April may 2017

Vol : 07 • Issue : 03 • April - May 2017

BUSINESS NEVER GETS

BETTER BY CHANCE,

Pages : 72

IT'S GETS BETTER

BY CHANGE

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| SCREENTEX | April - May 2017

1/2, Dhariwal Avenue, Plot No.343, Road No. 18, Jawahar Nagar, Goregaon (West), Mumbai - 400062. I N D I A Tel: + 91 22 28771440 / 9320781115 E-mail : info@andglobal.in / sales@andglobal.in

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Silky, soft, tactile finish Anti-reflective flat matt surface, hides tails and gives a uniform flat appearance to the switch Exceptional optical clarity of printed display windows - using Windotex Fully embossable to create highly tactile switches Scratch & abrasion resistant Solvent & chemical resistant

FORWARD

Vol : 07 • Issue : 03 April - May 2017

PUBLISHER / EDITOR IN CHIEF

Jignesh Lapasia +91 98679 78998 MANAGING EDITOR

Supreeth Sudhakaran ASSOCIATE EDITOR

Sonal Shah LAYOUT DESIGNER

Change needs conviction and perseverance Sustainable growth is one of the most oft-discussed subjects these days.

The buzz is so strong that it almost seems like the idea struck the industry in an epiphany! Business never betters by chance; it betters by change. Change needs conviction and perseverance. It’s not an one time fad , and it should never be. This is what the theme of this issue is too.

In this issue, we continue to serve you with some interesting stories that speak about change. Tirupur based Prime Tech now envision to adopt greener growth in the coming times.

Meanwhile, another change that we announce in this issue is the launch of first SPAI FESPA Awards powered by Sericol. The first national awards for excellence in screen and digital printing will see the Gala Night being hosted in Goa in September.

In addition to this, we have Simon Eccles’s first part of the series on large graphics and how to handle them. We also have an interesting technical article that deciphers three key issues with web offset printing and how to deal with them. We have many other interesting articles, which we are sure you will enjoy reading.

Wrapping up with few lines from The Road Not Taken by one of my favourite poets, Robert Frost:

Pravin Gohil GRAPHIC DESIGNER

Preetam Shetty Vivek Vishwakarma 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 DHANBAD

Roshan Agrwal +91 93340 49625 NAIROBI - KENYA

Darshit +254 722 737413 +254 733 621761 PRINTED AT

Om Sai Printer, Mumbai MEMBER OF

I shall be telling this with a sigh Somewhere ages and ages hence: Two roads diverged in a wood, and I -I took the one less travelled by, And that has made all the difference.

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 2017

CONTENT

54

REPORT

24

Gear-up for the first SPAI FESPA Awards

ADVERTORIAL

26

New SAi +EnRoute for Flexi introduced to enable fast and simple output of design files to CNC routers

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24

GUEST COLUMN

28 30 32

Measuring energy usage of digital printers The Ultimate Guide for Lamination

Turning the whole world into an interactive billboard with AR

38

TREND WATCH

36

Flexible, organic and biodegradable: Stanford researchers rethink electronics

LIMELIGHT

38

Prime Tech Knit Prints charts a sustainable growth path

TECHNOLOGY

42 46

42

Three key problems in web offset printing - and how to solve it Very large graphics: pixels and how to handle them

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52

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9

NEWS

Agfa unveils new UV LED printers At the recently held FESPA 2017, Agfa launched its new Jeti Tauro H2500 LED UV printer, featuring an integrated roll-toroll system for continuous and automated media feeding.

The 2.5m-wide roll-toroll hybrid UV printer can reach 275m2/hr and prints in six colours with optional white or primer.

Agfa product manager Reinhilde Alaert said the UV LED lamps come with a number of economical and environmental benefits: “LEDs have minimal heat output, which allows for printing on thin heat sensitive media such as styrene sheets and rolls. They also ensure very stable bi-directional calibration

and higher system up times (no warming up or cooling down time) on top of the significant power savings. All of that has a positive effect on the ROI of the system,” Alaert commented.

Agfa was also showing other UV inkjet printers with LED curing, including its new Jeti Ceres RTR3200 LED, Jeti Mira 2732 HS LED, and Anapurna H3200i LED. Making its European debut, Agfa Graphics’ new soft signage dye-sublimation printer Avinci DX3200 was also on show at FESPA 2017. The 3.2m-wide machine enables users to create large-format soft signage prints at 1,440x540dpi. Agfa declined to reveal the price of the machine, which is available for order immediately.

The Avinci features six channels, CMYK plus light cyan and light magenta, and uses a fixed 14pl droplet size that offers a wider colour gamut. Printing at speeds of up to 173sqm/hr for flag applications and 60sqm/ hr in high-quality mode, the

machine can handle a variety of polyester-based applications, such as banners, POS, outdoor graphics and flags.

Alaert said: “Soft signage typically has very vivid-like images in backlit or display, the softness of the fabric itself gives a different impression than what you have with paper or with typical media that you find in a UV printing environment. That is the reason why we started in this market segment. Our unique selling point would be low ink usage combined with productivity and excellent images.”

Agfa’s Asanti 3.0 workflow software, which was launched in March and is integrated with the machine, uses an algorithm to drive its low-waste colour management platform. It also has automatic pre-flighting and integrated tiling, which means oversized banners or billboards that extend beyond the maximum printing width of the Avinci can still be produced. It creates mounting instructions and adds necessary marks to tiled prints to help operators mount swiftly.

Konica Minolta launches Accurio Press series printers in India Konica Minolta recenlty launched new Accurio Press series printers in India.

The new series comprises of Accurio Press C2070 and C2060 and replaces the bizhub PRESS C1070 and C1060 high-end printing devices.

“Our new Accurio Press Series is a complete modular line-up of industrial digital printing solutions to help printing businesses achieves unprecedented efficiency and productivity, reduce

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| SCREENTEX | April - May 2017

labour related expenses and tap new unexplored markets. We will continue to expand our series with new models to strengthen our commitment of offering world class printing solutions to businesses.

Konica Minolta shall also be launching their solutions under the brand name Accurio Pro to facilitate the job management and color management in the near future” said Daisuke Mori, MD Konica Minolta India.

The Accurio series comes with modular tools including

software and cloud-based tools for integration, digital press suites and managing workflow. The devices under Accurio Press Series also meet color reproduction standards such as G7 and Gracol, fetch finished perfect bound books and do quick envelope printing.

Accurio Press combines the quality and performance of previous models with additional features to adapt to customer requirements and also helps in optimizing the processes and workflows in order to streamline customer print production.

NEWS

Mtex Solutions launches new digital textile printer series Textile printer manufacturer Mtex has launched three new digital direct-to-textile printers, the Dragon, the Scorpion and the Eagle.

The 1.9m-wide Dragon is a roll-to-roll machine and uses eight heads. It runs in four or eight colours and prints at a maximum speed of 137sqm/hr. It is aimed at the sign, display graphics and interior décor market.

The 1.9m-wide Scorpion is roll-to-roll machine with an adhesive belt option for stretched or knitted fabrics. It is available with either 16 or

32 heads, running at maximum speeds of up to 550sqm/hr, and is aimed at the high-end fashion market.

The 3.2m-wide Eagle rollto-roll printer is also available with the adhesive belt option and runs at a maximum speed of up to 543sqm/hr. It is aimed at the display graphics and home textiles market.

The Scorpion is available with acid/pigment or reactive ink dyes while the Eagle uses disperse or pigment inks. All three printers run at a maximum resolution of 1,440dpi and have variable drop sizes of 3-24pl.

Miguel Ferreira, sales director for Mtex and New Solution, said that the use of the

different kinds of ink is what is so important about the machines.

“So for sign and display you would use disperse or for home textile you would use reactive pigment.”

Mtex recently invested in uping its manufacturing and R&D facilities to manufacture everything in-house. The company invested in Steel cutting, Steel Machining, CNC Routing, Robotic Painting, Production Control, Quality Control, Hardware Assembly, Equipment Testing and more.

“This ensures total control over the design, production, manufacturing and testing processes, enabling the company to set new standards in the textile print industry, “ he added.

material, with a strength equivalent to ABS. 3D objects are created through repeated curing, layer by layer, with the ink and supporting material being ejected simultaneously.

In standard mode, the machine can print five “pieces” in around 10 hours, but it also runs in high-definition and high-speed modes.

Mimaki president Kazuaki Ikeda during the recent FESPA announced a €1bn sales target for the end of the next financial year, with €400m targeted for Mimaki EMEA. The Japanese-headquartered manufacturer is also prepping for the launch of its UJF range: UJF3042 MKII EX, along with its new TS30-1300 sublimation transfer inkjet printer.

The UJF-3042 MKII EX UVcurable flatbed joins a number of

machines in the UJF range. While running at the same speed as the UJF-3042 (2.48sqm/hr), which was launched last year, it has two extra ink channels with additional printheads to load varnish, white ink and primer.

The 1.3m-wide roll-to-roll TS30 is intended for low-volume runs, targeted at clothing and apparel companies looking for a simple dye sublimation printer.

It prints at up to 20sqm/hr and can print full-colour images on polyester fabrics, including on bags, scarves and socks, along with mugs and glasses.

Mimaki is also prepping its its TX300P-1800 direct-to-textile printer, which recently had a module added to simultaneously load textile pigment and dye-sub inks, along with its Tiger-1800B high-speed direct-to-textile machine. The Tiger-1800B has a maximum print speed of 385sqm/hr.

Mimaki presents new 3D printer Mimaki announced the first details of its new 3D inkjet machine. The machine will be commercially available by the end of this year. The machine is still in prototype stage and is being called the 3DUJ-P for the moment.

Mimaki describes the 3DUJ-P as the “world’s first full-colour modelling machine”, offering up to 10 million colours.

It uses high-definition modelling based on Mimaki’s advanced UV inkjet technology and prints at a maximum modelling size of 500x500x300mm.

It can achieve 84% of the Fogra 39L Colour gamut and prints using waterresistant acrylic resin modelling

April - May 2017 SCREENTEX |

11

NEWS

A billion euro market – Inkjet fabric print comes of age The recent Smithers Pira report The Future of Digital Textile Printing to 2021 shows that in 2016 only 2.9% of the overall market volume for printed textiles – 30 billion sqm– is produced on digital textile machines. Digital print’s share has been increasing rapidly across this decade however, with total volume rising from 461 million metres square in 2012 to 870 million metres square in 2016.

This will push through the 1 billion mark in 2017, and in 2021 will constitute 1.95 billion metres square of fabric – more than four times the volume in 2012.

This rapid expansion is translating into rising revenues – from €592 million in 2012 to €1.17 billion in 2016. Smithers

Pira report forecasts that this will grow at a year on year rate of 15.7% for the next five years, reaching €2.42 billion in 2021.

This is in contrast to the average growth for all printed textiles – which remains principally on screen presses – of around 3%.

As in other print segments digital’s potential is founded on its ability to produce single, short and custom runs more economically and with a much faster turnaround than conventional screen printers.

With double-digit annual growth across the board, major printhead developers, ink formulators and press builders are increasingly looking to capitalise on this market. This is especially true as some conventional analogue markets record static or even declining revenues through

to the end of the decade.

This is simultaneously fuelling both business consolidation and technology evolution. As this occurs it is having an increasing impact on the global textile supply chain and ordering models.

These advantages are important in signage – where digital print penetration is deepest – and fashion. Haute couture and high street fashion demand for digital print is worth €190 million in 2016 and will exceed €420 million in 2021.

Another important trend is M&A. With conventional markets under threat global print firms are seeing digital textile print as an attractive location to invest in.

One strategic means to do this is through the acquisition of smaller specialist technology developers.

Ricoh enters DTG market with two new machines Ricoh recently launched two new direct-to-garment (DTG) printers. The company made its first move to the DTG space by acquiring direct-to-garment printer manufacturer AnaJet in early 2016.

The new machines are manufactured at AnaJet’s California facility. The two new machines, the Ricoh Ri 3000 and Ri 6000, are based on the Anajet mPower series, but with a number of enhancements. AnaJet international technical support specialist Marica Mody highlighted a variety of improvements on the previous AnaJet series, including an upgraded ink circulation system for white channels to improve ink flow and increase performance.

They will be commercially available

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| SCREENTEX | April - May 2017

from Q3 of this year, with price yet to be set. The two new machines both have a printable area of 350x450mm but the Ri 3000 uses three Ricoh MH 2420 inkjet heads and the Ri 6000 uses six. In terms of speed, at 600dpi the Ri 6000 can print a 300x250mm area on a light garment in around 27 seconds, while the Ri 3000 takes 51 seconds.

Both machines use AnaJet’s AnaRip software. The machines also use AnaJet’s DTG water-based pigment inks, running CMYK plus double white.

It can print on a wide variety of garment types, including t-shirts, cloth bags, hoodies, sweatshirts and socks, on materials ranging from 100% cotton and 100% light polyester to mixed garments up to 50/50 blends.

Denmark-based Jyske Bank, has already purchased an Ri 6000.

Jyske already runs five Ricoh devices, including three Ricoh Pro C9110s, in its in-house print shop.

The machine will be installed in the early autumn and will be supplied by Danish Ricoh reseller X & Co. It will mainly be used for runs of between 10 and 50 personalised t-shirts for in-house events, while Gaarde will still contract out work for longer-run t-shirt jobs.

Gaarde said: “We have a lot of different venues and this particular printer fits in in the way that if we have something in the evening we could have 10 t-shirts with names on or something. This is the first time I’ve seen this and the quality is way better than I’ve seen before.

It’s small, easy to use, good for short runs and individual t-shirts.”

NEWS

GOTS certified facilities surge by 21% in 2016; 47 new Cos from India The number of facilities certified to the Global Organic Textile Standard (GOTS) demonstrated a substantial increase, from 3814 facilities in 2015 to 4642 facilities in 2016. GOTS certified facilities are now located in 63 (68 in 2015) countries around the world.

Growth is continuously, evenly spread across all market segments including the mass market and the big brands.

GOTS certification covers the processing of organic fibres along the entire supply chain from field to finished product.

Countries or regions with the largest increase in GOTS certification in 2016 are (in rank order): Bangladesh (+121), China (+68), Italy (+54), Germany (+41); India (+47) and Pakistan (+30). The

top ten countries in terms of total number of certified entities were: India (1488), Turkey (423), Germany (347), Bangladesh (331), China (269), Italy (195), Pakistan (172), Portugal (96), Korea (61) and Japan (58).

“The significant growth in numbers of GOTS certified facilities shows the willingness of more and more decision makers not only to drive change by complying with the strict GOTS criteria but also to prove this change by undergoing an independent third party certification”, notes Herbert Ladwig, GOTS Managing Director.

To date the 18 GOTS accredited

independent Certification Bodies report more than 1.4 million people in 4354 (out of the actual 4642) working in GOTS certified facilities.

“The increasing market acceptance is a result that GOTS delivers solutions for sustainability based problems for both, business need for risk management and credibility and consumers need for transparency”, says Claudia Kersten, GOTS Director Marketing and Finance.

Zund Systemtechnik acquires Zund Plotting Systems Zund Plotting Systems (UK), one of the UK-based industry leaders in the supply and service of precision digital cutting systems has become a subsidiary of Switzerland based Zund Systemtechnik, a familyowned specialist in developing and manufacturing digital cutting systems.

As an official distribution and service partner of Zünd since 1993, Zund UK has been providing services to Zünd customers in the

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| SCREENTEX | April - May 2017

United Kingdom and Ireland.

Even after its acquisition, Zund UK will continue to serve the UK and Irish markets as in the past, but with the added benefit of being even more closely aligned with its parent company in terms of sales, service, and support of Zünd digital cutting systems.

Tim Taylor, founder and commercial director of Zund UK, will remain with the company, heading up UK sales. As newly appointed managing director, Stuart Cole will be overseeing daily operations.

Oliver Zünd, CEO, Zünd said, “We are delighted to welcome Zund Plotting Systems (UK). to our global group of companies.

We look forward to strengthening our position in the UK market and continuing to expand our customer base. This acquisition

represents an important milestone in our company history, and we are proud to have our own representation in the United Kingdom moving forward. There is no doubt in my mind that, together with Zund Plotting Systems (UK)’s highly qualified and experienced staff, we will be able to offer our UK and Irish customers the best possible support, now and in the future.”

Taylor added, “The acquisition of the company by Zünd is the natural progression in a long and successful relationship between our two businesses. The additional resources Zünd can provide will accelerate our growth and further integrate our customer support.

At the same time, this secures our company’s future and lays the foundations for continued and sustainable development of Zund UK.”

NEWS

Veika launches Dimense; dubs it as entirely new printing technology Veika recently launched Dimense, which it has described as an “entirely new printing technology”. The Lithuanian wallpaper-materials producer said this new technology “dimenses” digital printing and makes it possible to print the embossing at the same time as the item is digitally printed, so that the structure can be printed alongside any motif at any size.

Prior to Dimense, Veika said that embossing has limited the production of wallpapers and in order to create the 3D effect, a print cylinder for exactly this embossed pattern had to be produced. The size and format of the embossing therefore was limited and could not exceed the circumference of the cylinder.

Dr. Aleksey Etin from Veika,

said it was this limitation that inspired the firm to find a solution that restricted print companies to expand their service offering.

“We were unhappy that only identical embossings were possible, and wanted to be able to create wallpapers where the embossing fits the motifs, Dr. Etin said. “The solution we came up with is Dimense, because with Dimense you simply print embossing.”

An R&D department of 25 people spent years developing the technology, with the result being Dimensor, a printer that works with the environmentallyfriendly base material by the name of Ecodeco that Veika also introduced. Veika said, “Since no rotation cylinder needs to be produced for each and every

design, with Dimensor, small batches become possible, new designs can be produced and tested easily and quickly and even individual wallpapers for individual clients are possible.”

Dimensor printers will be made available from next year for selected wallpaper producers, which Veika said will help to add a new dimension to the “good old wallpaper”.

Veika, in February, announced its strategic decision to concentrate on and to further invest in its Ecodeco and Dimense technologies.

A business transfer agreement has been signed with Mimaki Europe, a subsidiary of Mimaki Engineering, that Veika’s eco-solvent ink and PVC digital wallpaper media business segments shall be taken over by the Japanese company.

Heidelberger and Steinemann partner for print finishing systems Heidelberger and Steinemann Technology have signed a marketing cooperation agreement.

Under the agreement, Heidelberg is to take over lead management for Steinemann’s entire portfolio of print finishing systems in a number of markets, including Germany, France, India, Japan and the USA. Steinemann’s modular range of print finishing systems currently encompasses the dmax 76 and dmax 106, two professional digital machines for spot and relief varnishing on sheet sizes up to B1, as well as the colibri 76 and colibri 108, two conventional, highspeed machines for the full flood varnishing of sheet sizes up to 108 x 145 cm. Steinemann recently introduced the dfoil, an innovative, high-output and flexible module for digital foil stamping that combines with the dmax systems.

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| SCREENTEX | April - May 2017

For Heidelberg, the coating systems from Steinemann are the perfect complement to its range of offset and digital printing systems, such as the new Heidelberg Primefire 106, the first industrial digital press for sheet size B1.

“Cooperating with Steinemann strengthens our position along our customers’ value chain by combining coatings with equipment solutions for both digital and conventional printing as well as finishing,” says Dr. Ulrich Hermann, Head of Heidelberg Digital Business & Services. “Our customers get high flexibility as well as options for

promptly meeting market demands for premium print finishing and personalization.”

Ludwig Allgoewer, Head of Print Enhancement at Steinemann Technology AG: “The partnership with Heidelberg gives Steinemann broader access to key markets and a stronger presence in them.

Transferring lead management in key markets to Heidelberg underlines our company’s technology leadership in the field of digital coating and foil stamping.”

NEWS

ColorJet to strengthens soft signage basket ColorJet India, one of India’s largest manufacturers of wide format inkjet printers recently launched its Softjet digital printer at FESPA Hamburg. The company claims that it is part of company’s strategy to boost its product line towards the soft signage product line. Softjet easily prints on polyester based fabrics, which can be recycled and uses environmental friendly aqueous based inks.

Softjet comes in both 2.5 and 3.2 metre print width to target different market requirements, and has been installed and running successfully to the satisfaction of the users in several countries across the world.

Softjet is the perfect solution to print directly on fabrics for soft signage business and optimised for replacement of PVC based media and even amazing applications like backlit displays and

even flexible displays can be printed on this machine.

The printer comes with a proprietary AIVC technology for consistent print performance by maintaining constant jetting conditions even in varying environmental conditions. It has an automated feed and a take up system, synchronized with tension bars for unattended long printruns on various types of fabric.

It also has a pneumatics control-based tension-bar on media feed and take up, to ensure consistent tension on fabric and automatically adjusts, based on type of fabric being used.

Pavan Gupta at ColorJet India Ltd said, “The machine will prove to be attractive for producers of soft signage’s like flags, banners, hoardings, demo tents, vibrant backlits, etc., since nowadays; a lot of fabric is being used for events like weddings decorations, banquets, etc.”

“We are using the Softjet Plus digital printer and it has

proved to be an extremely versatile machine for printing soft signage’s and is a perfect replacement of PVC based media. We print both, backlit displays as well as flexible displays and also umbrellas, flags, banners, hoardings, canopies, etc.,” Biju Thomas, Rights Concept Advertising, Dubai, UAE, a customer of ColorJet stated.

“The Softjet digital printer has been able to deliver all signage needs of our customers, whether, mall drop downs, demo tents, hoardings, banners, flags and backlit boards and in the process has proved to be very helpful for our business,” David Hornsey, Sales Director at Jetmark, Australia, another customer informed.

“We are extremely satisfied and also pleased that we brought the digital printer to Australia as Colorjet’s unique 3E design philosophy: ‘Economic, Efficient & Ecological’, represent the perfect combination of advanced technology, build quality and excellent value for money,” he too added.

ColDesi launches latest direct to garment printer ColDesi, a reseller of direct to garment printers, commercial embroidery machines and allied machinery, recently added M series of industrial DTG which offers the largest printing area and the ability to print up to 12 garments at the same time. The printer, to open up the possibilities for digital garment printing in the US, is expected to become a key fashion industry product.

“The M6 will really open up the possibilities for digital garment printing here in the United States. It’s being used overseas for custom graphics,

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| SCREENTEX | April - May 2017

of course; but its increased capacity and print area has made it a key product for the fashion industry as well,” commented Mark Stephenson, director of marketing for ColDesi.

The printing capacity of the M6 is significantly higher than other direct to garment printers currently available, including ColDesi’s M2. The M6 retains the features that make all of the DTG brand printers easy to identify, including their flexible platen system and WIMS white ink management system, but expands on them to be more useful for

larger customers.

In addition DTG M6 also offers lowest cost per print with P30i inks and allows print size of up to over 1300 square inches. Its quick change platens allow printing three, six or 12 garments.

“The new capabilities for volume printing of the M6 make DTG even more appealing to large screen printing shops that want to get into mass customisation. And with over 1,300 square inches of print area it puts fast fashion and cut and sew applications within the reach of more people,” said Alex Duran, sales manager for ColDesi.

CHERAN’S JUMBO MODEL MC TECHNICAL SPECIFICATION Model

CF 2638

CF 3844

CF 3242

CHERAN’S SWIFT ROLL SUBLIMATION MC TECHNICAL SPECIFICATION

CF 3848

CF 4252

Model

CFR 1250

CFR 1750

CFR 1950

Working Area

44”

65”

72”

Actual Size

51”

72”

79”

Heater Power

6KW

9KW

12KW

Temperature

220 C

220 C

220 C

Speed

0 to 99 Sec

0 to 99 Sec

0 to 99 Sec

AMPS

10 Amps

18 Amps

18 Amps

Platen Size (MM) 650x950mm 800x1050mm 950x1100mm 950x1200mm 1050x1300mm Working Area

24”x36”

30”x40”

36”x42”

36”x46”

36”x46”

Power

440V, 50HZ

440V, 50HZ

440V, 50HZ

440V, 50HZ

440V, 50HZ

Heater

6.5KW

12KW

12KW

14.5KW

18KW

Temprature Timer

O

O

O

O

O

220 C

220 C

220 C

220 C

220 C

0 to 99 Sec

0 to 99 Sec

0 to 99 Sec

0 to 99 Sec

0 to 99 Sec

Air Pressure

0 - 8 Bar

0 - 8 Bar

0 - 8 Bar

0 - 8 Bar

0 - 8 Bar

AMPS

10 Amps

18 Amps

18 Amps

22 Amps

27 Amps

Micro Controller based digital temperature and timer control Specially designed for Sublimation transfer Manualy tray movement enables easier and faster operation Aluminium plate with Teflon coating is used in heater bed for quick distribution Suitable for sublimation polyester clothes

Automatic Tray Movement Option Custome Platen size 28” x 36”, 40” x 60” also available

O

O

O

Electric Drum Heating Type Fast Continues Production Easy Handling & Maintenance Customized Cooling Timer Setting Suitable for Pattern Fabric, Towel, Flag, Cloths & Sportswear Suitable for Sublimation Transfer on Polyester Cloths

QUICK BYTES Indian printers win laurels at FESPA 17 Awards Five Indian companies won laurels at the recently concluded FESPA 2017 competition in Germany in various categories. The winning enteries were as mentioned below: Classic Stripes: Washing machine fascia for Panasonic Econavi which was printed on PET film.

Shakti Keypads: Membrane keypad which was made for ground level equipment used in agricultural industry.

Perfect Packaging: Attractive imitation jewellery packaging.

Protolab: Speedometer cluster dial printed on polycarbonate sheet.

Keetronics: Hybrid circuits on 3D surface.

Nazdar expands UV/UVLED screen ink category

NAZDAR Ink Technologies has annonced its new 2800 Series, a durable graphic screen ink that cures with UV-LED and traditional mercury vapor UV. 2800 Series is formulated for excellent adhesion on vinyls and print treated polyesters used in the durable decal market and boasts 4-year outdoor durability without an overprint. Phil McGugan, Nazdar Ink Technologies’ Vice President of Sales and Technical Service, said, “The flexibility of a dual-cure ink is a great feature – print with mercury vapor lamps today and upgrade to LED lamps in the future without the need to change ink systems.” The 2800 Series UV/UV-LED Durable Screen Ink exhibits excellent chemical resistance without a clear, accepts premask, and thermal die cuts without chipping.

Mohit Uberoi joind Gerber board as CEO Gerber Technology, integrated software and automation

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75″ four-head printer is made for high-production dyesublimation printing. The VJ1948WX provides good performance with a four staggered print head design and blazing fast print speeds

solutions provider for the apparel and industrial markets, has appointed a new CEO, Mohit Uberoi, to succeed retiring Mike Elia. Elia will join Gerber Technology’s Board of Directors continuing to provide leadership and on-going counsel. Mohit has served as President and CEO of Goss International and B&W MEGTEC. Mohit has also worked in research and new business development for W.R. Grace & Co., a diversified industrial conglomerate. Mohit earned a Bachelor of Science in chemical engineering from the Indian Institute of Technology before moving to the U.S. to pursue his doctorate in chemical engineering from the University of Arizona.

up to 2,199 sqft/hr on a variety of dye-sublimation papers.

The printer also includes large dual heaters for quick dry times and adjustable pressure rollers for better paper handling.

HP introduces DesignJet T830 with armor case HP India, in association with Architecture + Design, the national journal of architecture

Mutoh launches ValueJet 1948WX Mutoh America, Inc., a leader in wide-format inkjet printers and cutters, today announced the new ValueJet 1948WX printer. The new VJ1948WX

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recently organized Design Summit 2017. The event supported by Indian Institute

of Architects (IIA) Pune chapter was attended by over 150 top architects along with several design experts.

At the event, HP also showcased their innovative large format print product portfolio and launched HP Designjet T830, a multifunction printer now available with armoured casing. The T830’s tough exterior casing makes it a preferred choice for on-site large format printing for the armed forces, disaster management groups, engineering and construction, mining, oil and gas sectors.

The attendees also witnessed highly interactive sessions by veteran architects Brinda Somaya, Founder, Somaya and Kalappa Consultants and Christopher Benninger, Christopher Charles Benninger Architects.

Prof. Kamal Chopra nominated to Development Council On 5th May 2017, the Government of India, Ministry of Commerce & Industry (Department of Industrial Policy and Promotion) established a Development Council for Pulp, Paper & Allied Industries for a period of two years.

The Council will meet

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QUICK BYTES H.V. Sheth elected Chairman of Asia Print Association H.V. Sheth of Sheth Printograph and President - IPAMA was recently elected as the Chairman of Asia Print Association in the Asia Print Meeting held during the China Print, at Beijing, on May 10, 2017. There were representatives of 9 Asian countries in the meeting and Mr. Sheth was elected unanimously. The election of Mr. Sheth marks a key milestone in IPAMA’s history confirming the Indian association’s strong presence in the international printing fraternity. Sheth has been contributing to the Indian printing industry for several years, and is regarded as one of the key stawlarts who have strived for years to make the fraternity stronger.

transaction is another step in pursuing the company’s growth strategy of developing a fully comprehensive crosssector portfolio that is geared toward specific customer

periodically to discuss issues concerning interests and development of Pulp, Paper & Allied Industries.

Prof Kamal Chopra, President, All India Federation of Master Printers (AIFMP) has been nominated as a member of the 20 member Council headed by Madhukar Mishra, MD, Star Paper Mills, New Delhi. The council also has representatives from the Department of Industrial Policy and Promotion, IIT Roorkee as well as paper and packaging industry.

Heidelberg takes over Fujifilm’s EMEA coatings & pressroom chemicals’ operations By taking over the coatings and pressroom chemicals operations in the EMEA region of its strategic partner Fujifilm Europe, Heidelberger is expanding into the attractive growth segment for consumables.

This

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requirements. Fujifilm will continue to focus on supplying total pressroom solutions to plate customers.

Xaar extends aqueous printhead portfolio Xaar has added the 5501 to its portfolio of aqueous printheads for OEMs, especially targeted for ceramic printing and signage. This is the first product resulting from Xaar’s collaboration with Xerox, and is said to deliver high print quality combined with low printing costs whilst integration costs will also be kept to a minimum. The new Xaar 5501 is a lightweight 1200dpi printhead considered ideal for a range of water-based digital printing applications such as textiles (digital direct to garment, dye sublimation transfer and soft signage) and graphics (banners, posters, displays). The Xaar 5501 uses a simple micro alignment system to position and align

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printheads via software. This allows rapid and easy printer set up, therefore streamlining printhead commissioning and reducing downtime overall. In addition, it does not require an ink recirculation system; this ensures lower integration costs and makes it very suitable to use in scanning applications such as printing wide-format graphics and textiles. In addition, for high productivity applications, single-pass printing is possible.

printhead has a native 300 dpi resolution and a native ink drop size of 5 picoliters (pl) delivering outstanding print quality that can jet a wide range of fluids including UV curable, solvent, and aqueous inks.

SGI Textile 2018 to focus on digital textile printing

Fujifilm Dimatix will soon

The Sign and Graphic Imaging (SGI) Dubai 2018 fair’s textile pavilion will propagate the adoption of digital printing.

The event will highlight areas like heat transfer printing, digital textile printing, fabric printing, custom flags for tradeshows and conventions,

have available GMA products based on Si-MEMS technology along with the Samba G3L (single-pass focus).

The Samba GMA is a compact, low voltage, full silicon MEMs printhead designed for scanning applications such as textile, indoor signage, soft (dye sub) signage and high quality UV printing. Based on state-of-the-art silicon microelectro-mechanical systems manufacturing (Si-MEMS), Samba GMA printheads are the most advanced technology available today. With 384 individually addressable nozzles, the Samba GMA 33

table covers with logos and banners and more. It will be held from January 1416, 2018. The show is being organised by International Expo Consults (IEC) part of Falak Holding. Textile printing entrepreneurs from across the world are expected to converge at the event to provide their insights about the textile printing industry.

Fujifilm Dimatix SiMEMS technology coming to scanning applications

REPORT

Gear-up for the first SPAI FESPA Awards

Reputation is earned with hardwork and persistence. Amidst the high competition today, it is important to showcase the finest works to build a brand equity that will last for a lifestyle. The first SPAI FESPA Awards will provide a platform to exhibit your finest works using Screen and Digital printing. The Awards which has just started accepting submissions under various categories will be organised in Goa in September.

The SPAI-FESPA Awards 2017 is one of the only independent national awards in the screen print industry recognising the best

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works in print, and honouring the people behind creating a legacy of building an industry that has been making its mark even in the international forums.

The leading names of the industry have come forward to support the awards. The Title Sponser for the SPAI-FESPA Awards is Sericol. Huber Group is the Platinum Sponsor. Photokina, Print Dynamic, EPTA Inks and Gurubakshish Group are the Gold Sponsors. And Global Sales Corporation, Print Life and Nishi Arts are the Silver Sponsors for the maiden edition of the

awards.

The Gala Awards night will be hosted at the emerald land on the west coast of India, Goa. The SPAI-FESPA Awards Programme is renowned across the industry for its outstanding entries. The submissions for the awards will be adjudged by industry experts who have made significant contributions to the development of printing technology and industry in India.

The awards will be judged under three categories: Excellence in Screen Printing, Excellence in Digital Printing, and Excellence in Printing using Screen and Digital Printing. The third category will help printers submit entry which uses multiple printing technologies effectively to create the best works.

“Winning a national award highlights the quality of service one offers and sets new benchmarks for the industry to follow. At SPAI, we are always committed at promoting the best works in the industry and encourage more and more printers to win accolades for their efforts. India is a land driven by culture and art, and our printers have constantly won awards at international forums. We want many more such printers to be created through this first SPAI FESPA Awards powered by Sericol,” said Jignesh Lapasiya, Chairman – Awards and Seminars, SPAI. If you have the mettle to win the most coveted awards of Screen Printing Industry, what are you waiting for? Submit your entries or for any further information: info@spai.in/www.spai.org.in

ADVERTORIAL

New SAi +EnRoute for Flexi introduced to enable fast and simple output of design files to CNC routers

Add-on solution dramatically simplifies the file clean-up and toolpath preparation of 2D or 2.5D Flexi design files for CNC output Salt Lake City, Utah, USA – SA International (SAi), the leading provider of software solutions for the professional signmaking, wideformat digital printing and CAD/ CAM for CNC machining industries, has announced the launch of SAi +EnRoute for Flexi, introduced to enable faster and easier output of Flexi-designed 2D engravings and signage to CNC machines.

An add-on to Flexi version

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11 and 12, the new solution allows sign businesses with a CNC machine and Flexi software to simplify the file clean-up and toolpath preparation of 2D or 2.5D Flexi design files for CNC output.

For such businesses, the addition of a low-cost, powerful CNC toolpath engine for the front-end stage ensures a smoother design-to-output workflow, faster turnaround times and a reduction in costly production errors.

Available from early

May, the SAi +EnRoute for Flexi software add-on directly addresses the common pain points faced by Flexi users who are running CNC equipment that is not driven by SAi’s EnRoute CAD/CAM software.

In particular, SAi +EnRoute for Flexi offers the capability to: • reduce the number of manual steps required to prepare Flexi designs for production on the CNC machine • simplify the toolpathing procedure to make it much more streamlined and trouble-free;

ADVERTORIAL commonly needed toolpaths can be easily saved and reused, while an automatic clean-up tool converts curves to lines and arcs for CNC router output • improve output quality and reduce the chance of inferior engraved/routed signage thanks to advanced quality-enhancing tools not featured on certain other router software From design to output in three easy steps Designed to enable the easier production of signs and improve overall throughput for sign businesses, SAi +EnRoute for Flexi has been created with simplicity in mind. After completing a sign design in Flexi, users simply click the ‘Send to EnRoute’ button to automatically open the contour

file of the job in SAi +EnRoute for Flexi.

From here, the design file can be previewed, toolpaths easily applied and output created for CNC routers.

Reduction in mistakes and waste Furthermore, thanks to its in-built efficiency-driving tools, the new software add-on is able to maintain uptime and decrease costs by minimizing potentially expensive production errors and reducing wastage. In addition to providing estimated cut time to enable better overall production scheduling, SAi +EnRoute for Flexi offers the ability to incorporate bridges into the toolpathing, as well as allow 2D and 3D simulation to verify output order and toolpaths before production.

“For any sign business using our popular Flexi software and owning – or looking to purchase – a CNC machine, SAi +EnRoute for Flexi offers the ability to take flat designs and send them to their router quickly, easily from one software source,” says EJ Nodurft, Product Director, SAi. “With simple tools and a fast workflow, the new plug-in is an ideal solution for sign shops that want to cut thicker more rigid materials using designs that were created in Flexi,” he adds.

The SAi +EnRoute for Flexi add-on is compatible with Windows Version 7, 8 and 10 PC and supports drivers for hundreds of CNC routers and cutters. The solution will be shortly available by monthly subscription from SAi resellers worldwide.

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GUEST COLUMN

Measuring energy usage of digital printers

By Laurel Brunner

In her 250th Verdigris blog, Laurel Brunner looks at the growing awareness of sustainability in the graphics industry.

Over the last five years or so we have covered all manner of environmental matters relevant to the graphics industry. But has it made any difference to the market’s sustainability awareness?

It’s no more than a vanity to say that it has, so far better to look at any scraps of evidence, but evidence of raised environmental awareness is impossible to attribute to these blogs.

One very clear and obvious difference compared to where we were five years ago is the number of environmental ISO standards published or under development for graphics professionals. ISO

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16759 for calculating the carbon footprint of printed matter was published in July 2013. There are now at least two carbon calculators certified to this standard.

A similar document for calculating the carbon footprint of electronic media is almost ready for submission to ISO for publication. ISO 20294 (Quantification and communication for calculating the carbon footprint of e-media) can be used alongside ISO 16759 and other documents as part of a larger evaluation of the environmental impact of print.

Other documents in the works are ISO 20690 for measuring the energy usage of high speed digital printing engines with low incidences of

transitional power surges and ISO 21632. This document provides directions for measuring the energy usage of digital printing engines with frequent power surges, such as those used in wide format digital printing.

Both standards provide data to assist investment decisions for printers and print buyers as well as for developers of new digital printing technologies. Both are in their final stages prior to publication. A less progressed document is ISO 21331 for assessing the deinkability potential of print. Work on this has been uphill but we are making relentless progress with it.

Another document is at its journey’s start. A series of ISO standards will provide environmental declarations for different categories of print, providing a common reference for the many eco-labels available. This new ISO standard will provide a reliable and consistent data source for ecolabels. The first document in the series is for packaging and labels.

So overall has this blog made a difference to awareness of the environmental impact of print? There really is no way of knowing, but we hope that the standards work, the general awareness of sustainability in the industry and the improved environmental impact of processes and equipment are making a real difference.

If the Verdigris project and these blogs have contributed, even in a very small way, then the graphics industry is heading in the right direction.

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GUEST COLUMN

The Ultimate Guide for Lamination

By Simon Eccles

What are the different types of laminating films available and what are the advantages and disadvantages of each? Lamination film is available to serve a variety of purposes, often a mixture of protection and enhanced appearance.

Over laminate film is usually between about 24 and 100 microns in thickness.

There’s a choice of cold, “heat-assist” and thermal adhesives for laminates. Cold adhesive is pressure-sensitive and used over media that is likely to be heatsensitive, such as vehicle wrap vinyl. Heat assist operates with at least one heated roller in the laminator running at around 60˚C. It is used for general singlesided lamination onto paper, board, Dibond and the like. Normally pressure-sensitive laminate adhesive can also be used with heat, which softens it and helps it adhere to uneven surfaces with less

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chance of silvering due to air bubbles. The bubbles will often disappear over 48 hours or so as the air works its way through the laminate.

The “Thermal” term is strictly speaking for double-sided encapsulation running at 130˚C. However, many people call any heated laminate process thermal.

A lot of over-lamination film today is made from a plastic called Bi-axially Oriented Polypropylene (BOPP). BOPP is basically polypropylene that has been stretched in two directions, which improves strength, waterresistance and sometimes clarity.

PVC (vinyl) is also commonly used in clear laminating films as well as for the white media commonly used for decals. It’s often used over printed white vinyl for vehicle wraps – the extra clear layer give extra durability and resists the fading effect of UV light on print or coloured media.

PVC may be listed as monomeric or polymeric vinyl, referring to the type of plasticiser additive. The two have slightly different properties, with monomeric being less flexible and having a shorter outdoor life.

Another material sometimes used is polyester (or PET), which is often used for encapsulation, where thicker film (typically 75 to 250 microns) is used on both sides of the sheet for high durability.

If the clear film is larger than the item it covers then the edges are sealed and waterproof, so suitable for outdoor use on noticeboards and similar. Edges can be trimmed flush to the enclosed item, but water can get in and delaminate the item.

Some films are intended to be outdoor-durable, in which case UVresistance is important. Even for indoor use, characteristics such as scratch-resistance may be needed.

Thick plastics for floor graphics can be laminated,

GUEST COLUMN although increasingly they are printed directly on the underside

by UV inkjet. There are antibacterial films intended for book covers and similar frequently handled items hospitals, schools, restaurants etc, though they don’t seem to be widely used so far.

Special effects Lamination films are by no means all clear gloss. Clear matt and silk finishes are popular (especially for book covers) if the underlying print needs to show through. Some films are intended for their tactile characteristics as well as appearance. There are embossed, textured clear films with finishes such as linen, sand, canvas and brushed aluminium.

Soft Touch films (pioneered

by Derprosa though now with some competitors) have a very matt appearance with a velvet feel if you hold it. They are intended for book covers, brochures, menus, luxury packaging and the like – things that people pick up and hold.

They are available in clear films but also colours including metallics. Derprosa’s metallics have the unusual characteristic that if you print over them with a gloss spot varnish, they take on a near-mirror reflective finish in those areas.

Solid films may apply an overall colour, or a metallic, glitter, diffraction or holographic pattern to the whole target media. There

are also clear effects films, that give a diffraction, glitter or holographic effect while allowing the underlying print to show through.

Some laminators can be supplied with adjustable feeders for hot foil, which typically gives a coloured or plain metallic, diffraction dry toner-based digital printing (typically a solid black, as it absorbs the most heat), then you can get “spot foil” over just the print areas.

If you need to mix fullcolour print with foiling you can first put a toner receptive laminate over the print, then runs the sheets though a toner press to add a black image, and foil on top of that.

Double-sided adhesives Double-sided adhesive films open up the range of applications and let you use printed or other media that isn’t self-adhesive to begin with. This is usually a two-stage process.

If you want to mount print or other media to a sheet of card, for instance, you might be able to use a card that already has an adhesive surface. If not, you need to use double-sided adhesive.

Here you first laminate the self-adhesive onto the plain board, then use the laminator to smooth the top print onto the adhesive-coated board.

You can use the same procedure for thicker solids such as wood or aluminium composite material (ie Dibond and rivals).

Mounting images behind clear Perspex sheet or thick acrylic blocks is popular too, which is the same procedure except you’ll need a special optically clear double-sided adhesive and the print goes face-down onto the read of the block.

Recycling Recycling is a bit of a problem with laminated materials. Unused or waste BOPP can be recycled, but as soon as it is laminated onto printed media it becomes a lot more complicated, as the adhesive, ink and underlying substrate all have to be treated differently. PVC is not easily recycled at all. PET is easily recycled, but again there are the issues of what it has been attached to.

Terminology Finally, it’s worth noting that the term lamination can be a little inexact. We’ve used it here as a description of what is done for signage, book covers, vehicle wraps and the like. However it was originally used for the practise of building up layers of materials to form a composite such as plywood.

It is also the term used for gluing a thin veneer of expensive wood, or later a printed representation of wood or another material, onto much cheaper bulk material for furniture, flooring, kitchen and bathroom surfaces etc.

There is also “liquid lamination,” which is the practise of applying a liquid protective layer onto printed paper or other media, using a roller. It will then dry to a clear matt, gloss or silk finish. “Coating” is another term for basically the same thing. The liquid is cheaper than laminating film, but generally not as durable.

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GUEST COLUMN

Turning the whole world into an interactive billboard with AR

By Johan Walters

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Augmented reality campaigns are taking off internationally with progressive brands using the technology to turn every available surface into a virtual billboard.

Rift and Microsoft’s HoloLens projects. Samsung, meanwhile has also acknowledged that AR will be where it focuses its attention in the near future.

As cellphone manufacturers plough money into AR capability, local brands should be looking to do the same. Tech and media companies have invested more than $7 billion into virtual and augmented realities since 2010 in both acquisitions and stakes in VR- or AR-related startups. Apple and Samsung have been strong contenders with eight acquisitions from Apple and nine investments from Samsung.

Apple has also quietly been assembling a heavy-hittingAR team, including engineers who have worked on Facebook’s Oculus

The power of AR is all around us The beauty of AR for brands is that it can turn the device in people’s hands into an interactive platform which bridges the online and the offline worlds.

In December 2016, Covent Gardens in London, turned their entire venue into a giant AR shopping destination. Working with visual discovery app, Blippar, the shopping district used AR to create a digital journey for shoppers.

Using the free Blippar download, visitors could unlock prizes as they took part in a digital treasure hunt. More

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practically, each of the 140 participating stores allowed shoppers to discover possible holiday gifts with bespoke beauty and fashion guides.

By superimposing the digital world over the real one, shoppers increased the time spent at the destination and created a fun environment for the whole family.

The best outdoor opportunities right on our doorstep For local retailers, this sort of innovation could provide real opportunity. Traditional outdoor advertising has not undergone significant improvements over the years. Even the digital advertising billboards are a hard sell for media agencies. Moreover, it’s impossible to assign a measurable return.

Using AR could turn our wealth of beautiful landmarks into

GUEST COLUMN brand experiences. Imagine Table Mountain turning into a giant, iconic billboard when viewed through your phone’s screen.

Hotels could become interactive buildings, allowing passers-by to explore rooms and amenities and, with a clear, ‘book now’ button, be taken directly to an online reservations screen.

Districts such as Newtown would be perfect as an AR experience. Collaboration between retailers, theatres and even smaller vendors would boost foot traffic and sales for the entire precinct collective.

Taxis, which have often relied on advertising as additional revenue, could be used as moving AR billboards including a gamification element to boost the user interaction – the same way Pokémon Go did.

Valuable data The most important aspect of AR campaigns is the ability to extract valuable data. This includes not only who is viewing the ads, but also their behaviour once inside the app.

Tracking what users are interested in, combined with their details and movements (obviously coupled with a strict opt in proviso) allows companies to shift campaigns and prices on the fly. Agile marketing based on realtime data is one of the main advantages of true experiential marketing.

The opportunity for local companies to launch AR campaigns has never been greater. Smartphone penetration is growing exponentially, allowing for marketing

campaigns across a wide range of demographics.

The simplicity of the apps and the relatively low cost of implementation mean even smaller brands could create innovative ways to win and retain new customers. Most importantly it would be measurable and assist in building valuable data for future use.

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TECH WATCH

Flexible, organic and biodegradable: Stanford researchers rethink electronics

A newly developed flexible, biodegradable semiconductor developed by Stanford engineers shown on a human hair.

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A new semiconductor developed by Stanford researchers is as flexible as skin and easily degradable. It could have diverse medical and environmental applications, without adding to the mounting pile of global electronic waste.

As electronics become increasingly pervasive in our lives – from smart phones to wearable sensors – so too does the ever rising amount of electronic waste they create.

A United Nations Environment Program report found that almost 50 million tons of electronic waste were thrown out in 2017—more than 20 percent higher than waste in 2015.

Troubled by this mounting waste, Stanford engineer Zhenan Bao and her team are rethinking electronics. “In my group, we

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have been trying to mimic the function of human skin to think about how to develop future electronic devices,” Bao said. She described how skin is stretchable, self-healable and also biodegradable – an attractive list of characteristics for electronics.

“We have achieved the first two [flexible and self-healing], so the biodegradability was something we wanted to tackle.”

The team created a flexible electronic device that can easily degrade just by adding a weak acid like vinegar. The results were published May 1 in Proceedings of the National Academy of Sciences.

“This is the first example of a semiconductive polymer that can decompose,” said lead author Ting Lei, a postdoctoral fellow

working with Bao. In addition to the polymer – essentially a flexible, conductive plastic – the team developed a degradable electronic circuit and a new biodegradable substrate material for mounting the electrical components. This substrate supports the electrical components, flexing and molding to rough and smooth surfaces alike. When the electronic device is no longer needed, the whole thing can biodegrade into nontoxic components.

Biodegradable bits Bao, a professor of chemical engineering and materials science and engineering, had previously created a stretchable electrode modeled on human skin. That

TECH WATCH material could bend and twist in a way that could allow it to interface with the skin or brain, but it couldn’t degrade. That limited its application for implantable devices and – important to Bao – contributed to waste.

Bao said that creating a robust material that is both a good electrical conductor and biodegradable was a challenge, considering traditional polymer chemistry. “We have been trying to think how we can achieve both great electronic property but also have the biodegradability,” Bao said.

Eventually, the team found that by tweaking the chemical structure of the flexible material it would break apart under mild stressors. “We came up with an idea of making these molecules using a special type of chemical linkage that can retain the ability for the electron to smoothly transport along the molecule,” Bao said. “But also this chemical bond is sensitive to weak acid – even weaker than pure vinegar.” The result was a material that could carry an electronic signal but break down without requiring extreme measures.

In addition to the biodegradable polymer, the team developed a new type of electrical component and a substrate material that attaches to the entire electronic component. Electronic components are usually made of gold. But for this device, the researchers crafted components from iron. Bao noted that iron is a very environmentally friendly product and is nontoxic to humans.

The researchers created the substrate, which carries the electronic circuit and the polymer, from cellulose. Cellulose is the same substance that makes up paper. But unlike paper, the team altered cellulose fibers so the “paper” is transparent and flexible,

while still breaking down easily.

The thin film substrate allows the electronics to be worn on the skin or even implanted inside the body.

From implants to plants The combination of a biodegradable conductive polymer and substrate makes the electronic device useful in a plethora of settings – from wearable electronics to largescale environmental surveys with sensor dusts.

“We envision these soft patches that are very thin and conformable to the skin that can measure blood pressure, glucose value, sweat content,” Bao said. A person could wear a specifically designed patch for a day or week, then download the data. According to Bao, this short-term use of disposable electronics seems a perfect fit for a degradable, flexible design.

And it’s not just for skin surveys: the biodegradable substrate, polymers and iron electrodes make the entire component compatible with insertion into the human body. The polymer breaks down to product concentrations much lower than the published acceptable levels found in drinking water.

Although the polymer was found to be biocompatible, Bao said that more studies would need to be done before implants are a regular occurrence.

Biodegradable electronics have the potential to go far beyond collecting heart disease and glucose data. These components could be used in places where surveys cover large areas in remote locations. Lei described a research scenario where biodegradable electronics are dropped by airplane over a forest to survey the landscape. “It’s a

very large area and very hard for people to spread the sensors,” he said. “Also, if you spread the sensors, it’s very hard to gather them back.

You don’t want to contaminate the environment so we need something that can be decomposed.” Instead of plastic littering the forest floor, the sensors would biodegrade away.

As the number of electronics increase, biodegradability will become more important. Lei is excited by their advancements and wants to keep improving performance of biodegradable electronics. “We currently have computers and cell phones and we generate millions and billions of cell phones, and it’s hard to decompose,” he said. “We hope we can develop some materials that can be decomposed so there is less waste.”

Other authors on the study include Ming Guan, Jia Liu, Hung-Cheng Lin, Raphael Pfattner, Leo Shaw, Allister McGuire, and Jeffrey Tok of Stanford University; Tsung-Ching Huang of Hewlett Packard Enterprise; and Lei-Lai Shao and Kwang-Ting Cheng of University of California, Santa Barbara.

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LIMELIGHT

Prime Tech Knit Prints charts a sustainable growth path

Talk to Bala Subramanian, one of the directors of Tirupur based familyowned textile printing company Prime Tech Knit Prints, and you will surely be touched by the modesty and frankness of this entrepreneur. Bala has over 30 years of experience in the printing business, and is also the vice president of Tirupur Export Knit Printers Association (TEKPA).

Located in Arivoli Nagar, Tirupur, Prime Tech was started in 2006 by Bala in partnership with his wife and cousin. In the last 11 years, the company has grown manifolds. “For me printing was not new. I have been in the industry for over three decades,” says Bala. He started his career in 1986, and since then never looked back. “Serendipity, perhaps, as they say…once I was in the printing business, I never thought again to

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do anything else,” he says. In fact, the next generation of the family is already prepping-up to be part of the business. Bala’s son is currently pursuing BTech and is enthused to join the business soon after completing his degree.

“I am a businessman, and learnt the art of printing on the job,” he insists. Spend some time with him and you might doubt whether his knowledge is solely based on experience or if he actually is a print technologist.

This experience has helped him be part of three printing based businesses. Prime Tech also has a sister concern that deals with rotary printing.

The Tirupur textile printing market continues to clock an over 10% CAGR. Though, Bala doesn’t want to share the growth figures for Prime Tech, he says that the company has been

growing much more than the average growth rate.

Prime Tech recently became a home to an ROQ (formerly S ROQUE) 12 colour, 18 palette round textile printing machine.

This is the third ROQ machine bought by the company from Ramesh Ganduri of Spoorthi Technologies. It also houses 12 colour, 15 palette machines, and around 18 nano machines. The unit is equipped to handle both aqueous (water) and oil based ink related works. The automated machines churn out over three lakh prints in a month and the nano machines add another five lakh prints to the monthly output.

“Three things are vital for continued and smooth growth when making a capital investment in machine: quality, compatibility and standardisation. The three machines we have at our unit are from the same company which ensures that maintenance can be performed smoothly. Since a large chunk of workers are skilled on the job, having machines from same company ensures an ease of operations for these semiskilled workforce. In addition, you need to stress less about the difference in consumables and chemistry and materials. These factors all contribute to improved productivity,” Bala says.

Dollar City, GST and an expected comeback Textile industry is one of the main pillars holding the Indian Economy. It constitutes about 14 percent of industrial production, 20 percent of total export earnings, 4 percent of GDP and direct employment to an

LIMELIGHT estimated 35 million people. In spite of these, India’s entire share in the world textiles trade is still maintained at around 3 percent.

Despite this, about 45% of India’s garment exports are in the form of knitwear, and here the Tamil Nadu centre of Tirupur plays a pivotal role, generating as much as 90% of knitted garment exports – in other words, about 4% of India’s total export trade. No wonder, the region has earned several names from the “Shirt City”, “Textile Hub”, and “Textile Valley”.

The city, like the grit of the entrepreneurs has staged many come-backs. Two key hurdles were the rap by Madras High Court to adopt environment friendly practices and another has been the workers’ conditions. It was filmmaker P.R. Amudhan, who first drew the attention of the world

towards this city through his documentary, the Dollar City, which chronicled the plight of those at the bottom of a global supply chain.

But responsible business owners like Bala have risen from such phases and adopted growth models that are greener and also pro-workers. “The next phase of our growth will be greener. We are going to use solar energy to power 50% of our energy needs. We are also investing in water treatment plants to ensure more and more water can be conserved or re-used. Every drop if not save, should at least be reused!” Bala says.

With the GST implementation due from 1 July, the textile printing business owners are now waiting for clarity on the rate that will be

levied. “There are reports that the industry will be charged with 18% rate under GST. If this is true, we will be under tremendous pressure.

This rate will be higher than what we are paying right now. And since it’s an export driven market, we have credit periods of as long as 90 days,” he says. “We are currently on a wait and watch policy, and we hope that the industry will work together to find a profitable way towards growth, like we have always have,” he concludes.

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TECHNOLOGY

Three key problems in web offset printing - and how to solve it

Blistering

When the ink dries, so does the paper. In intensively printed areas, if the drying temperature is too high or if the paper is sensitive to such problems, this can lead to blistering.

The sudden, extreme rise in temperature produces a build-up of water vapour in the internal structure of the paper. And because the paper is not only coated, but also printed on both sides – at certain places covered in thick layers of ink – this vapour has nowhere to go. This leads to tearing in the internal structure of the paper and blistering in the printed areas.

From a technical point of view, blistering is a direct result of ink layer thickness and high temperatures in the drying oven. Thick layers of ink reduce the air (or vapour) permeability

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of the paper surface and high temperatures increase the amount – and the pressure – of vapour building up in the internal structure.

The easiest and most efficient way to prevent blistering, is reducing the oven temperature. This means that printing speed will have to be reduced as well, in order to achieve sufficient settling of the ink at a lower drying temperature.

Since blistering only occurs in areas with intensive ink covering on both sides, reducing the thickness of the ink layer – by means of UCR (UnderColour Removal), for instance – can also have a positive effect. Apart from this, there are certain paper properties that affect blistering, such as the type of binding agents and coating pigments used, the amount of binding agents contained in the paper and the amount of coating used, and the degree to which the surface has been “closed” as a result of calendering. Obviously,

the humidity of the paper is a very important factor as well. Usually, papers intended for web offset printing, particularly the woodfree types, have lower humidity levels than papers for sheet offset printing.

Breaking in the fold Breaking in the fold is a common problem in web offset printing, particularly when mechanical papers are used.

Broken or severely weakened folds can cause press stops and can make the end product unusable. The main sources of breaking in the fold are the extreme temperatures the paper is subjected to in the drying oven and the pressure applied in the folding unit. The single most important thing here is to find a compromise that will allow for sufficient ink drying without causing the paper to dry out.

In the folder, the pressure applied by the folding rolls must be carefully adapted to the thickness of the paper used.

TECHNOLOGY

Fluting

Fluting Even today, more or less pronounced forms of “fluting” are among the typical problems in web offset printing on coated papers.

The waves run parallel to the printing direction – which, in the case of web offset, is automatically the machine direction. One of the main paper characteristics that affect the severity of fluting, is the MC/CD (machine direction / cross direction) strength ratio of the paper. Strong longitudinal fibre orientation makes a paper more sensitive to fluting.

Interestingly, the problem occurs most with papers of the lower substances. But the decisive factor is the printing form itself.

Pages that contain intensively printed areas next to areas with hardly any or no ink at all, are particularly sensitive to severe fluting. When this happens, there is nothing that can be done in the printing process to prevent it.

Waviness observed before the paper is actually fed into the web offset press, however, is a very different issue. One method of partially preventing these socalled “tensile waves”, is to reduce web tension. The problem can never be totally eliminated, since a certain amount of web tension will always be necessary to prevent creasing or misregistering.

Humidity measurements of printed paper show that, in the drying oven, practically all moisture is extracted from the paper. Humidity balance values of 10% are common.

Expanding The problem of expanding or “growing” of printed paper, as seen when pages produced in web offset are combined with covers produced in sheet offset, is caused by the intensive drying of papers after they leave the drying oven. Here, so much moisture is extracted from the paper, that it inevitably shrinks to some degree, up to 0.3 to 0.7%. After the signatures have been gathered, stitched and cut, the paper begins to adapt to the surrounding humidity once again, and starts to “grow”, causing the inside pages to extend beyond the size of the cover.

The best method for counteracting or totally eliminating this problem, is sufficient remoisturing.

Remoisturing installations serve to evenly rehumidify the entire paper web after it leaves the drying oven. This

also improves paper flatness and totally eliminates the risk of static charges. Remoisturing equipment can be easily installed on most existing printing presses.

Remoisturing installations use digital web sensors to control humidity and temperature. The Web sensor installation is placed directly above, but not touching the paper web, thus creating a limited space with a carefully regulated and measurable artificial climate in Remoisturing which outside influences can easily be compensated for. This way, paper quality is continuously monitored.

Apart from that, these measurements supply large amounts of data that can be used as a basis for process Digital web sensor for measuring humidity improvements. balance and temperature on the moving web

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TECHNOLOGY

Very large graphics: pixels and how to handle them

By Simon Eccles you’re going to charge to make it better, and hopefully they’ll send you a better image next time.

Here are some workarounds.

Part 1 here looks at the issues of image resolution in photographs, while Part 2 looks at “artefacts,” and how to control them.

Very large custom printed murals, soft signage lightboxes and wallpaper are increasingly popular applications of large format graphics. Done properly, they can look stunning as posters, murals and wallpaper. However, unlike the images on billboards and many posters, these graphics are often viewed very close-up, whether by intention or accident.

This means that designers need to pay particular attention to original image resolution, because a picture that looks great on-screen may end up as a jagged mess when blown up to cover a wall. It’s not an issue of large format inkjet printers producing relatively low print resolutions, as most of them are more than good enough for mural work, provided the original image file is fit for the purpose.

In this pair of stories we’ll look at why photographic images may not work at very large sizes, and how to work with photographers and designers to ensure that the

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images supplied have the best chance of looking good. What to do if an image your customer really wants to use is one you know will look awful at the desired enlargement factor?

First of all, ask if that is the original image file, and if not could you have it please? That may work as long as there hasn’t been image editing applied to the low res but not the high res.

If there’s no better resolution image available, you should explain that it’s going to look horrible if you print it as-is, but there are some techniques you can use to improve it. To back this up without going to the expense of printing whole murals to prove your point, use a small desktop printer to output small sections of important details in the image at the same magnification factor, to show what it will look like before and after you’ve applied your magic touch.

Then tell them how much

Why pixels matter A recent stay in a hotel in England provided a prime example of a great idea that could have been even better. The hotel had recently installed large format murals printed onto 2 metre high plastic panels over the baths in its rooms.

There were six different local scenes and if you could tick them all off you could win a free night.

It wasn’t clear whether you were expected to get on friendly terms with five or more other guests so you could inspect their bathrooms too.

Although the printing and installation were excellent, the panels were installed on the wall next to the bath, certainly in my room. From across the bathroom the image looked great. But when using the bath or shower, your eyes were about 30 to 40 cm from the mural.

From that distance the square pixels forming the original digital image were very obvious – they were only about 1 mm square but the artefacts of file compression and enlargement made them much more obvious than you’d expect.

Providing very fine detail that works at all distances on a mural isn’t easy to achieve (though not impossible using gigapixel multi-image stitching techniques

TECHNOLOGY and consequently enormous files in the gigabyte range – see www. gigapan.com for more).

However there’s a happy medium that uses more conventional images but minimises the pixels so you’re less aware of them close up. This produces what most people would consider “good enough” image quality when viewed close up, and excellent quality from a distance.

Start with the right resolution The problem is that photographers and designers often still don’t really have a grasp of the relationship between the original pixel count of an image, what it looks like on a computer screen, and then the actual resolution when it’s printed at the final size.

The best start is to make sure you have plenty of resolution to start with. Nearly all modern digital cameras and even most mobile phones have enough resolution to print up to A3 size without any quality problems, Many modern digital SLR cameras capture 24 million pixels, usually as a grid of 6,000 x 4,000 pixels.

Some can capture 32 or 50 million pixels, but they’re rarer and very expensive.

If a 24 mp image had been used uncropped for our 2 m bathroom mural then the final resolution would have been 3 pixels per mm (which works out as 76.2 dpi), which my tests indicate would have looked a little blurred in close-up, but not obviously pixelated.

The actual original image on the hotel bathroom mural must have been about 2,000 pixels high, so probably about 1,300 pixels wide for an original resolution of 2.6 megapixels. This is roughly the resolution of a ten year old mobile phone, so presumably the original

had been cropped or someone really didn’t understand how resolution works in print.

In case anyone thinks I’ve picked a one-off unfortunate example with the bathroom, I recently saw something with almost identical resolution on an A2 POS poster intended for close-in viewing at my local Tesco, part of the UK’s largest retail chain, with a huge promotional budget.

Checking enlargements We all know that customers are always right, but you can also try to educate them so what they supply is actually going to work at high enlargement. Most of their designers will have Photoshop or equivalent, so the easiest way to help them is to tell them where to look.

Alternatively you can fix it inhouse, having hopefully negotiated an extra corrections fee with the customer.

Here is how to check and fix resolutions, with instructions for any recent version of Photoshop including the latest CC 1017.

It’s best to work on a copy of the image in case of mistakes.

First, crop the image to the view you want to print. Then go to the Image/Image Size menu (pictured). Note that it tells you how many pixels there are at the top.

Make sure that the Resample tickbox is deselected (untick). Now type in the final image size - either the height or width, in whatever units are displayed next to the box. This will then display the final printed resolution in “dpi” which is actually pixels per inch. You can switch the display to cm if you prefer.

In our example, an uncropped 24 mp landscape

image will print at 76.2 dpi if enlarged to 2.0 m width, or 50.8 dpi for a height of 2.0 m. This is probably enough for most needs.

Ideally you’d print photographs at 360 dpi or so for small print, but that would mean your 24 mp image end up with a file size of 1.04 GB. This would really slow down the printer Rip for no particular advantage. A compromise might be 150 dpi, which gives a 266 MB image file with a width of 2.0 m.

Resizing The process of adding extra pixels to increase the resolution of a photograph is usually called resampling or interpolation.

Photoshop’s Image Size menu includes controls for enlarging or reducing pixel counts while attempting to avoid artefacts such as jagged diagonal lines and posterisation of tones.

To enlarge, make sure the

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TECHNOLOGY

Resample tickbox is selected (ie ticked) and type in both your desired final print size and the desired resolution (eg 150 dpi). if your version of Photoshop is fairly recent it will show a pulldown menu with a list of options.

For enlargement it offers “Bicubic Smoother” or “Preserve Details.”

Which one to choose depends on the image content, so you can experiment with the preview.

Preserve Details may put pixelating noise into skies or faces for instance, but it offers a slider to try to reduce this.

When you’re happy, click OK, and the result will be a higher resolution file but also a larger file size.

A few years ago there was a healthy market for image enlargement programs such as Genuine Fractals, which were often used for large format prints. These use clever mathematical tools, but have become less necessary because Photoshop’s built-in interpolation is now good enough for most people. A few online free image resizing sites exist, but they’re mainly intended for scaling large pictures down to small for online or mobile devices.

On1 still sells a current development of Genuine Fractals, now called Resize 10, for about €72.

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It will run on its own or as a plugin to Photoshop.

Apart from the enlargement and enhancement tools, it also has large format friendly features including a Gallery Wrap edge extender and a way to split images into separate tiles for multiple side-byside prints. It also has hundreds of presets for different printer/size combinations.

It has to be said that you have to look hard to see any quality difference between Resize and what Photoshop CC 2017 can do as standard when enlarging, but some people say it works better when halftoned for printing.

The relatively recent trend for low cost downloadable apps for mainstream computers (not just phones) has seen the introduction of Serif Software’s Affinity Photo for MacOS and Windows. This costs just €56 outright and is a credible alternative to Photoshop with support for CMYK, ICC colour management and so on.

The latest version 1.5 has improved interpolation tools and now uses techniques including Nearest Neighbour, Bilinear, Bicubic, Lanczos 3-taps (separable and non-separable).

Lanczos is said to be the sharpest for enlargement. It can handle enormous files up to 256,000 x 256,000 pixels, the theoretical limit for 16-bit precision, equating to 65,536 megapixels.

That’s enough for an 18 metre banner at 360 dpi, though finding anything to handle the file sizes would be a challenge.

Photoshop is claimed to go up to 300,000 x 300,000 pixels, though both these counts are likely to be academic in the real world.

Source images In today’s world of print many photographs will have been taken on digital cameras, and our story here mostly assumes that.

However, there are still a lot of images in libraries and personal collections that started life as film negatives and positives, or prints.

We’re not going to go into issues of how to scan them here, but it’s worth noting that these have the same resolution issues as digital camera issues. If it’s a library stock shot, you’re stuck with what the original scanner was set to, but if you’re scanning a film or print original especially for your project, then ask for a high resolution setting.

Film has grain which becomes visible in very high resolution scanning and while it’s evocative for some uses, it may be less wanted in others. A resolution setting that doesn’t reproduce the grain (or slightly blurs it at the Photoshop stage) may be desirable.

Likewise small photographic prints often have far less detail than the original film, so you’ll never get fine results from a scan no matter what the resolution.

On the other hand larger format prints (10 x 8 or 16 x 20 inches, say) often scan better than small format films. Desktop A4 scanners can take up to 10 x 8 inch prints, but you may need a specialist large format scanner or overhead camera rig for anything larger.

Retail stores often like to reproduce old photographs from newspapers showing their local areas in the past. These are a special case and we’ll look at them separately in the next story on artefacts.

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ef®ekeÀveer melen Hej íHeeF& kesÀ efueS keÀeHeÀer keÀefþve nw~ meeOejCe ©He mes keÀnW lees efpelevee DeefOekeÀ Kegjogje ìskeÌme®ej jnsiee Glevee ner DeefOekeÀ ®egveewleer~ leye Fme ÒekeÀej keÀer efÒeefìbie kesÀ efueS,m¬eÀerve ceguee³ece,G®®e efjpeeuetMeve FceuMeve 15 mes 20 ceeF¬eÀesceerìj keÀer yeæ{er ngF& ceesìeF& kesÀ meeLe keÀer DeeJeM³ekeÀlee nesleer nw~ ³en m¬eÀerve Deewj meesuej mesue kesÀ mlej kesÀ yeer®e ieemkesÀì ÒeYeeJe keÀes yesnlej yeveeves ceW ceoo keÀjlee nw~ peneB De®ís ueeFve keÀer DeeJeM³ekeÀlee nesleer nw,m¬eÀerve cesMe ³eneB lekeÀ efkeÀ Heleues Jee³ej Deewj GHemlej ef®ekeÀveer yeveeJeì kesÀ meeLe pe©jle nesleer nw~ 2-ì®e Hewveue (ÖesÀce SkeÌmeì^wefìbie FueskeÌì^es[dme) Òee³e: efyevee ì^erì efkeÀS ngS HeerF&ìer efHeÀuce, iueemesme ³ee DeeF&ìerDees efHeÀuce efÒebefìbie GHemlej kesÀ ©He ceW Òe³eesie efkeÀ³ee peelee nw~ Fme lejn kesÀ neF[^esefHeÀefuekeÀ HeoeLe& kesÀ meeLe, Hesmì keÀe HewÀuevee efÒebefìbie kesÀ oewjeve Deemeeveer mes neslee nw~ Fme keÀejCe mes, Hesmì keÀe ef®eHeef®eHeeHeve Deewj efLekeÌmeesì^eHeÀer oesveeW ceW Hesmì p³eeoe nesleer nw~ Deepe HeejbHeefjkeÀ efÒebefìbie ueeFve keÀer ®eewæ[eF& 70 ceeF¬eÀeve ceerìj ³ee Fmemes Heleuee~ Jee³ej cesMe 400 ìer.Heer.DeeF&. cesMe keÀeGbì kesÀ meeLe(Le´s[ Òeefle Fb®e) ³ee p³eeoe,Deewj Jee³ej keÀe J³eeme 20 ceeF¬eÀes ceerìj ³ee Gmemes Heleuee,FmekeÀer efmeHeÀeefjMe Hesmì ef[Heesefpeì keÀes yesnlej keÀjves kesÀ efueS keÀer peeleer nw~ efÒebì ceW meyemes efokeÌkeÀle Jeeuee peien IegceeJeoej ueeFve nw pees HeÀesìes S®e ceW efoKee³ee ie³ee nw~ pewmee efkeÀ IegceeJeoej ueeFve keÀe OegOeuee nesves keÀer mebYeeJevee nw Deewj efmebieue ueeFve ìtìves keÀer ³ee ef[mkeÀveskeÌì nesves keÀe DeJemej jnlee nw~ FmekesÀ DeefleefjkeÌle ©He mes ceeme Òees[keÌMeve mesefìbie ceW G®®e efJemkeÀeefmeìer Hesmì kesÀ meeLe m¬eÀerve keÌueeefiebie keÀer mecem³ee nesleer nw~ 3-Sue.ìer.meer.meer. FueskeÌì^es[ efÒebefìbie ef®e$e 1,Sueìermeermeer SHueerkesÀMeve 15 ceeF¬eÀeve ceerìj ueeFve Deewj 30 ceeF¬eÀeve ceerìj efÒebefìbie peien efoKeelee nw~ GHemlej efmejsefcekeÀ cewìsefj³eue keÀe SkeÀ ÒekeÀej nw efpemes ûeerve Meerì keÀne peelee nw~ ³en efíê Jeeuee HeoeLe& Hesmì meeuJeWì keÀes efÒebì kesÀ mece³e DeJeMeesef<ele keÀj ueslee nw,HewÀueeJe keÀes keÀce keÀjlee nw Deewj þerkeÀ efÒebì ueeFve keÀes mebYeJe yeveelee nw~

4- m¬eÀerve efÒebefìbie efHeÀvej ueeFvme peye m¬eÀerve efÒebefìbie 30 ceeF¬eÀesceerìj ³ee yesnlej ueeFve nes,efvecveefueefKele cenlJeHetCe& efmeHeÀeefjMeeW Hej efJe®eej keÀjW: -500 ìerHeerDeeF& cesMe keÀeGbì keÀe ®egveeJe keÀjW,³ee 20 ceeF¬eÀes ceerìj G®®e Jee³ej J³eeme ³ee Heleuee~ - 2 ceeF¬eÀeve mes keÀce kesÀ HeÀesìesHee@ueercej kesÀ G®®e efjpeeuetMeve Jeeues FceuMeve keÀe ®egveeJe keÀjW~ - iueeme ceemkeÀ kesÀ meeLe pee³eW (¬eÀesefce³ece keÀesìs[ keÀes Jejer³elee oW~) DeHeves Deeì& Jeke&À kesÀ efueS~ -Fcesefpebie kesÀ efueS meceeveeblej ÒekeÀeMe ³ee ÖesÀMevesue ueWme SkeÌmeHeespej ³etefveì keÀe ®egveeJe keÀjW~ -SkeÀ meìerkeÀ efÒebìj kesÀ efueS GHe³egkeÌle efÒebefìbie oyeeJe kesÀ meeLe ®egveeJe keÀjW~ pees m¬eÀerve Hej yengle DeefOekeÀ Yeej keÀes ueeiet veneR keÀjlee~ SkeÀ efìefHekeÀue oyeeJe kesÀ efueS SkeÀ efJeefMe<ì efoMee efveoxMe ueieYeie 0.2 mes 0.5 Sve/mesceer. nw~ - oesveeW m¬eÀerve yeveeves Deewj íeHeves kesÀ JeeleeJejCe ceW levce³elee nesveer ®eeefnS (leeHeceeve Deewj Deeêlee efve³ebef$ele nesvee ®eeefnS~) peye mebYeJe nes, FbkeÀ Deewj Hesmì keÀes HewÀueves mes jeskeÀves kesÀ efueS melen keÀes lew³eej /GHe®eej keÀjW~ ef®e$e pes 10 ceeF¬eÀeve ceerìj ueeFve Deewj 20 ceeF¬eÀeve ceerìj peien kesÀ m¬eÀerve keÀes efoKeelee nw pees Sce 12730-13 ceeF¬eÀeve ceerìj Òe³eesie keÀjlee nw Deewj 5 ceeF¬eÀeve ceer F& Dees Sce keÀer ceesìeF&~ peyeefkeÀ keÀF& kebÀHeefve³eeb Fme mece³e ceewpetoe Òeef¬eÀ³eeDeeW kesÀ meeLe DeeM®e³e&pevekeÀ ©He mes De®íer ueeFveW íHeeF& keÀj jner nw~ nebueeefkeÀ m¬eÀerve efÒebefìbie keÀer meerceeDeeW keÀes Deeies yeæ{eves kesÀ ue#³e kesÀ meeLe DevegmebOeeve Deewj efJekeÀeme peejer nw~ April - May 2017 SCREENTEX |

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ìskeÌveesuee@peer

DeeHekesÀ efÒebì J³eJemee³e kesÀ efueS keÀewve mee uewefcevesìj meyemes GÊece nw?

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| SCREENTEX | April - May 2017

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peelee nw~ neLe mes HeÀeref[bie DeHes#eeke=Àle Oeerceer Òeef¬eÀ³ee nw peneB Òel³eskeÀ efÒebì kesÀ meeLe jesueme& keÀes ef®eHekeÀves Jeeues keÀHeæ[s kesÀ meeLe Heesívee neslee nw~ neF& mHeer[ ceMeerve kesÀ efueS SkeÀ Sbìer mìsefìkeÀ Deewj keÌueerefvebie efmemìce keÀe efvecee&Ce efkeÀ³ee peelee nw meeLe ner nerìs[ jesuej kesÀ yeeo ketÀefuebie efmemìce~ peyeefkeÀ kegÀí Ssmes Yeer uewefcevesìj nQ pees neF& Jeeu³etce efueLees ³ee m¬eÀerve efÒebìs[ Jeke&À kesÀ efueS GHe³eesie efkeÀS peeles nQ~ ³es efÒebefìbie Òesme mìeFue Meerì HeÀer[j Deewj [erefueJejer mkewÀìme& kesÀ meeLe nsJeer [îetìer ceMeerve nesleer nw Yeejer MegukeÀ kesÀ meeLe~ 30000 mes 50000 ³etjes keÀer keÀercele Demeecev³e veneR nw~ Jewke̳etce Òesme uewefcevesì keÀjves keÀe otmeje lejerkeÀe jesuej keÀer DeHes#ee Jewke̳etce ÖesÀce nw~ GoenjCe kesÀ efueS iece& Òesme ³etefveì kesÀ Heeme iece& iueeme ìeHe Deewj SkeÀ Jewke̳etce Jesme neslee nw~ Jes metKes ceeGbì efìMet keÀe GHe³eesie keÀj mekeÀles nQ,pees DeOesefmeJe FcÒesievesìs[ HesHej Meerì nQ pees leye lekeÀ ef®eHeef®eHee veneR nw peye lekeÀ efkeÀ Gme Hej nerì Deewj oyeeJe ve ueiee nes~ ³en He×efle Fme ÒekeÀej kesÀ DeeFìce pewmes efkeÀ ef®e$e keÀes DeHeves mLeeve mes Henues iueeme kesÀ ceeO³ece mes þerkeÀ lejerkesÀ mes jKee pee³e Deewj efve³eefcele osKee pee³e,yeæ[e Jewke̳etce ³etefveì SkeÀ meeLe keÀF& Deueie Deueie DeeFìce ues mekeÀleer nw,GlHeeokeÀlee ceW Je=ef× nesleer nw~ ef[efpeìue efÒebefìbie ef[efpeìue Òeef¬eÀ³eeDeeW keÀer Meg©Jeele ceW veF& ®egveewefle³eeb meeceves DeeF&~ ÒeejbefYekeÀ metKes ìesvej ceW efmeefuekeÀeve Dee³eue jnlee nw~ He̳etefpebie kesÀ yeeo ³en efÒebìs[ Sefj³ee ceW ef®eHekeÀves kesÀ efueS mìw[[& uewefcevesefìbie efHeÀuce keÀes keÀþesj yeveelee nw~ ve³ee DeOesefmeJe Deewj keÀYeer-keÀYeer G®®e oyeeJe keÀer DeeJeM³ekeÀlee nesleer nw~ nebueeefkeÀ DeefOekeÀebMe DeeOegefvekeÀ ìesvej Òesme keÀce lesue keÀe GHe³eesie keÀjles nQ~ meeuJeWì DeeOeeefjle FbkeÀ keÀF& yeæ[s Òee©He FbkeÀpesì ceW GHe³eesie efkeÀ³ee peelee nw~ mecem³ee keÀes yeæ{e³ee pee mekeÀlee nw~ efÒebefìbie kesÀ yeeo Yeer 48 Iebìs lekeÀ FbkeÀ ke̳eesjDeHe kesÀ efueS jnlee nw,³eneB lekeÀ efkeÀ ³eefo ³en metKee ueielee nes~ ³eefo DeeHe peuoer uewefcevesì keÀjles nes lees JesHejeFefpebie meeuJeWì efHeÀuce kesÀ veer®es yegueyegues yevee³esiee~ ³en oesvees cepeyetle efJeuee³ekeÀ Deewj He³ee&JejCe

nukesÀ meeuJeWì FbkeÀ keÀes ÒeYeeefJele keÀjlee nw~ Deewj FmekeÀe DeLe& nw efkeÀ Fme ÒekeÀej keÀe pee@ ye keÀes efHeÀj mes jesue keÀjvee Heæ[lee nw Deewj uewefcevesì,efHeÀefveMe Deewj efJeleefjle keÀjves mes Henues keÀF& efoveeW lekeÀ mebûeefnle keÀjvee Heæ[lee nw~ ³en SkeÀ keÀejCe nw efkeÀ ke̳eeW S®e-Heer uesìskeÌme FbkeÀ p³eeoe ueeskeÀefÒe³e nw,ke̳eeW efkeÀ GvekesÀ Heeme yeæ{eves Jeeueer mecem³ee veneR nw~ ve lees ³etJeer ke̳eesj ³ee SkeÌJeme FbkeÀ~ neFefye´[ meeuJeWì ³etJeer FbkeÀ Yeer yeæ{eves Jeeueer mecem³ee mes ye®eelee nw,ke̳eeWefkeÀ GvekesÀ Heeme v³etvelece efJeuee³ekeÀ meeceûeer nw pees efÒebìj Hej yebo nes peeleer nw~ SHueerkesÀìme& uewefcevesMeve ceMeerve Hej SHueerkesÀìme& DeefOekeÀ DeewÐeesefiekeÀ efJeefYeVelee Jeeues nesles nQ~ Deeceleewj Hej yeæ[s HeÌuewì Hewveue ³ee ue®eerues ceeref[³ee kesÀ efueS Huesve ³ee Òeer efÒebìs[ mesuHeÀ DeOesefmeJe Jeeuee efJeveeF&ue kesÀ jesue ceW ueeiet neslee nw~ Deeceleewj Hej FmekeÀe GHe³eesie efkeÀ³ee peelee nw~ FmeefueS jesuej keWÀê mes yeenj keÀer lejHeÀ Henues Heeme ceW SkeÀ íesj keÀer lejHeÀ keÀece keÀjlee nw,Deewj leye JeeHeme keWÀê keÀer lejHeÀ Deelee nw~ jesuej kewÀefjpe efye³eefjbie Hej mJeleb$e ©He mes ®eueelee nw Deewj neLe mes {kesÀue efo³ee peelee nw,efveefM®ele efmLeefle Deewj uewefcevesìj keÀe ceesìj ®eefuele (Deewj Òee³e: iece&) jesueme&~ mJeeref[me jesume jesuej kebÀHeveer Fme efJe®eej ceW Deeies nw~ FmekeÀe SHueerkesÀìj ìsyeue ceW ®eueves Jeeuee jesuej kewÀjspe nw pees DeOesefmeJe melen keÀes Feq®íle melen Hej oyeeJe [euelee nw peye yewefkeÀie cewìsefj³eue keÀes efíueles nQ (³ee lees neLe mes ³ee ìskeÀ DeHe jesuej Üeje)~ meYeer cee[ue ceW SkeÀ uebyeer meHeeì melen Meeefceue nesleer nw pees veer®es mes ÒekeÀeefMele neslee nw efpemes keÀefìbie Deewj Jeefke¥Àie ìsyeue kesÀ ©He ceW Òe³eesie efkeÀ³ee pee mekeÀlee nw~ SHueerkesÀìme& (Deewj Gme ceeceues kesÀ efueS uesefcevesìme&) Yeer SHueerkesÀMeve ìsHe ueeiet keÀjves keÀs efueS Òe³eesie efkeÀ³ee pee mekeÀlee nw~ Fmes mebkeÀerCe& jesue ceW meHueeF& efkeÀ³ee pee mekeÀlee nw ke̳eeWefkeÀ ìsHe veece keÀe DeLe& nw~ uesefkeÀve efJemle=le Òee©He kesÀ efueS mHe<ì ef®eHekeÀves Jeeuee yewefkebÀie efHeÀuce keÀe J³eeHekeÀ jesue~ ³es keÀì DeeTì efJevee³eue kesÀ THejer melen Hej ueeiet nesles nQ,leeefkeÀ Jes mLeeve Hej mener lejn mes HekeÀæ[s jnW mejeGef[bie ceeref[³ee keÀes nìeves kesÀ yeeo~ leye DeekeÀej keÀes De®íer lejn Debeflece ©He kesÀ efueS mLeeveebleefjle efkeÀ³ee pee mekesÀ~ (GoenjCe kesÀ efueS Jewve keÀe meeF[ ³ee efJeb[es) Deewj SHueerkesÀìj ìsHe nìe oslee nw Deewj Deeke=Àefle keÀes mener mLeeve Hej íesæ[ oslee nw~ HeejoMeea efmLeefle kesÀ meeLe ceoo keÀjlee nw~ April - May 2017 SCREENTEX |

55

SUN SHINE GRAPHICS Poly Carbonate Films PVC Rigid Sheets Metalised Polyester Films Surface Protection Film (Low Track) Application Tapes Film & Paper Self Adhesive PVC Vinyls D/S Tapes Tissue / Polyester / Foam Polyester Films Reflective Films Ultra Destructive Film / Void Films

SUN SHINE GRAPHICS 5/44, Siddharth Nagar No 5, Near Maharshtra Medical Store, Goregaon West, Mumbai 400 104.

Tel : 93213 35502 / 9920135530 sanjay335550@yahoo.com

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| SCREENTEX | April - May 2017

EVENTS CALENDAR

NATIONAL JUNE 2017 16 - 18 June 2017 PLAST PRINT PACK EXPO 2017

10 - 13 August 2017 GIFTS INDIA 2017

Leading Expo on Printing & Packagiging Industry.

Leading Show on Gifts & Stationery.

At: University Exhibition Hall, Ahemdabad, Gujarat.

At : Bombay Exhibition Centre, NSE Complex,Goregaon (E), Mumbai

www.plastprintpackexpo.com

www.indiabig7.com

20 - 22 June 2017 AMBIENTE INDIA 2017

11 - 13 August 2017 KNIT SHOW 2017

Leading Expo on Homeware & interior Decor.

Leading Show on Garment Industry.

At: Pragati Maidan, New Delhi.

At : Velan Hotel Fair Ground, Tirupur, Tamilnadu.

www.ambiente-india.in

www.knitshow.in

24 - 26 June 2017 SIGN INDIA 2017

18 - 20 August 2017 PRINTEXPO 2017

Leading Show on Sign & Advertising Industry.

South Indian’s Leading Show on Printing Industry.

At: Pragati Maidan, New Delhi.

At : Chennai Trade Centre, Chennai, Tamilnadu.

www.businesslive.com

www.printexpo.in

JULY 2017

18 - 20 August 2017 GTE 17 (AHEMDABAD)

30 - 02 July 2017 SIGN TODAY 2017 Leading Show on Advertising & Signage Industry.

At : Dr. Prabhakar Kore Convention Centre, Bangalore, Karnataka.

Leading Garment Technology Expo.

At : Ahemdabad, Gujarat. www.garmenttechnologyexpo.com

www.signtoday.biz

SEPTEMBER 2017 08 - 11 July 2017 PLASTASIA 2017

13 - 15 September 2017 TECHTEXTIL INDIA 2017

Leading International Expo on Plastics Industry.

International Expo for Technical Textiles and Nonwovens.

At : Pragati Maidan, New Delhi.

At : Bombay Exhibition Centre, Goregaon (E), Mumbai.

www.plastasia.in

www.techtextil-india.co.in

29 - 31 July 2017 GARTEX 2017

14 - 16 September 2017 INDIA FOLDING CARTON 2017

Leading Show on Garment Manufacturing Solutions.

India’s Leading Show on Carton & Box Making Industry.

At : Pragati Maidan, New Delhi.

At : India Expo Mart, Greater Nodia, Delhi NCR.

www.gartex.com

www.indiafoldingcarton.com

AUGUST 2017

22 - 24 September 2017 MEDIA EXPO 2017 ( NEW DELHI )

03 -06 August 2017 CARTON TECH 2017 India’s Leading Show on Packaging Industry.

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

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| SCREENTEX | April - May 2017

Leading Exhibiton in Indoor & Outdoor Advertising.

At : Pragati Maidan, New Delhi. www.themediaexpo.com

EVENTS CALENDAR

INTERNATIONAL JULY 2017 05 - 08 July 2017 GFT 2017 ASEAN’s Leading Expo on Garment & textile Industry.

At : BITEC, Bangkok, Thailand www.gftexpo.com 12 - 14 July 2017 PROPAK CHINA 2017 China’s Leading Expo on Packaging Industry.

At : Shanghai New International Expo Centre (SNIEC), Shanghai, China. www.propakchina.com 20 - 21 July 2017 GARTEX BANGLADESH 2017 Leading Show on Garments, Textile & Allied Industry.

At : International Convention Centre, Basundhara, Dhaka, Bangladesh. www.limraexpo.com 20 - 22 July 2017 THE NBM SHOW 2017 Leading Show on Peintwear, Sign & Digital Graphics.

At : Long Beach, CA, USA. www.thenbmshow.com 26 - 28 July 2017 PRINTPACK + SIGN 2017 Leading Show on Printing, Packaging & Sign Industry.

At : Marina Bay Sands, Singapore. www.printpacksign.com

AUGUST 2017 09 - 11 August 2017 CSGIA 2017 / ASGA 2017 China’s Leading Show on Screen, Textile & Digital Print Industry.

At : Shanghai New International Expo Centre (SNIEC), Shanghai, China. www.csgia.org 09 - 12 August 2017 TEXTECH BANGLADESH 2017 Leading Expo on Garment & Apparel Industry.

At : International Convention Centre, Basundhara, Dhaka, Bangladesh. www.textechonline.org

60

| SCREENTEX | April - May 2017

Arrow PHOTOS O NName in One i INDIA for f Stock Images, Templates, Software & Tutorials We manufactures high resolution, ready to use stock images and templates.

We also provides stock images, which are used for Advertisement, Fonts, Logos, Clip-Arts, Brouchers, Visiting Cards, Wedding Cards, ID Cards, DTP Purpose, etc.

For more details Contact :

Arrow Multimedia

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

E Mail : arrowmultimedia@yahoo.com

Mahedra M h d SSethia h - 92824 37480

RANGE OF PRODUCTS x x x x x x x x x x

PLASTISOL INKS SCREEN TRANSFER INKS ALL SHADES LITHO BACKUP WHITE CLEAR PRINTABLE ADHESIVE LITHO CMYK HEAT TRANSFER INKS PUFF / HIGH DENSITY / METALLIC INKS FOIL ADHESIVE WATER AND OIL BASED FLUORESCENT INKS PLASTISOL NTHL SERIES PHTHALATE FREE FOR DIRECT AND TRANSFER PRINTING

SILICONE INKS x EML SERIES: WATER BASED NON CHOKING READY TO x USE WHITE & COLOURS x

KHADI NON CHOKING FRICHI SERIES (OIL BASED): PVC / PHTHALATE FREE FOR DIRECT AND x TRANSFER PRINTING x LITHO CMYK SUBLIMATION INKS x HOTMELT POWDER x ANY OTHER SPECIALITY INKS ON DEMAND x x

AN ISO 9001:2008 CERTIFIED COMPANY

Speciality Products Pvt. Ltd. Advt. Agency.

August - September 2013 | SCREENTEX |

73

62

| SCREENTEX | April - May 2017

All the Products Manufactured by us are made on Sophisticated Machinery Imported an locally developed by our own Experienced Technology We supply metalised and coated Polyester film for manufacturing Metallic Yarn, Glitter Powder in various color and Size

PRODUCTS Coated Polyester Film Glitter Powder Metallic Yarn Metalic Fibre COATED POLYESTER FILM Coated Polyester Film available in 12, 24, 36, 50 to 135 microns for various application viz Metallic Yarn, Glitter Powder, Chain Sequence (CD), Loose Sequence, etc.

GLITTER POWDER Glitter Powder is Made from 12, 24 micron polyester film in size 0.05 mm (0.002”) Hex/square by German Technology in many beautiful colors namely Metallic, Holographic, Irridiscent, Florescent and Formaldehye free coated color as per specific requirements of consumer.

HOT STAMPING FOILS We offer beautiful colors in hot stamping foils up to 50” width. Coated Polyester film should be metallised and Coated Polyester film.

METALIC FIBERS Metallic Fibers are cut length of Metallic Yarn from 0.3mm x 1.5mm length or as per customer requirement ADVANCE SYNTEX LIMITED 233/2 & 238/2 GIDC Por, RamanGamdi, Dist.: Vadodara – 391243, Gujarat, Phone : (0265) 6536463 , (0265) 2831400. Fax : (0265) 2831848 Mobile : 09824 050782 Email : midas1002003@hotmail.com / midasglitter@midasglitter.com website : www.midasglitter.com SOUTH DISTRIBUTER : M/s Honnex Inc. - 21, Easwaramoorthy lay-out,1st street , kuruvumpalayam, Tirupur- 641604, Tamilnadu. Phone : (0421) 4342588 Email : sales@honnexinc.com

AD INDEX Advance Syntex (P) Ltd.

63

Kumar Textile Industries

21

Aeon Commercial India (P) Ltd.

68

Kunal Enterprise

41

And Global Sales Corporation

04

Kishore Brothers

44

Arrow Multimedia

60

Mac Dermid Autotype Ltd.

07

Astra Chemtech

05

Meetesha Enterprises

56

Balaji Chemicals

40

NBC Japan

02

Balaji Traders

04

Omkar Engineering

27

Beauty Flex

61

Paper N Films International

66

Bharat Fushing

64

PAMEX 2017

06

Blue Coat India Pvt. Ltd.

49

Ratan Industrial Engineering

04

Chaiyaboon Inknovation

17

SAi 25

19

Sefar Switzerland

67

Shriram Enterprises

39

Cheran Machines I Pvt. Ltd. Duratech Automation (P) Ltd.

03,45

Dakota Chemicals India Pvt. Ltd

23

Shree Balaji Industries

59

Epta Inks India Pvt. Ltd.

15

Smilax International India

57

33

Sneha Enterprises

65

Spoorthi Technologies

13

Febchem Pvt. Ltd GTE 2017

34,35

Hari Impex

29

SunShine Graphics

56

J N Arora & Co. (P) Ltd.

51

Vee Jain Dyes and Chemicals

56

Knit Show 2017

50

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64

| SCREENTEX | April - May 2017

EASY SOLUTION FOR DARK COTTON AND POLYESTER GARMENT

BY SUBLIMATION PROCESS.

Mob +91 7400451521 arvind.singh@sefar.com