication and see if you can get coverage. Find online advice on how to write a press release that will make a journalist sit up straight. If not, could you be seen as an expert on what you do? Look for opportunities to comment and build your reputation further – LinkedIn is a good forum for this.

12) Diversify – Can your skills transfer to a new product? Do you have the equipment and skill to diversify and take advantage of new possibilities, thus opening up new customers? For example, can your equipment handle different substrates. If you’re a signage specialist, and you see digital signage eating into your business isn’t it time to re-educate yourself in the necessary technology such as D.Wall Online or XOGO and try to claw some of that business back?

13) Get word of mouth working – Doing a great job for your existing customers can get you new ones, especially if they talk about you. Take pictures of work you’re particularly proud of and put it on your social media sites once you have approval. Keep a good, open relationship and perhaps even offer incentives – a discount for a referral that leads to new business. Ask existing customers for testimonials.

14) Keep track – With all these things to do, it’s easy to do too much, get overwhelmed or take an unfocused approach. Draw up, at the outset, what you want to achieve, then keep track of what targets you hit. See what works, discard what doesn’t.

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Duratech Automation Pvt. Ltd. Plot No. 74, VMC Industrial Estate, Umela Phata, Vasai (West), Maharashtra, India 401 210.

Tel.: +91-250-6555034, 93215 27113, 93215 27131 e-mail: info@unitech-india.net or www.unitech-india.net

GUEST COLUMN

Examining the benefits of screen printing in the modern market

By Rob Fletcher

Despite the influx of digital machinery in recent years, screen printing remains the choice of technology for some print houses. Rob Fletcher investigates how and why this type of kit is standing strong.

There is no understating the impact that digital technology has had on the print industry. The mass influx of digital machinery had reshaped the industry to the point where many print service providers (PSPs) cite digital as their preferred technology.

However, despite such widespread change, various existing

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technologies remain very much at the forefront of PSPs’ minds. One such technique is screen printing, which, although perhaps more expensive than digital methods, produces high quality output to those who choose to run with it.

But is this enough to ensure its long-term future in the fast-paced market that we find ourselves in? FESPA.com speaks to some of those in this sector and finds out how screen printing continues to serve them well.

Vibrant colours and special effects

MagnaColours specialises in water-based screen-printing inks, focusing on the global textile industry. The company supplies the market with environmentallyfriendly, water-based inks, as a high-performance alternative to PVC-based inks.

Helen Parry, managing director at MagnaColours, says there is still a place for screen printing, explaining that while digital is good for shorter runs where some elements of personalisation is desired, screen print serves as a better option for high volume runs.

GUEST COLUMN

“Screen printing applies a thicker print to the fabric so vibrant colours are possible even on dark shirts and speciality effects like glitters, puff and high density, none of which are achievable using digital printing,” Parry said. “It is cost effective for long runs and offers users the opportunity to create vibrant colours and special effects.

“It is a highly versatile print method, capable of printing onto a wide range of fabrics, light or dark, with excellent wash durability that can withstand high performance wash temperatures.”

In terms of how MagnaColours can support this market, the company recently release a line of pigment dispensers. Marketed as MagnaTint, these dispensers connect to the firm’s MagnaMix colour mixing software and instantly dispense pigments for a given pantone reference or shade.

MagnaColours has also developed a new under base ink to provide plastisol printers with an economical solution to improve the handle and softness of their prints, whilst also achieving considerable cost savings for printers.

“Magnaprint Killer Base is designed to be used as a waterbased replacement for the first layer of plastisol ink or as an alternative option for printers using discharge under bases,” Parry said.

Building on this, Parry says these ‘greener’ inks will increase in popularity as the industry leans more towards environmentally friendly production.

Dominating new and existing markets Elsewhere and inks giant Sun Chemical is also championing screen printing as a reliable technology. Robin McMillan,

product manager of industrial and graphics Europe at the company, says it continues to be the favoured print process for various applications and markets, as its ability to print on numerous substrates with multiple ink types makes it stand out from other print processes.

McMillan said: “Many commentators have been predicting the demise of screen print for over 20 years now.

Clearly its popularity has been heavily affected in previously traditional markets such as graphics, POS and textile, where digital print is now leading the way.

“However, while pressure from other traditional print technologies, such as litho and flexo, have also had an impact on screen print, screen continues to dominate in many existing and new markets.”

McMillan said Sun Chemical continues to support both the graphic and industrial markets with new ink developments.

For the graphic market, this has seen a shift towards products that can be used for a wide range of applications – making inks that are truly universal for modern PSPs, which minimises the number of inks they need to produce jobs on different substrates for different applications.

In terms of industrial print, McMillan said developments tend to be very market-specific, with inks developed to suit either an existing market or application, or those emerging through product developments, either for decoration or as a functional part of the end product.

McMillan added: “The rise of digital and especially inkjet is bound to have an ongoing

effect on screen print and in fact all current print technologies, but the timescale for this and the actual penetration is yet to be seen. In the meantime, therefore, screen print will continue as a very viable process, favoured by many markets for a few years yet.”

Building for the future Also in this market is Proell KG, a German manufacturer of screen and pad printing inks, as well as specialised ink systems and adhesion. The company is also a supporter of in-mold decoration and film insert moulding (IMD/FIM), a technology used to help produce automotive applications such as radio and climate control panels, as well as covers and displays for smartphones and laptops.

During the IMD/FIM process, finished decorated components are produced by inserting decorated, formed and trimmed semi-finished film products into the mold during the injection molding process. For

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GUEST COLUMN as fine details, large areas, transparent and opaque colours, lacquers and special pigments can all be applied easily.

“The outstanding brilliance and durability of screen printed colours, compared to other printing techniques, are of greatest interest for the decoration of design oriented IMD/FIM parts.

“Night design applications, which are particularly important for climate control panels, keypads, and switches can be realised in screen printing technology by processing transparent, semi-transparent and highly opaque colour shades.”

this technology, various PC and PBT blend films and hard-coated films, as well as a range of PC resins, are used for injection moulding.

With film insert molding means, a second surface screen printed film is formed, trimmed and then inserted into the cavity of the tool and back moulded onto the ink directly.

Stefan Zäh, manager marketing communications at Proell, says that the use of screen print in this process proves that the technology has an exciting future in the print industry and the many markets it serves.

Zäh said: “Screen printing is the most versatile print process

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Shifting up a gear While it is pretty clear screen printing has a future, there appears to be a call for the technology to evolve in order to keep up with other developments within the market. SignTronic and Grünig are both very much of this mindset, working hand-in-hand to promote THE LAB concept, based on computer-to-screen (CtS) direct exposing technology and screen automation.

Andreas Ferndriger, CEO and owner of SignTronic, as well as marketing director of Grünig, is under no illusions that screen printing offers solutions where other printing methods come to their limits, but is seeking to evolve this technology, hence the focus on CtS. Ferndriger said: “Screen print means no colour limitations, deposit limitations, substrate limitations or size limitations.

Further to this, if the main focus is set on simplifying screen making (CtS technology and automation) then the additional benefits will be more output, higher quality and lower costs per screen.

“New technologies such as CtS direct exposing with UVLED-DUO Generation, automatic stretching and gluing systems modular or in-line coating machines, fully in-line screen cleaning systems, as well as wearfree frame cleaning machines that only use water, are available and possible to adjust to individual customer needs.”

Ferndriger accepts more awareness of badly managed pre-press departments is required in order for the screen printing market to make progress here. He said that processes in pre-press must to be both reduced and automated, while new technologies should be implemented to support this development.

He added: “With more output, higher quality and lower costs per screen the future in screen printing is bright and almost without limits.”

Ferndriger’s comments conclude this debate in a rather orderly fashion; there is no doubt that screen print offers a number of major benefits to users, but there is seemingly room for improvement.

There are plenty of encouraging signs that the manufacturers in this market are seeking to push the technology further so that it not only makes life easier for the user, but also helps them create higher quality output.

BUSINESS

How to deal with late payment

Plan ahead for cashflow problems.

Late payment is keenly felt by small print companies. To meet overheads, they often need to borrow or run overdrafts with concomitant interest charges. It means they can’t invest in new business opportunities, staffing or equipment and, of course, it can have a knock-on effect on how quickly they’re able to pay their suppliers. One firm going bankrupt can soon have a daisy chain effect – and if a truly large business fails or

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can’t pay, the ripples can spread far and wide.

The existence of this late payment culture is responsible for the failure of tens of thousands of small businesses a year, and many print service providers have gone to the wall because of delayed payment The impact of late payments It’s no secret that late payments are a real issue for all SMEs. It’s something that

the print sector feels particularly acutely, with up-front costs crippling many a business when a client pays after the agreed terms or, even worse, doesn’t pay at all.

The FSB says that the existence of this late payment culture is responsible for the failure of tens of thousands of small businesses a year, and many PSPs have gone to the wall because of delayed payments.

With printers keen to keep the presses running, non-payment

BUSINESS

The FSB says that the existence of this late payment culture is responsible for the failure of tens of thousands of small businesses a year, and many PSPs have gone to the wall because of delayed payments. can lead to a spiral of issues, with companies having to take on debts to keep afloat or accept jobs they’d otherwise steer clear of.

What SMEs can do PSPs can actively try to head off late payments before they happen – and to chase them when they do. For example, it’s useful to have efficient systems for checking the creditworthiness of customers before working for them – credit checks and references are two ways of seeing if the client has previous when it comes to poor payment.

“Background profiling on new customers and monitoring existing customers helps us to reduce the risk,” says Nicola Cummins, Business Development Director of Propack Direct Mail. “We always carry out credit checks on potential new customers, so we would not provide credit to any customer if we are not satisfied with those.”

On top of that, establishing clear payment terms and even agreeing that late payment will incur interest charges can motivate a customer to pay on time. It also means that if you start to add interest to a bill, they’ve had fair warning. If taking on a new client where you’ll have to buy paper to fulfil the job, agree terms for them to cover the cost of this upfront.

Keeping on top If a company’s invoicing

process is automated, it needs to be set up to issue prompt reminders when accounts fall overdue and to create the trail of evidence that may be needed if you have to pursue payment through court. If you have the means, you can hire staff dedicated to invoicing and chasing payments or even outsource it to a third party.

How to chase an unpaid invoice One of the keys to ensuring prompt payment is to have a good working relationship with your client.

While many companies have grown accustomed to the ease of firing off an electronic invoice assuming it’ll be paid automatically, there are times when knowing the name and having the email or phone number of the person responsible for paying you is gold dust. Get on first-name terms and you can help make sure your invoice rises to the top of the pile. “We work with the customer to understand why payments are late in the first instance and work together to find a solution,” says Cummins.

Remind them of the contract Some companies will stall payment saying they’re waiting to be paid. Remind them, gently at first, that they’ve contracted you to do work at agreed terms,

and your payment shouldn’t be held hostage because of how they run their own business.

Gentle escalation You should never start throwing threats around if a company is only slightly late paying you. It risks jeopardising a future relationship that could be mutually beneficial. But you can, of course, send them a payment reminder email. You need to create a paper trail that shows you took reasonable efforts to recover your debt, in case you need it in the future.

Less gentle escalation When payments get very late, or a customer persistently delays paying until you’re tearing your hair out, you can point to the Late Payments Act. This piece of legislation enshrines in law your right to interest for late payments, and also compensation for the costs you incur in recovering any debts. You might not want to use this for a repeat customer who has good communication with you, but is vital for one-off recalcitrant clients who persistently fob you off.

The last resort If you’ve exhausted every avenue from reminders to gentle cajoling, you can take legal action.

At this point, that paper trail you’ve generated is invaluable.

You need to be able to show that the non-payer has violated agreed payment terms and also that you’ve repeatedly attempted to gain payment. Of course, the threat of legal action might just be enough to get the payment wheels greased – Cummins concurs: “We have taken legal steps with customers in the past to try and speed up payment by issuing court proceedings, but never actually got as far as that.”

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TECHTALK

Transmission densitometer: what is it and how should you use it?

How this piece of kit can play a role in improving output quality.

Print and finishing machines might be the obvious place to look when you’re looking to upgrade your tech to improve output and gain an advantage in the marketplace. But with digging a little deeper, you could unearth is a whole treasure trove of options.

You may not immediately think ‘transmission densitometers!’

– but this specialist piece of kit plays a significant role for certain types of printers. What is a transmission densitometer and how do they work?

Put simply, a transmission densitometer is a tool that passes light through a material to measure its opacity.

This will catch the attention of

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any printers working with films positives in the screen making process.

How do they work?

Lincoln Swann, Technical Director at Cherlyn Electronics, a company that specialises in colour control equipment, sets out the typical process.

“For many print processes a transparent film mask is created as an intermediate stage, with this mask or positive of the image to be printed and then photo-exposed onto a screen emulsion,” Swann says. “Within screen printing specifically, the mesh screen may be exposed using a film in this way.”

Who needs a transmission densitometer?

John Finley, Service Manager at Tobias Associates, which specialises in supplying densitometers, says said: “In my opinion, the transmission densitometer is only useful to printers still using film in their production process or are trying to maintain quality control over special stock or trying to maintain material deposits over clear stocks.”

However, spectrophotometers have reduced in price and become more accessible, and are now replacing transmission densitometers in the press room.

Finley also states that reflection densitometers – different to transmission densitometers – common in pressrooms for measuring ink density on paper to allow users to

TECHTALK quality-control any incoming stock.

However, despite their rather longwinded names, Finley says both models of densitometer are very easy to use and only take around five minutes to master.

Finley and Swann both state that a transmission densitometer can still be of great use to any company working with a film, as it can be used to help control both dot gains and exposure times on film material.

FESPA has run several workshops in the use of transmission densitometers to correct TVI (tonal value increase or dot gain) on film positives as it is very important to ensure the correct curves are used in production.

How much does it cost – and is it worth it?

So, we’ve established what they do and the sort of company they are suited to, but as is the case with any sort of new investment in kit, the decision may come down to cost. Do you want to be shelling out hundreds or thousands on pounds on a transmission densitometer, and is it even worth it?

Swann offers the example of the Ihara T5+ model, which usually costs around £1,500. Swann says that when the printer weights up the cost against the value of both quality improvements and job control, then it is definitely worth at least considering investing.

Finley takes a similar viewpoint, saying that as the main job of a transmission densitometer is to improve and maintain quality, this can only be seen as a positive addition to your production portfolio.

He adds: “If you are a printer that wants to produce a highly consistent job that is repeatable

from sheet to sheet and job to job, it is imperative that you have the equipment to ensure process control.

“Also, printing more accurately can save on paper, press time and rejected jobs to name a few. Better quality can also generate more business and give you an edge over your competition.”

In terms of transmission densitometer models Tobias Associates can offer to the market, Finley says there are options to suit various budgets, with its TBX models starting at $2,650 and rising to $2,950 (around £2,000 to £2,250) , depending on features.

FESPA’s Head of Technical Support, Graeme RichardsonLocke, comments: “As these devices have been around for many years, it’s worth looking for second-user calibrated instruments from suppliers and buyers should be aware that simply buying from ebay may result in an unusable purchase.”

What if I can’t afford one? Is there another way?

While this kit may offer you a number of advantages, it is no secret that the modern printing company is under pressure to save money, which could include cutting back on new kit. However, Finley and Swann agree that when it comes to transmission densitometers, they play an important role.

Finley says: “The only workaround for not having a densitometer is hoping your employees have extraordinary colour eyesight. Running jobs by eye is hard and fatiguing. The eye can also be tricked by the lightness and darkness of the surroundings of the area you are

looking at.”

Richardson-Locke says: “There is no workaround as this device presents the only method to scientifically control the inconsistencies born out of incorrect TVI or dot gain.”

Swann agrees: “Densitometers are control tools – they can measure better than the human eye. Often a visual inspection is additionally used; if so, this should be conducted under controlled lighting as some colours change with lighting conditions.”

Put simply, if you are looking to improve the output of your screen printed work, and you don’t want to break the bank, then transmission densitometers may be the way to go. Although not suitable for all types of print business, for those that are working with film positives, the benefits of this kit more than outweigh the costs and will save you money in the long run.

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TECHTALK

Love your monitor

by Paul Sherfield

Dell, HP, BenQ or NEC: which monitor is best for your business?

Print businesses investing in new technology are unlikely to place monitors at the top of their list of priorities. New printers, finishing kit or software might seem like better bets to improve printed output.

However, for those print service providers (PSPs) who value accuracy in the final printed product and confidence in meeting the mutable requirements of customers, investment in an

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effective monitor is just as important.

As ever, there is plenty of choice in this market and selecting the right device for your business is easier said than done. What would do you need your monitor to do? And how can you be sure you’re purchasing the right piece of kit to achieve your goals?

Considering colour If you’re looking to purchase your first monitor and don’t know

where to start, industry consultant Paul Sherfield recommends you focus on the colour gamut of the device. For the graphic arts, a monitor should be able to display the ICC Adobe RGB 1998 gamut and be calibrated using software and a colorimeter.

If you’re looking to purchase your first monitor and don’t know where to start, industry consultant Paul Sherfield recommends you focus on the colour gamut of the device. For the graphic arts, a monitor should be able to display

TECHTALK the ICC Adobe RGB 1998 gamut and be calibrated using software and a colorimeter.

In sizing, 24 inches is considered the most effective for an entry-level purchase, while Sherfield also suggests paying attention to monitor panel technology. This is usually in-plane switching (IPS) that gives the user both the colour gamut and viewing angles as required.

However, Sherfield notes that not all monitors with IPS panels have the wide gamut needed in order to match Adobe RGB and many are based on a smaller colour gamut.

You can expect to spend between £400 and £550 on an entry-level monitor IPS panels offer wider colour gamuts and viewing angles, then the other panel technologies such as TN [twisted nematic], VA [vertical alignment], and OLED [organic LED],” Sherfield says.

“Their main downside is a slower response time than TN panels. IPS panels also tend to be a little more expensive.”

As for suitable investment options at entry-level, Sherfield suggests monitors from manufacturers such as Eizo and its ColorEdge portfolio, as well as NEC with the SpectraView range and the BenQ Pro series. You can expect to spend between £400 and £550 on an entry-level monitor but, as Sherfield warns, further investment may be required to maximise impact.

He says: “Please be aware these screens will come with calibration and profiling software, but not with a measuring instrument such as an X-Rite i1 Display Pro or a DataColor Spyder.

In addition, they are not supplied with a hood, which you may need

For the graphic arts sector, a monitor should be able to display the ICC Adobe RGB 1998 gamut

in certain working environments.”

Size matters Switching over to printers seeking a solution for high-end colour editing, there is one more key factor to consider: the size.

For this sort of work, you need be looking at monitors measuring 27, 30 or 32 inches, complete with a hood and often with an integrated measuring device.

Monitors from EIZO, NEC and BenQ range from £1,300 to £2,600, but for companies that require a 4K, 32-inch monitor, you could be looking at up to £4,000 According to Sherfield, these monitors will also offer greater stability, at least 10bit or even 14-bit colour and greater uniformity. Monitors from Eizo, NEC and BenQ range from £1,300 to £2,600, but for companies that require a 4K, 32-inch monitor, you could be looking at up to £4,000.

Busting budgets So we’ve established that these monitors can set you back a fair bit and, for this reason, it’s probably fair to ask if the investment is worth it. Is having a basic monitor better than none at all?

Sherfield seems to think so: “It’s better to have a calibrated and profiled screen, even it the monitor is has a basic sRGB colour gamut.

The latest monitors from Apple have a P3 colour gamut based on DCI- P3 but with sRGB transfer

Monitors in NEC’s SpectraView range are also suitable as entrylevel solutions

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TECHTALK Casting the net a little wider, HP, well known for its high quality and powerful print technology, offers the DreamColor 27-inch monitor at a cost of around £1,000. In addition, ASUS has the ProArt 32-inch 4K option for just £1,200.

Some of these high-end monitors can validate themselves to these standard automatically after each calibration

Printers seeking an entry-level monitor are advised to consider the BenQ Pro series

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values, a digital cinema gamut.

It is a wide gamut similar to Adobe RGB, but not a perfect match. But given this, even with these glossy monitors, they are worth profiling.”

At this point, Sherfield highlights a number of other options for companies that are seeking a higher-quality solution at a lower price.

Dell has its UltraSharp PremierColor range, all of which are Adobe RGB and start from as little as £500 for a 27-inch model and £1,200 for 32-inch monitors.

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Setting the standard New investment offers PSPs the chance to reach the next level of standardisation and, as Sherfield explains, having a high-end monitor in place will help them meet the monitor requirements of ISO 12646:2015.

This is so long as the monitor is accompanied by hardware based-calibration, a hood – and sighted in the appropriate working environment.

He explains: “Some of these high-end monitors can validate themselves to these

standard automatically after each calibration.”

However, Sherfield also warns that a number of other requirements in the standard must also be met to fully comply. These include a defined colour-managed soft proofing workflow, file type, a certified colour-viewing booth and lighting conditions.

The question as to whether monitors are worth your investment seems to have been answered quite clearly. Yes, a high-quality monitor can offer you a number of key advantages over the competition – something that almost all PSPs are seeking in today’s crowded market.

However, as set out here by Sherfield, PSPs do not necessarily have to spend the earth in order to secure such advantages.

Establishing exactly what you want out of your monitor and carefully researching the options available on the market to see how they will fit in with your own targets can allow you to invest in the most suitable solution and help drive up accuracy in your printed work.

Certain monitors offer a higher colour gamut than others, and it is down to the printer to establish the level of solution they need for their business

TECHNOLOGY

How to decide on the right spectrophotometer for you

by Paul LindstrĂśm

Paul LindstrĂśm discusses the characteristics you should look for when choosing the spectrophotometer that is best for your applications.

There can be no quality control without making measurements, and the necessary instrument for such measurements in the graphics business is a spectrophotometer. There are many models on the market, and a handful of manufacturers to choose amongst, so in this article we will go through the characteristics you should look for when choosing the spectrophotometer that is best for your applications.

A spectrophotometer can, as the name suggests, detect and measure the spectral composition of light, and translate the results into colour related data. There are

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several types of colour data, but over the years the encoding of colour data in the CIELab format is the most commonly known and used. The benefit of CIELab is that it is device independent, while encoding colour data as CMYK or RGB makes it very device dependent. In applied colour management we use ICC profiles to describe the characteristics of graphic arts devices, be it monitor, scanner or colour printer. You can calibrate monitors with a more simple (and cheaper) instrument called a colorimeter, but in order to calibrate and characterise colour printers you’ll need a good spectrophotometer. If you plan to do your own proofing before

sending files off to be printed, you definitely need to keep reading.

Important considerations There are various of aspects to be aware of when you consider the type of spectrophotometer to buy. The main concern is probably to make sure the spectrophotometer is suitable for the type of substrate you want to measure. When using digital wide format devices you have the option to print on an extremely wide range of substrates, be it classic substrates like paper or vinyl, or transparent materials like glass or plexiglass (poly methyl methacrylate or acrylic glass), or wood, fabric and metal. One single spectrophotometer may

TECHNOLOGY not be able to measure all kinds of substrates. When measuring for example transparent substrates you will need a back lit function, and not many spectrophotometers support this. Another tricky substrate is metal, or substrates printed with metallic inks. In this case you might need a spectrophotometer using what is called sphere technology, where samples are measured from many viewing points.

Measuring printed textiles or carpets on the other hand has its own demands. Since these are materials with very uneven structures you either need a spectrophotometer with a very wide aperture, or to use a spectrophotometer which can operate in scan mode. While using a wide aperture gives you measurements over a larger area, and so gets averaged values that represent visual appearance well, with scanning mode you will get many samples over a certain area, and so get a good, representative measurements.

Substrates are key Deciding which types of printed substrate you will measure will be the first dividing point to what type of spectrophotometer you need.

For conventional substrates like paper and vinyl most of the spectrophotometers on the market will do. Among the better known manufacturers within the graphic arts sector are Barbieri, Konica Minolta Sensors, Techkon and X-Rite. Devices from these companies will then differ in price, depending on the speed and accuracy and special features they offer. For transparent substrates you will need a spectrophotometer with a backlit function, and such devices are not

that common on the market. For tricky substrates like metal or prints with metallic inks you’ll need a spectrophotometer with sphere technology.

Quality, speed and price Once you have narrowed done your choice of possible spectrophotometers to the types that support measuring the most common substrates in your workflow, you need to consider how many measurements you will make per day, week or month. The more measurements you will make, the more important the speed with which the spectrophotometer works. And there can be quite considerable differences between makes and models.

When measuring reference test charts in order to build quality ICC profiles for a certain device, you might need to measure several test charts with up to 1500 patches or more. This is almost impossible to do using a handheld spectrophotometer which doesn’t support scanning mode.

Quality on the other hand is somewhat more difficult to define for spectrophotometers,

but one indicator here is the sampling interval and how much of the spectrum can be measured.

The visible spectrum, the colours visible to the human eye, ranges from about 380 nanometers up to 740 nanometers. At and below 380 nanometers is the Ultraviolet part of the spectrum, and above 740 nanometers we are near infrared (IR), which borderlines heat. All spectrophotometers take samples at some interval, and you will need samples at least at every 10 nanometers to have quality data to work with.

Other quality aspects are the stated accuracy on the one hand, but also repeatability between measurements, as well as the expected repeatability between different spectrophotometers of the same model. The latter is called inter-instrument agreement, and is important when several spectrophotometers are used for quality control across the printer fleet, or between print service provider and print buyer. For serious quality control we need to be sure that our measurements are accurate and can be repeated by someone else using another model or type of spectrophotometer.

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TECHNOLOGY

At what cost Regarding price this as always depends on where you want to be. Buying cheap may prove to be expensive if the spectrophotometer you go for turns out to be too slow or not accurate enough. Remember that there is no such thing as expensive. What counts is whether a thing is truly worth the money, and if you will get a return on your investment.

Software and special features Once the core specifications have been defined for your coming spectrophotometer there are some additional functions and features you should consider before making your final decision. One thing is to try out if the control software is easy for you to use and this is somewhat personal. Does the software include an interactive manual? If it’s a handheld device with a built-in screen, is this screen easy to read with clear and readable icons and text? A handy feature is to be able to connect and transfer data wirelessly, so is

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this supported?

A feature that has become more and more important in the last few years is the capacity of a spectrophotometer to measure a good portion of the spectrum in and near UV-light.

This is because many types of papers today contain Optical Brightening Agents (OBAs), activated with the UV component of the light source.

Many older spectrophotometers only have a Halogen lamp light source, which cannot detect the UV wavelengths in the reflected light from the printed substrate.

In technical terms this is often referred to as the spectrophotometer being able to work in M1 mode, as defined in ISO 13655, the standard which specifies how spectrophotometers should operate.

It’s impossible to create accurate ICC profiles for substrates containing high amounts of OBA, if your spectrophotometer doesn’t support the M1 measuring mode.

Another thing to look for in the control software is a reliable colour library for well-known ink standards such as the Pantone spot colours.

With regard to spot colours, it’s more and more common that reference values are specified in the Color eXchange Format (CxF), so the control software should be able to export and import CxF data.

In technical terms you might want to use your spectrophotometer as a densitometer, which it should be capable of. But when measuring wet ink you probably want to use a polarisation filter. If so you should check if your spectrophotometer has, or can be coupled with, a polarisation filter, or you might not get reliable densitometric measurements.

Learning how to properly use a spectrophotometer is key to applied colour management, and the route to efficient quality control of printed matter. Choose your spectrophotometer well, and it will serve you well for many years ahead.

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TECHNOLOGY

A myriad of technologies, the value chain of Digital Textile Printing

Various machine manufacturers in the large format inkjet market are now focusing on digital textile printing. They have developed, or adapted printers to print on one or more types of textile.

However, what does the textile printing value chain look like, in screen printing or with the help of digital printing?

And when will high volume and low volume digital textile printing meet?

First of all, let’s look at what’s happening in the high volume textile printing market for fashion items such as clothes, curtains, furniture and many other products.

Traditional value chain The traditional textile printing value chain, mostly using - rotary

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- screen printing, relates to two types of printing companies: Commission printers, who work on behalf of other companies delivering the basic designs, e.g. for exhibitions or other designers and, Collection printers, who print for their own brand and/or shops, mostly with assistance from their in-house design department.

Obviously there were, and are, printers doing both.

In fact, the arrival of fast digital textile printers has resulted in ‘fast fashion’ from commission printers (catalysed by the Zara brand in particular) entering the market.

These printers started to buy and use, digital textile printers enabling them to produce clothes and other

fashion items in much shorter time cycles and much smaller numbers than with screen printing.

These systems usually print using reactive or disperse inks, depending on the type of fabric.

Printing is then followed by steaming and washing.

Steaming to make the print resistant to subsequently being washed, and washing to eliminate any colour particles that were not 100% fixated.

These processes are followed by the finishing stage, using special machines to adapt the printed material to a specific width or weight, depending on the type of clothing.

A water resistant finish can be applied to sportswear, while an extra ‘softener’ is often applied to lingerie.

TECHNOLOGY Complete rolls The completed rolls are then ready for delivery to the clothing workshop. With commission printers this often involves an external company, with collection printers it is usually their own department.

The rolls are then cut into patterns in confection departments. Nowadays this is mostly done by machines (from Gerber, Lectra, Zünd etc.) in high volumes, a process in which the nesting of the patterns is done by computer.

Esko has recently equipped its cutting tables with a weighted roll feeder and catch, making it possible to cut large rolls of textile with a knife and laser cutting system builder Trotec – similar to many others in finishing - is now entering the textile market with laser cutting.

Some systems will make it possible to cut many layers of fabric on a table mechanically.

These machines are fully programmable and will cut different designs in the desired numbers and sizes.

A company such as Zara, with numerous shops all over the world, assesses weekly which sizes of a certain design have been sold and sends this data back to the manufacturer.

In the final stage the designs are delivered to a sewing workshop, which adds regulatory and design labels, packs the clothing and sends it to the brand’s distribution centre.

Because this method assumes that the distribution centre is closer to the final phase - in this case the stores - the Zara distribution centre, for example, is located in Morocco rather than Sri Lanka.

This type of value chain

applies to manufacturers of large digital textile printing systems such as SPGPrints, EFI Reggiani and MS Solutions, to name but a few (although there aren’t in fact that many).

For now, these companies maintain that they have few problems with other digital textile printing system builders, who focus on printing much smaller runs at slower speeds and are often not familiar with how the value chain of digital high volume textile prints in smaller runs (very quickly) builds up.

Part 2 - Smaller digital textile printers One thing is clear: digital textile printing is a hot topic.

Sales of digitally printed textiles are on the up, but this growth is not the same in every segment within the textile market and also differs per region.

Textile fabrics for various advertising applications can also be printed with UV or latex inks, which means that the number

of suppliers and, therefore, the competition is considerable.

As a result the volume in this segment is growing faster than the turnover. In order to be successful, those getting started with textile from the graphic arts or sign market initially need to focus on finishing (see above).

Textile assembly differs from all other forms of finishing in the graphics and sign market. The only form of textile printing this does not apply to is printing on already made-up textiles, such as t-shirts, polo shirts or bags, using a directto-garment (dtg) printer. Kornit Digital and many other brands manufacture these types of printers.

Inks and textiles Textile may consist of natural fibres (cotton, linen, silk), semisynthetic viscose (rayon), or plastic (polyester) and - in the advertising market – polyester reinforced PVC. Each application imposes its own requirements on the textile and the printing thereof.

Traditionally, the different types of ink used to print on

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TECHNOLOGY

textiles are geared to the type of fibre. This is also the case with digital inks. There are roughly four (or five) groups of inks: Sublimation inks, for textiles with at least 50% polyester fibres, particularly suitable for advertising applications.

Acid inks are used for printing on wool, silk and viscose.

Reactive dye inks are particularly suitable for printing on vegetable fabrics such as cellulose, cotton and linen. Disperse inks are being used for some special vegetable fabrics.

Similar to sublimation inks, heat promotes the release of the colours in the dye and the bonding of the dye to the fabric.

Pigment inks are the big promise in digitally printed textile, not so much in the very fast segment of SPGPrints and others mentioned but in the small and middle segment.

They can be used on a large number of fabrics but usually require pre-treatment to ensure proper adhesion of the pigment ink.

Pre- and post-processing The traditional market for printed textiles also involves pre and post treatment of the textile.

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This determines the printability, as well as other properties such as dirt repellence, fire and water resistance.

Traditional screen printers often have a so-called tension frame for this, to pre or post process the textile. A lot of textile is also washed after printing, or steamed, ironed and dried.

In the first digital textile applications, we saw little in the way of extra equipment from the traditional market.

Printing on polyester flag cloth requires relatively few extra operations. Fixing the ink in the fibres using heat and pressure is the main finish here.

Various suppliers now provide tailor made solutions for textile pre-treatment and post processing.

DTG printers The growth in printing on

textiles in this smaller segment is mainly generated by DTG printers.

Here the growing influence of web shops is asserting itself.

They are now good for large numbers, but the number of items with the same print is small.

There is also a growing need among retailers for small series of customised clothing, used to attract visitors to the store.

Conclusions and recommendations for smaller digital textile printing systems Formulate a clear plan before purchasing a printer. Work out the entire production chain you want to follow, including all the different links and steps involved.

Remember to formulate a comprehensive business plan: What do you want to produce? For whom do you want to work? What does that market look like? Who are your competitors? What are the prices? What’s the ROI? All these questions require accurate answers before you purchase a digital textile printer.

Also look at sustainability aspects if your potential textile buyers have to comply with regulations, something that will become more and more important going forward.

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| SCREENTEX | April - May 2019

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kesÀ vecetves kesÀ efueS yeeFb[j keÀer %eele cee$ee peesæ[keÀj cetu³eebkeÀve keÀjles nQ,Deewj efHeÀj ke̳eesj kesÀ ÒeoMe&ve keÀe Hejer#eCe keÀjles nQ~ nebueeefkeÀ,DekessÀues Fve iegCeeW kesÀ meeLe,³en efveOee&efjle keÀjvee nceejs efueS mebYeJe veneR nw efkeÀ ke̳ee HeeG[j De®íer lejn mes efÒebì keÀjsiee~ ³en cenlJeHetCe& nw ke̳eeWefkeÀ ³eesi³e meeceefûe³eeW kesÀ efueS cepeyetle efJeefveoxMeeW keÀes HeefjYeeef<ele keÀjves kesÀ meeLe-meeLe nce efve³eefcele ©He mes SkeÀ veF& meeceûeer Hej ûeenkeÀ kesÀ meeLe keÀece keÀjves keÀer ®egveewleer keÀe meecevee keÀjles nQ~ nceW Fme ÒeMve keÀe GÊej osves ceW me#ece nesves keÀer pe©jle nw efkeÀ ke̳ee ceQ Fme HeeG[j kesÀ meeLe efÒebì keÀjves ceW me#ece nes mekeÀlee ntB~ nceejs Dev³e ue#eCe JeCe&ve lekeÀveerkeÀeW kesÀ meeLe HeeG[j Hejer#eCe Meeefceue keÀjvee nceW DeelceefJeéeeme kesÀ meeLe Ssmee keÀjves keÀer Devegceefle oslee nw~ keÀewve meer HeeG[j ìsefmìbie lekeÀveerkeÀ DeeHe Òe³eesie keÀjles nQ Deewj ke̳eeW? nce ÖeÀercewve lekeÀveerkeÀ mes SkeÀ SHeÀìer 4 HeeG[j js]peesceerìj keÀe GHe³eesie keÀjles nQ,pees efkeÀ nceejs Heeme DeYeer kegÀí Je<eeX mes nw Deewj nce FmekeÀe Fmlesceeue nj HeeG[j kesÀ DeekeÀueve kesÀ efueS keÀjles nQ~ SHeÀìer 4 keÀe SkeÀ Devetþe DeekeÀ<e&Ce ³en nw efkeÀ ³en ieefleMeerue,leerJe´lee Deewj LeeskeÀ HeeG[j iegCeeW keÀes ceeHelee nw,Deewj JeemleJe ceW leerveeW ÒekeÀej kesÀ cewefì^keÌme nceejer efve³eefcele m¬eÀerve yeveeles nQ~ ieefleMeerue ceeHeoC[eW kesÀ meboYe& ceW ,nce yegefve³eeoer ÒeJeen #ecelee Tpee& (yeerSHeÀDeeF&),efmLejlee Deewj ÒeJeen oj met®ekeÀebkeÀ (SHeÀDeejDeeF&) keÀes ceeHeles nQ,³es meYeer SkeÀ Hejer#eCe ÒeesìeskeÀeue Üeje GlHeVe nesles nQ~ yeerSHeÀF& ÒeJeen Tpee& nw efpemes ³eb$e kesÀ Òesefjle keÀjves Jeeuee kesÀ ©He ceW HeeG[j kesÀ vecetves kesÀ ceeO³ece mes veer®es keÀer Deesj peelee nw~ efmLejlee Hejer#eCe ceW meceeve April - May 2019 | SCREENTEX |

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| SCREENTEX | April - May 2019

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EVENTS CALENDAR

NATIONAL JUNE 2019 06 - 08 June 2019 NON WOVEN TECH ASIA 2019 Leading Expo on Non-Woven Industry.

At : Pragati Maidan, Delhi. www.nonwoventechasia.com 14 - 16 June 2019 PRINT EXPO 2019 Leading Show on Printing & Packaging Industry.

At : Chennai Trade Centre, Chennai, Tamilnadu. www.printexpo.in

JULY 2019 11 - 13 July 2019 COMPRINT 2019 Complete Printing & Converting Expo.

At : Chennai Trade Centre, Chennai, Tamilnadu. www.comprintexpo.in 15 - 18 July 2019 69TH NATIONAL GARMENT FAIR India’s Largest Apparel Trade Show.

At : Bombay Exhibition Center, NESCO Complex Goregaon (E). www.cmai.in

AUGUST 2019 02 - 04 Aug 2019 GARMENT TECHNOLOGY EXPO 2019 Leading Expo on Garment Industry.

At : Helipad Grounds (Gandhi Nagar), Ahmedabad, Gujarat. www.garmenttechnologyexpo.com 04 - 06 Aug 2019 KINT SHOW Leading Expo on Garmenting Industry.

At : Kangayam Road, Tirupur. www.knitshow.in 10 - 12 Aug 2019 GARTEX TEXPROCESS 2019 Leading Expo on Garment & Textile Machinery.

At : Pragati Maidan, Delhi. www.gartexindia.com 28 - 31 Aug 2019 PACKPLUS DELHI 2019 The Total Packaging & Converting Event.

At : Pragati Maidan, Delhi. www.packplus.in

66

| SCREENTEX | April - May 2019

28 - 31 Aug 2019 CARTONTECH 2019 Leading Expo on Corrgugated Industry.

At : Pragati Maidan, Delhi. www.cartontech.in

SEPTEMBER 2019 06 - 08 September 2019 MEDIA EXPO 2019 International Expo on Indoor & Outdoor Advertising Industry.

At : Pragati Maidan, New Delhi. www.themediaexpo.com 07 - 10 September 2019 NORTH EAST PRINT TECH 2019 North East India’s Leading Expo on Printing & Packaging Industry.

At : Maniram Dewan Trade Centre, Guwahati, Assam. www.northeastprinttech.com 26 - 28 September 2019 INTELPACK 2019 International Expo on Packaging Industry.

At : Bombay Exhibition Centre, Mumbai. www.intelexpo.com

DECEMBER 2019 03 - 06 December 2019 PAPEREX 2019 International Expo on Pulp, Paper & Allied Industries.

At : Pragati Maidan, New Delhi. india.paperex-expo.com 05 - 08 December 2019 ITMACH INDIA 2019 Leading Show on Textile Machinery.

At : The Exhibition Centre, Helipad Ground, Gandhinagar, Ahmedabad. www.itmach.com

JANUARY 2020 06 - 09 January 2020 PAMEX 2020 Leading Show on Printing & Packaging Industry.

At : Bombay Exhibition Centre, Mumbai. www.pamex.in

EVENTS CALENDAR

INTERNATIONAL JUNE 2019 18 - 21 June 2019 ROSUPACK 2019 International Expo for Packaging Industry..

At : Crocus Expo, Moscow, Russia. www.rosupack.com 19 - 21 June 2019 PROPAK CHINA 2019 International Processing & Packaging Exhibition.

At : National Convention & Exhibition Center, Shanghai, China. www.propakchina.com 20 - 26 June 2019 ITMA 2019 Leading Exhibition on Textile Industry.

At : Fira de Barcelona, Gran Via Barcelona, Spain. www.itma.com 25 - 27 June 2019 PRINT PACK SIGN EXPO 2019 Leading Expo on Printing & Packaging Industry.

At : KICC, Nairobi, Kenya. www.tashikka.com 26 - 28 June 2019 PAPER VIETNAM 2019 Leading Expo on Paper Industry.

At : Saigon Exhibition & Convention Centre (SECC), Ho Chi Minh City, Vietnam. www.paper-vietnam.com

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For more details Contact :

Arrow Multimedia

JULY 2019

3, Mount Road, Shop No. 10, City Center Plaza, Chennai 600 002.

E Mail : arrowmultimedia@yahoo.com

25 - 26 July 2019

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NBM 2019 - GREATER NYC Leading Show on DTG, Sign Making & Digital Printing.

At : Meadowlands Exposition Center, Meadowlands, NJ, USA. www.thenbmshow.com

AUGUST 2019 22 - 25 August 2019 COMBODIA TEXTILE & GARMENT EXPO 2019 Leading Expo on Textile & Garment Industry.

At : Diamond Island Convention Centre, Phom Penh, Cambodia. www.chanchao.com.tw/CTG/

68

| SCREENTEX | April - May 2019

SBT

Shri Balaji Traders

Screen Printing ink P.v.c / Vinysheen Ink Scratch Reduser Scratch Silver / Black Ink Medium Ink Eva Ink / Eva Premier N.C. Silver / Pearl Ink P.V.C Fluorescent Silever / Gold Paste & readymix

Screen Printing Emulsion Photokina Chemical Product & Any Coating

Screen Printing Chemical Nitro / Reduser / C-9 / Amayl

Offset Ink / Chemical Textile Printing Ink Plasticsol Ink (Solvent / Water Base Ink) Binder / Thickener / Fixer Classic Pigment / Puff Fusing Paper Water Base White

Screen Printing Mesh Nylon / Polyester

87/149 (Near Raipurwa Thana), Dev Nagar, KANPUR-208003 U.P. Email : riteshagarwal635@gmail.com Contact No.: +91- 9335589233 / 9454897984

April - May 2019 | SCREENTEX |

69

70

| SCREENTEX | April - May 2019

AD INDEX Advance Syntex (P) Ltd.

59

Kumar Textile Industries

46

Aeon Commercial India (P) Ltd.

76

Kunal Enterprise

47

And Global Sales Corporation

04

Lancer Group International

13

Arrow Multimedia

68

Meetesha Enterprises

69

Balaji Chemicals

51

Navbharat Industries

04

Balaji Trader

69

NBC Japan

02

Beauty Flex

31

Omkar Engineering

29

Blue Coat India Pvt. Ltd.

27

Pack Print International

65

Cheran Machines I Pvt. Ltd.

55

Pamex 2020

30

CรถLรถRs 23

Paper N Film

74

DR Optical Disc India Pvt. Ltd.

06

Ratan Industrial Engineering

04

03,37

ScreenTex 2019 Bangladesh

67

EPSON 05

ScreenTex India 2020

07

Epta Inks India Pvt. Ltd.

25

Sefar Switzerland

75

GTE 2019

36

Shriram Enterprises

70

Gurbaksish Group

19

SkyScreen India Pvt. Ltd.

21

Gujarat Printers Directory

69

Sneha Enterprises

73

Hari Impex

33

Sparkle Foil N Film

71

Jain Silk Screen Center

72

Spoorthi Technologies

15

J N Arora & Co. (P) Ltd.

41

SunShine Graphics

72

Duratech Automation (P) Ltd.

This AD INDEX is provied as a free service to our advertisers. We regret that we can not be held responsible for any errors/omissions.

72

| SCREENTEX | April - May 2019

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