August september 2016

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Member of

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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

Vol : 06 • Issue : 05 August - Septeber 2016

FORWARD

PUBLISHER / EDITOR IN CHIEF

Jignesh Lapasia +91 98679 78998 ASSOCIATE EDITOR

Growth needs velocity, not speed

Sonal Shah CO-EDITOR

Madhvan A LAYOUT DESIGNER

The mood of the nations is currently filled with patriotism and lot of adrenalin post the surgical strikes across the border by Indian armed forces. However, Prime Minister Narendra Modi cautioned against any chest-thumping exercise on the valour exhibited by defence forces. His reasons might be different but there is another learning one could derive from it: Celebrate milestones but not overdo them. One of the biggest signs of a successful company is one which has velocity not speed. Mind you, I did not say speed but velocity because the latter is about ‘speed and direction’.

Often we see companies not opening up about their success, their clientele fearing the competition might win them over. However, the thumbrule of great customer service states, if your customer can be enticed, then work on the loyalty bit. Therefore, in this issue, we interview Unique UV, which has shown velocity (speed and direction) in its growth. In addition, we have several interesting articles —including one on customer satisfaction.

While Ann Harris writes about how to get the right exposure, in another article, we try to decode the paper and ink chemistry. Nessan Cleary has written on industrial printing while Rob Fletcher goes into the details of various inks available. He also talks about T-shits as a growing market.

Finally, as we celebrate the fifth year of engaging relationship with you all, we want to thank our well-wishers and advertisers for supporting us, our fellow printers and convertors from the industry, and even those who consider us competition for making this an exciting journey for us.

I will sum-up with this few lines about believing in self during challenging times:

Pravin Gohil GRAPHIC DESIGNER

Preetam Shetty WEB SUPPORT

Pratik Shah REPRESENTATIVES HYDERABAD

Arihant Sales Dinesh Chauhan +91 93469 51232 KANPUR

Sandeep Keshari +91 98391 23611 +91 93363 32742 DHANBAD

Roshan Agrwal +91 93340 49625 TIRUPUR

Ramki +91 95979 35554 NAIROBI - KENYA

Darshit +254 722 737413

All our challenges, we must embrace and defeat.

As we open our eyes, our true purpose we’ll greet.

+254 733 621761 PRINTED AT

Om Sai Printer, Mumbai MEMBER OF

Let’s take a step outside, our routine comfort zone.

This will carve a path, where our goals we shall own.

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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CONTENT REPORT

24

HP India highlights the innovations using digital technology

MUSINGS

28

Confluence of determination and perseverance

ADVERTORIAL

32

ìskeÌveesuee@peer

64 68

ef[m®eepe& efÒeefìbie kesÀ meeLe Meg©Deele kewÀmes keÀjW? keÀesjesvee ì^erìceWì : FmekesÀ Heerís keÀs lekeÀveerkeÀ keÀer SkeÀ PeuekeÀ

32

Design Essentials – How the right design software can help improve production efficiencies and expand your service offering

GUEST COLUMN

36 40

Are you closer to your customer?

Industrial printing moving to digital

44

LIMELIGHT

44

Kalavathi Creations: bringing alive creativity of designers

SPOTLIGHT

48

Unique UV appointed India distributor of Phoseon Technology

TECHNOLOGY

52 56

Decoding offset printing inks

56

Getting the right exposure

CASE STUDY

60

PROBLEM CAUSE AND SOLUTIONS August - September 2016 SCREENTEX |

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NEWS

HP completes installation of 300+ Indigos ordered at Drupa 2016 At the recently held Graph Expo 2016, HP announced that it is fulfilling its robust order pipeline from drupa 2016, delivering more than 300 of its industry-leading HP Indigo digital presses to customer sites worldwide.

More than 300 HP Indigo digital presses, including series 2, series 3 and series 4, purchased at drupa 2016 have been installed worldwide. Specifically, 100 of those installations are of series 4 HP Indigo digital presses, including HP Indigo 10000, 12000, 20000 and 30000 Digital Presses.

Major HP Indigo customer deals closed at drupa have been completed, with new presses

now in full production. Of note, customers across the globe, including Shutterfly, Cimpress, MonAlbumPhoto, Pureprint, Precision Printing, Rotolito Lombarda, Truyol and Pageworks, are now taking full advantage of flagship HP Indigo 12000 digital press to address holiday peak season demand, the company said in a statement issued to media.

HP Indigo 7900 and 5900 digital press customers, including Millet the Printer and Duggal Visual Solutions, respectively, are capitalizing on the presses’ stepfunction enhancements in quality, productivity and application versatility.

“For more than 80 years, staying on the cutting edge of printing technology has been critical to how Millet the Printer anticipates our customers’ needs and adapts to changing markets,”

said Dan Millet, vice president, Millet the Printer.

The company added that customers are also leveraging PrintOS to simplify and automate print production management across their existing fleets and with the new HP Indigo 12000, 7900 and 5900 digital presses.

HP Financial Services can help customers accelerate growth and productivity through a flexible investment strategy. This enables customers to acquire new HP digital print technology on terms that work for their business.

However, the company clarified that financing and service offerings available through Hewlett-Packard Financial Services Company and its subsidiaries and affiliates (collectively HPFSC) in certain countries and is subject to credit approval and execution of standard HPFSC documentation.

IPAMA ditches hangars, offer permanent structures for Printpack India 2017 The 13th edition of Printpack India will be held from 4 to 8 February, 2017 at India Expo Centre & Mart, Greater Noida.

The organisers (IPAMA) have announced that they would now be offering permanent structures in place of hangers to exhibitors. For the last few editions, the organisers had used hangers to accommodate few exhibitors due to shortage of space at the convention centre, while others were placed in the halls.

The Expo Centre has now informed the organisers that it would be constructing six new pillar-less

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exhibition halls with the height of 13 mtrs, which will be fully equipped with ultra-modern facilities, for holding national and international events at a much higher scale.

According to the Expo Centre officials the load bearing capacity of the new halls is estimated to be around 30 tons/per sq. mtr, which fully meets the requirements of the machinery exhibitions like Printpack or Plast India.

The last edition of Printpack India, in which 411 exhibitors displayed their products on a net area of 18,647 sq m, and recorded an increase of 25 percent in comparison to PPI 2013. Visitor footfall, for the first time, crossed the figure of 85,000 which is a record in itself. In This 411

exhibitors displayed their products on a net area of 18,647 sq m, and recorded an increase of 25 percent in comparison to PPI 2013.

Organisers claimed that the visitor footfall, for the first time, crossed the figure of 85,000 which was a record in itself.

The exhibitors represented all Indian states. Foreign exhibitors came from China, Dubai, Hong Kong, Italy, Riyadh, Sharjah, South Korea, Taiwan, UK, USA, Indonesia, Philippines, Thailand, and many more countries.

The organisers in their post event report claimed the business generated during PPI 2015 stood at US$ 290 million. Serious business enquiries received were worth US$ 510 million. www.printpackipama.com

NEWS

XAAR launces new printheads for tile manufacturers Xaar, the leader in industrial inkjet technology, is delighted to announce the launch of the new Xaar 2001+ family of printheads.

With this new printhead family, the manufacturer claims that tile manufacturers can easily implement new designs to respond to changing fashions and tastes, efficiently manage production changes from one day to the next and benefit from the longest maintenance-free production runs in the industry.

The printhead jets one colour at 720 dpi or two colours at 360 dpi each, is available in three drop sizes

and has 2000 nozzles which deliver high productivity with a broad range of oil-based inks.

This means manufacturers can select the printhead combination that meets their exact needs and they can also adjust the ink configuration over time to respond easily to changing design trends. The company suggests Xaar 2001+ GS6C printhead for fine details, the Xaar 2001+ GS12C to balance detail and laydown for a wide range of tile designs and the Xaar 2001+ GS40C to achieve the highest laydown for special effects.

The Xaar 2001+ family prints up to 720 dpi with 8 grey levels. It offers line speeds of up to 50 m/ min (ink laydown up to 39 g/m2

for the Xaar 2001+ GS40C) enable high production throughput. High ink laydown (up to 78 g/m2 at 25 m/min for the Xaar 2001+ GS40C) is also possible for producing tile designs with intense effects.

“We’re delighted to be announcing the Xaar 2001 and Xaar 2001+, our latest developments for the ceramics tile industry,” says Gillian Ewers, Director of Marketing at Xaar. “As market leaders, it is important that we continue to innovate so that tile manufacturers themselves can improve production processes, be more cost effective and develop their design creativity, ultimately to serve their own customers better and more efficiently.” www.xaar.com

Subam Printers installs Heidelberg SM 74 Tiruvannamalai-based Subam Printers expanded its portfolio with a new Heidelberg Speedmaster - SM 74, as part of its revenue acceleration strategy.

From a modest beginning as a screen-printing startup in 1991, Subam Printers has grown to a 12,000 square feet print facility today, owing to the relentless efforts of this firstgeneration printer. His relationship with Heidelberg dates back to 2011, when Subam installed a Speedmaster 74, four-colour offset

press at its Guindy subsidiary in Chennai.

A major portion of Subam’s business consists of commercial printing jobs from regular clients.

The print shop is equipped with a state-of-the-art designing division and a complete array of prepress and postpress equipment’s.

Palani, Managing Director, and the driving force behind the 25-year old print firm said, “With a production speed of up to 15,000 sheets per hour, the press is exactly what we need for our commercial printing setup.”

The Prinect Easy Control color measuring system of the Speedmaster SM 74 helps in bringing down paper waste levels, while a speed-compensated Alcolor dampening system produces good print results. A highly-automated feeder with central suction tape helps the

Speedmaster SM 74 handle a wide array of printing substrates, from thin paper to board, ranging in thickness from 0.03 mm (0.0012 inches) to 0.6 mm (0.024 inches).

“The latest generation print buyers are sticklers for quality output, as well as timely and reliable delivery. It is our key to explore a broader addressable market,” Palani says.

The installation is also a reflection of the inroads Heidelberg is making into Tier-2 cities. Rajendra Prasad, Manager - Marketing & Communications, commented, “The Indian print industry has the next wave of growth from Tier-2 cities. We are glad that our continued emphasis on Tier-2 markets is starting to pay off. While we focus on innovation in core technologies, Heidelberg will continue to keep the customer at the center of everything we do.”

August - September 2016 SCREENTEX |

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NEWS

Mimaki USA announces UJF Mark II Series UV-LED flatbed printers Mimaki USA, a leading manufacturer of wide-format inkjet printers and cutters, has launched the UJF Mark II Series UV-LED tabletop printers. The two new models are production-focused, professional tools built on a smallfootprint, proven platform that can deliver consistent quality for any level of production.

The UJF Mk II Series printers are next generation models in the the UJF Series line. This series includes features that enable users to realize the benefits of digital printing with higher margins and lower production costs, without compromising quality.

The UJF-3042 MkII printer can print onto media up to 11.8” wide, 16.5” deep,

and 6” thick, using standard CMYK inks plus available White, Clear and jettable Primer. The UJF-6042 MkII printer can print onto media up to 24” wide x 16.5” deep x 6” thick, using standard CMYK inks plus available Light Cyan, Light Magenta, White, Clear and jettable Primer.

Ink sets for the UJF MkII Series printer include LH-100 ink for high scratch and chemical resistance, and LUS-120 ink for flexibility and scratch resistance.

LUS-150 ink for balanced adhesion and flexibility will be available in the future.

The UJF MkII Series printers combine higher accuracy dot placement with speed improvements of up to 20 percent over the previous generation.

Laser sensor media detection

and automated gap check ensure that the print head is at the optimal height on each print. One-liter bottles have replaced the smaller cartridge system of previous models, making ink delivery more efficient. All bottles fit into a Mimaki Bulk Ink System (MBIS) for efficient change-out when empty.

The switch to one liter bottles also ensures customers running other Mimaki UV-LED printers can better manage their overall inventory when using compatible Mimaki original inks. Additionally, the print bed of the new UJF MkII Series accommodates jigs created for previous models. Therefore, current UJF Series users purchasing a new UJF MkII Series printer, can quickly and efficiently expand their printer line-up without the need to rework jigs.

SPGPRINTS expands production of Javelin textile printer SPGPrints is increasing its manufacturing capacity at its Kufstein (Austria) facilities, in order to meet strong demand for the Javelin digital textile printer, following its launch in June at ITM 2016 (Istanbul, Turkey).

As well as achieving several sales at the show, the company claims that it has since received significant interest in the printer’s inkjet technology, which has made high-quality textile production possible in both short and long production runs.

Rieks Reyers, Marketing and Sales Director, SPGPrints, comments: “As an affordable solution for test markets, short runs and large volume requirements,

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Javelin has brought the benefits of digital printing to the mainstream textile market. With the latest production expansion, the Kufstein facility is the ideal choice for the machine’s production and assembly. It is well-equipped to provide efficient, high-quality serial machine production, enabling us to offer short lead times, and to accelerate the adoption of this game-changing technology.”

The sales and service of the Javelin printer are coordinated at SPGPrints’ Boxmeer (Netherlands) headquarters, where the demonstration centre and digital textile ink factory are also located.

Javelin is designed for companies printing up to two million metres of textiles annually.

The printer uses a single-pass scanning action with an array of

Fujifilm Dimatix Samba print heads to cover the 1850 mm width with sharp image production.

Javelin features SPGPrints’ unique Archer print head technology that allows precision printing from a longer jetting distance. With nozzles located 4 mm from the substrate, Javelin is compatible with a wider range of substrates, including sublimation papers, while the chance of print head damage is minimal.

Additionally, using only six colours, Archer technology enables a gamut wider than that of other digital textile printing solutions.

The Javelin uses the same Archer technology as SPGPrints’ PIKE single-pass printer for high volume production. Using a fixed array of 43 Fujifilm Dimatix Samba print heads, the PIKE can print up to 13 million metres per year.

NEWS

Fujifilm launches its first ‘made in India’ wide format printer Fujifilm India has launched its first ever ’Made in India’ Eco Solvent Printer – Fujifilm Inkjet Technology – Vybrant 1800 at its Demo Centre for Wide Format Inkjet Printers in Meera Road (Mumbai).

With this launch, the new Vybrant 1800 joins Fujifilm’s Graphic Arts family at its Mumbai Demo Centre.

The Made for India printer has been designed keeping in mind the requirements of the Indian market. This wide format printer provides unparalleled cost per print and excellent productivity with up to 20m2 per hour. It is

equipped with highly efficient Fujifilm Dimatix Q-class industrial quality print head and runs on Peizo DOD technology.

Present at the launch, Yasunobu Nishiyama, Managing Director, Fujifilm India said, “The launch of Vybrant 1800 is Fujifilm’s first step towards developing our products in India.

With this launch, we aim to strengthen our presence in the Indian graphic arts segment.

The Graphics Arts business is one of the most important drivers for Fujifilm’s growth in the Indian market.

The company is looking at achieving a 15% overall growth by the end of FY 2016. With our world-class printing technology, we are focused on delivering high

quality, technically advanced print solutions that help printers develop competitive advantage and grow their businesses.”

Aligning his company’s future growth to the current scenario, Nishiyama further added, “The push given by the Government’s Make in India initiative gives us great scope for our business. Since the market outlook looks positive, we want to utilize this opportunity to our best and so we offer our new inkjet technology – Vybrant 1800, manufactured in Pune, India.”

The Fujifilm Vybrant 1800 printers have been exclusively developed and manufactured by Macart Equipment, one of the leading manufacturers of inkjet printers in the country, with their manufacturing units in Pune, India.

Sakurai to feature the next generation MS-80ALL cylinder screen press at SGIA Sakurai USA will mark its 10th consecutive year as an SGIA exhibitor with the North American introduction of the new Sakurai MS-80All cylinder screen press. A complete Sakurai screen printing line with the new screen press, Natgraph Electronic UV drying system and automatic sheet stacker will be running live at upcoming SGIA Expo.

Launched at Drupa, the new MS-80All features a larger 31 1/2” x 21 1/2” sheet size, higher running speed of 4,000 sheets per hour, ergonomically designed control panel, static free paper path and many more features.

Sakurai Cylinder Screen Presses

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are the accepted print engine for the overlay, membrane switch and credit card markets.

And the workhorse MS80All like the MS-80A are ideal for use on a myriad of industrial applications, such as specialty finishing, glitter, soft touch, flood and spot coating, tagless labels, heat applied transfers, pressure sensitive applications, printed circuits, electronics and more.

At SGIA, screenprinting experts from Sakurai and industry partner Natgraph will be on hand to assist screen printers and trade binderies in custom designing a printing drying and curing system to match their specific requirements.

Also demonstrated will be the high-resolution CST DLE Screen Imaging System. Four CST models are available with a maximum sheet size of 1.5 x 1.5

meters.

Ryuta Sakurai, President of Sakurai USA and its parent, Sakurai Graphic Systems Corporation, Japan will participate in this year’s SGIA. “Sakurai will be conducting live demonstrations of our new MS80AII screen press line equipped with our industry partner’s Natgraph Electronic UV dryer and stacker,” said David Rose, General Manager, Sakurai USA, Inc. “We are anticipating an excellent, well-attended SGIA Expo we expect booth visitors to be looking to Sakurai for drying/curing solutions as well as computer to screen imaging.”

Sakurai cylinder screen presses are available in sizes from 20 1/2” x 28” to 48” x 63”. And the Maestro prints on a wide range of substrates such as plastic film, paper, board and foil with accurate spot coating and special effects.

NEWS

Ricoh launches its new aqueous resin (AR) latex inks Ricoh USA today announced its new aqueous resin (AR) latex inks, which are designed to cut cure times at an affordable price point, helping wide format shops take on more jobs and increase profits.

After September, Ricoh’s wide format customers will be transitioned to AR inks, which will cost much less than their predecessors and boast a 24-month shelf life–much longer than previous latex ink options.

AR inks allow wide format jobs on a broad range of substrates to be used immediately off the press.

Whether printing on cloth, bond

paper, backlit material or a variety of other media.

The new lineup of inks’ low price point helps drive wide format’s famously high margins even higher.

Cutting ink costs without reducing quality allows signage shops to produce the same eye-catching work, at the same price point they usually charge customers, with lower upfront costs These savings only further incentivize the adoption of latex inks, which are known for their fast cure times and low environmental impact while still maintaining the high level of color quality that signage shops make their stock and trade.

As latex inks’ color quality has improved in recent years,

many shops have started making the switch, spurred on by OSHA regulations concerning the fumes associated with solvent-based operations.

“Signage shops – and cutsheet shops adding wide format operations – are always looking for ways to better serve their customers, from new, creative applications to faster turn times to keep up with today’s fast-paced signage needs,” said John Fulena, Vice President, Production Printing Business Group, Ricoh USA. “These new aqueous resin inks deliver the quick cure times that speeds demand, while still producing outstanding, eyecatching output. That it does all of this at a drastically lower price point than its predecessor is a huge.

KBA unveils VariJET 106 industrial digital sheetfed press powered by Xerox KBA Sheetfed Solutions, a business unit of the Koenig & Bauer Group (KBA), and Xerox have announced a partnership to develop an industrial digital sheetfed press for the folding carton market.

The KBA VariJET 106 Powered

by Xerox integrates Xerox Impika inkjet technology into the KBA Rapida 106 press platform. The modular KBA VariJET will permit the combination of conventional printing and finishing technologies with digital inkjet printing in a hybrid press. It can be configured with up to seven inkjet colors and it offers print speeds of up to 4,500 sph in 29.5 x 41.7 inches at 1,400 dpi per hour. Its modular concept enables

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the combination of digital inkjet printing with optional in-line capabilities such as printing units, coating, cold foil application, rotary die-cutting, creasing and perforating.

Digitally printed packaging worldwide will grow at a compound annual growth rate (CAGR) of roughly 16 percent between 2015 and 2020. Within that, digitally printed folding cartons will see a CAGR of 40 percent1. The VariJET 106 Press brings the benefits of digital printing such as running multiple versions of the same carton as well as customized cartons, opening up new business opportunities for industrial production printers. Wide format cartons, for items like cosmetics, food and pharmaceutical products, until now has relied on traditional

analog offset production printing.

Ralf Sammeck, CEO of KBASheetfed Solutions said, “Xerox’s inkjet technology coupled with our packaging expertise combines proven technologies to bring the right product to market at the right time.”

“By combining digital capabilities like cross media marketing, digital storefronts, and automated workflows with those of classic offset printing, our customers will be able to offer new products not seen in the traditional packaging market to their customers,” said Robert Stabler, general manager, Graphic Communications Business Group, Xerox. “The KBA VariJET 106 Powered by Xerox will have the flexibility, format and speed to help print providers capture this growing market opportunity.”

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NEWS

Flint Group introduces new thermal plate processing technology Flint Group Flexographic Products has introduced new nyloflex Xpress Thermal Processing System for flexographic printing plates – incorporating the speed of thermal plate making with improved plate and print quality. The nyloflex Xpress Thermal Processor incorporates a smart design with an enhanced user interface.

At the heart of the processing system lies the nyloflex Thermal Printing Plates specifically formulated to perform well in the nyloflex Xpress Thermal Processor.

The first of these plates – nyloflex XPH and nyloflex XPM Digital Printing Plates – offer improved details with highlights that the company claims will rival the quality of solvent plates. Specially developed to print on paper at high line screens of 200+ lpi, these plates are capable of printing the dots up to 50% smaller in size than the minimum printed dot of the market leading thermal plate. Flint adds that nyloflex XFH flat top plate, soon-to-

be-released, will be the perfect choice for printing brilliant solids on film substrates. The thermal plates are suitable for use with virtually any ink system – solvent based, water based, or UV. The configuration of the nyloflex Xpress Thermal Processor allows for fewer components, so there is less maintenance, less downtime and lower operating costs associated with its operation.

The processor’s zoned heating system is built around a highly efficient IR assembly, which provides precise monitoring of the heat distribution across the drum width and into the plate. The perfectly controlled heat imparts better dimensional stability to the plate backing, affording increased stability and consistency to plate processing. The accurate regulation of the heat eliminates the need for a chiller.

Rich Emmerling, Technical Director of Flint Group Flexographic Products, expresses “The key to this advancement in

thermal plate processing is with the unique heating system which precisely monitors the heat at the surface of the plate.” Emmerling affirms, “The tight control of the surface heat delivers outstanding dimensional stability of the plate’s backing without the assistance of a drum chiller. The resulting processed plate’s image quality provides a significant reduction in the size of the first printed dot as compared to current thermal plates on the market.” Emmerling continues, “The heat regulation demonstrated by this technology raises the bar on thermal platemaking, and Flint Group is proud to now engage in this area of technology.”

To complete the system, Flint Group offers a comprehensive waste recovery program with the nyloflex Xpress Waste Recovery Program. All consumables used in the system, including plates, can be picked up and routed to a wasteto-energy facility or recycled where available. www.flintgrp.com

Surat’s Municipal Corporation takes smart water initiative for textile mills In a latest decision, the Surat Municipal Corporation (SMC) has decided to upgrade its existing tertiary treatment plant (TTP) at Bamroli by increasing the capacity at 40 million liters per day (MLD).

The new facility will supply additionally 40 MLD water to the textile dyeing and printing mills at Pandesara GIDC. For this, the civic body will be spending Rs 100 crore for the construction of the TTP plant at Bamroli.

The waste water will

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be collected through pipelines and brought to the TTP, where it will be treated as per the industrial grades.

There are around 325 dyeing and printing mills at Sachin, Pandesara, Kadodara and Palsana. Pandesara GIDC has the highest presence of 100 dyeing and printing mills. The total turnover of the dyeing and printing mills is pegged at Rs 125 crore per day. Pandesara GIDC has 100 dyeing and printing mills that need round the clock water supply. Bore well water is not suitable to maintain quality

in textile industry. Industries need 85-90 MLD water. As present 100 MLD tertiary plant of SMC at Bamroli is capable to supply about 40 MLD treated waste water to industries, the industrialists in Pandesara have requested SMC to set up second 40 MLD capacity tertiary plant.

Vakharia, president of South Gujarat Textile Processors Association (SGTPA) said, “Each of the dyeing and printing mill is spending Rs 7 lakh per month for water charges. The total spending on the water in Pandesara GIDC is pegged at Rs 70 crore per annum.”

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QUICK BYTES Smriti Irani inaugurates apparel and garment making center in Pasighat XUnion Textile Minister Smriti Zubin Irani inaugurated an Apparel and Garment Making Center on Tuesday at Gumin Nagar, Pasighat in presence of Chief Minister Pema Khandu, Union MoS for Home, Kiren Rijiju, MoS for Textile, Ajay Tamta, State’s Textile, Handicrafts and Cooperation, Minister Tapang Taloh and Lok Sabha MP, Ninong Ering. Union Minister Irani said that Arunachal Pradesh has the potential to promote the textiles sector and give a fillip to entrepreneurship and job creation.

She informed that ministry would set up six more incubation centers to bring modern ready-made garment industry in the state. This was one of the first organized efforts of Prime Minister Narendra Modi under the North East Region Textile Promotion Scheme (NERTPS) of the Ministry of Textiles.

Michelman launches versatile new primer

Michelman has introduced Michem Flex R1927, a versatile new primer which is suitable for use with a broad range of conventional inks including UV, water-based and solvent-based. It can be used on BOPP film, BOPET film, PVC film, aluminum foil, and paper substrates, and is the ideal all-purpose primer for flexographic, gravure and screen printers. Because Michem Flex R1927 is effective with most conventional inks, it reduces primer inventory costs, as well as the labor required to swap out primers.

It is optically clear and is easy to apply to the substrate. Test results show excellent rub and water resistance, and outstanding ink adhesion of cyan, magenta, yellow and black. Michem Flex R1927 is part of a family of waterbased Michem Flex primers formulated specifically for printing and packaging applications.

Mohawk continues to expand wide format inkjet portfolio

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Mohawk, North America’s largest privately-owned manufacturer of fine papers, envelopes and specialty substrates for commercial and digital printing, continues to expand its wide format inkjet portfolio to meet the needs of the growing display graphics market. Mohawk will introduce a total of six new products to expand its Wide Format Inkjet portfolio, including three economy lightblock products, one Dupont Tyvek product, and two magnetic products.

New items are optimized for solvent/eco-solvent, latex and UV-cured inks, are compatible across multiple ink types, and are designed to support a wide variety of printing applications. Mohawk will introduce the new wide format inkjet products at the 2016 SGIA Expo.

Roland DGA appoints new president Roland DGA, a leading provider of digital imaging devices, announced today that Andrew Oransky has been appointed the company’s new

| SCREENTEX | August - September 2016

president. Oransky previously served as Roland DGA’s Vice President of Sales and Marketing, and prior to that was Director of Marketing and Product Management for the Irvine, California-based company. Oransky assumes the presidency during an exciting time for Roland DGA. This year, the company launched its most advanced wide-format inkjet printers date, as well as new dental milling technology, and has plans to unveil additional cutting-edge products in the coming months.

TEXPROCIL gives mixed reaction to cabinet measures In a statement issued by Mr. R K Dalmia, Chairman of The Cotton Textiles Export Promotion Council (TEXPROCIL) has welcomed the cabinet approval for a special package for labour intensive Apparel sector envisaging higher growth in

Export of Apparel products and job creation over the next three years. However, he expressed deep concern for ignoring to consider Home Textile sector in the special package, which is equally labour intensive industry at par with Apparel sector. In particular, manufacturing of bed-linen requires more number of workers in making each piece of the product.

He emphasized that Home Textiles sector is also equally labour intensive as Apparel manufacturing.

Durst & Technijet JV for digital textile peripheral solutions

Digital inkjet printer manufacturer Durst Phototechnik and UK based producer of industrial high pressure cleaning systems, Technijet Ltd have set up a joint venture for the development of peripheral solutions for digital textile production. The common conceptual design of the patented Swiftjet pre treatment system is the basis of the joint venture. Swiftjet

TECHNOLOGIES

www.roqinternational.com

QUICK BYTES Roadshow dates for Labelexpo India announced The organizers of Labelexpo India will be hosting a four-day roadshow in early October in conjunction with the Offset Printers Association. Visiting Tamil Nadu, Gujarat and Punjab, the roadshow events are being especially held for offset printers who are thinking about diversifying their businesses into label and package printing. Roadshow events will be held at: Sivakasi, Tamil Nadu (3 October); Hampton by Hilton, Baroda, Gujarat (5 October); Regenta by Royal Orchid, Ahmedabad, Gujarat (6 October) and Friend’s Regency Hotel, Ludhiana, Punjab (8 October).

Labelexpo India will run 17 to 20 November at the India Expo Centre in Greater Noida (Delhi NCR). is a spraying and drying unit which is connected upstream of the actual printing machine and, depending on the desired printing result, takes over the chemical pre-treatment of the textile thread.

Gartex 2016 concludes The chairman of the Buyers from all over the country

Idealliance projects modest commercial print sales growth in 2017 Noting

that

printing

sales

commercial posted

the

weakest growth in three years in the first half of 2016—just 0.3%—and that little significant economic or industry change appears to be on the horizon, and abroad, especially from

Idealliance’s new State of the

garment specialty hubs like

Industry Report, 14th Edition,

Delhi

Jaipur,

projects commercial printing

Mumbai and Ludhiana, came

segment sales to rise just 1.0%-

to realize their needs at the

1.5% this year and up 1.5%-

recently held trade fair Gartex

3.0% next year.

2016 which was held from 27-

The report cites statistics from

29 August at Delhi’s Pragati

the Census Bureau’s Annual

Maidan.

Survey

The three day event witnessed

showing that although sales

live product demonstrations,

of commercial digital printing

query/information exchanges,

increased

networking and deal closings.

from $1.0 billion to $8.7 billion

Gartex

between 2000 and 2014, sales

75

NCR,

Surat,

hosted

exhibitors

more related

more

than

representing

than

150

brands

to

digital

textile

of

of

Manufactures

nearly

commercial

ninefold,

lithographic

printing declined by $23.5 billion,

from

$59.3

billion

printing technology, garment

to $35.8 billion — a loss of

manufacturing

about three times the increase

machines,

embroidery machines, sewing machines, quilting machines, fabrics, and apparel accessories.

More

than

12,000

buyers

visited the show this year.

22

in digital.

KBA-Sheetfed, ACTEGA seal strategic partnership

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KBA-Sheetfed, the world’s second-largest manufacturer of sheetfed offset printing presses, and ACTEGA Coatings & Sealants, a division of the global speciality chemicals group ALTANA, have forged a strategic alliance in the field of inline finishing.

The cooperation agreement further intensifies their existing partnership and places activities on an even higher, strategic level.

ACTEGA products which have been tested on Rapida sheetfed offset presses are to carry the seal of quality “Approved and licensed varnish by KBA”.

Nazdar Ink to launch new inks at InPrint 2016 Nazdar Ink Technologies will demonstrate its comprehensive range of inks at InPrint – the industrial print show – taking place in Milan, Italy in November.

The event will showcase a wealth of technology for industrial print applications – and Nazdar manufactures the ideal inks to meet every need.

As well as demonstrations of its very latest formulations of digital inkjet, screen printing and flexographic inks, key representatives from Nazdar will be present throughout the event at Stand E30.

Kiian Digital to highlight applications of

eco-friendly sublimation inks at ITMA Asia Kiian Digital has today announced that it will showcase its advanced ecofriendly sublimation inks designed for industrial textile printing at ITMA Asia (21-25 October 2016 - Hall H5, Booth C06). The company’s marketleading range of 12 specially engineered inks contain reduced or no hazardous chemicals. Many of Kiian Digital’s leading inks comply with a number of the key textile standards, including the Digistar HI-PRO series that recently passed Nike’s Restricted Substance List (RSL) testing. Visitors to the stand will see the extensive textile applications achievable with Kiian Digital’s full-product range, including high-fashion apparel, endurance sportswear and household textiles.

Goss announces partnership with Elettr As part of its ongoing strategy to establish industry partnerships that can deliver value-added solutions for customers, Goss International has announced a new collaboration with Elettra Srl, leading manufacturer of automatic blanket washing systems. Goss also now becomes the exclusive dealer for Elettra commercial web products in the Americas.

REPORTS

HP India highlights the innovations using digital technology

HP India recently organized an event, ‘Innovation Wins’ in Mumbai which was attended by the brand owners from different sectors including FMCG, pharmaceutical, retail, food and beverage, and health and beauty. The main motif of the HP hosted event was to highlight the possibilities of innovations using digital technology for brand owners and marketers across verticals. During the seminar, several speakers highlighted how innovations were created using HP

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digital production presses and wide-format printers.

Over 150 brand professionals present witnessed applications of digital printing including labels and packaging, general commercial printing, textile printing, point of purchase, corrugated and signage.

Puneet Chadha, director of market development for graphics solutions business in Asia Pacific at HP Inc, in his presentation emphasized on the importance

of innovation in reaching out to customers in today’s market conditions, and how advanced and differentiated printing applications can help brands to develop a stronger brand recall with end customers to establish a competitive edge in the market.

Chadha said, “With brand managers trying to break the clutter for increased mindshare for their brands, the market place is getting increasingly competitive.

Digital printing can open new and unexplored opportunities for brands with respect to customer outreach, contributing significantly to the brand recall.”

Chadha invited the brand owners to take part in Dscoop, a community of HP’s print service providers helping them take part in education, networking and revenue growth opportunities.

He invited them to the facility which showcased different digital technology and how these technologies assist in creating the innovative products and ideas.

He further added, “We will continue to enable our print service providers with newer innovations in digital printing technology and more meaningful conversations with brands at

REPORTS such forums, hence helping them explore newer markets and generate fresh revenue streams.”

Closely following Chadha’s talk, A Appadurai, country manager, Indigo, HP India, delivered a presentation around engaging customers through innovations in labels and packaging and how it can significantly contribute towards increasing sales and revenues for the brand.

He said, “Labels and packaging play an instrumental role in product sales, and a good packaging with a thought through campaign can work wonders for any brand. HP is leading the innovations in packaging and labels and enabling leading brands across the globe to create path breaking success stories. We welcome Indian brands to harness

SK

M

the power of digital printing for reaching out to their customers and ensuring a great overall customer experience.”

Discussions on the successful real-life digital printing campaigns and implementations by some of the leading brands helped the present audience build awareness and perspective around the path breaking possibilities with digital printing.

The presentations were followed by guided tours to application areas showcased by partnering print service providers.

HP’s partners and print service providers like Comart Reprographers, Diadeis, Janus International, Mazda Imaging, Pragati Pack, Shree Chintamani

Enterprises, Silverpoint Press, showcased the innovative products which include, labels, cartons, books, brouchers, auto graphics and stationery produced using HP’s digital printing technology.

Speaking to ScreenTex, Fred Poonawala, director, Comart Reprographers, said, “These get together of brand owners and print service providers on the same platform are a must. As a print service provider, we get to showcase our innovations and brand owners, marketers get awareness about how a digital technology can do wonders for their brand and products.”

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August - September 2016 SCREENTEX |

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DJET R

MUSINGS

Confluence of determination and perseverance today. The rise in readership of the magazine has not seen a waning moment ever. We have

always respected and valued the relationships we share with our readers as well as our partners.

Hence, we have been successfully able to take both of them along in these five years of fantastic journey.

Reliability: From the start, we have always been clear that we do not wish to be just a magazine which exists in the market. We have endeavored to add value to our readers’ experience each time we published a new edition of the magazine. We stayed away from speculative narratives, and often asked questions which were in the favour of the industry— regardless of how tough these questions were. As a result we emerged as one of the fastest growing and accepted magazine in this genre.

“Two roads diverged in a wood, and I—I took the one less traveled by, and that has made all the difference.”

The line is instantly recognizable as the conclusion of “The Road Not Taken” by Robert Frost. Five years ago when we started this journey, many of our industry friends felt that a magazine for the print industry was not one of the wisest investment choices.

It took a full blown deliberation to convince that the choice was not about RoI (return on investment) but RoR (return on relationships).

It was a chance to give back to

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the industry. And since then, we have nurtured this relation through our commitment and perseverance. But there has to be a plan, a roadmap that can helped us create this five year journey. Isn’t it? So here are five R’s which tells the journey of ScreenTex: Relationships matters: When the vision of launching ScreenTex was shared with a group of industrymen, it was quite clear that we intended to let them know that we value their opinions. This commitment continues to drive us even

Resource: ScreenTex wanted to build its relationship with the readers on trust and promote a knowledge sharing environment over industry gupshups. Hence, the conscious decision to ensure that readers are not only exposed to trends but also technological transformations and best practices of the industry. Each edition has carried at least one technical article and that too in both Hindi and English.

Resonance: To get the right message across medium plays a critical role. To accomplish our aim of increasing the knowledge bar of the industry, we need to reach

MUSINGS out to more and more peoples.

Language here could have been a barrier. The idea to connect with readers in their own language was not available. Hence, we started introducing Hindi articles in the magazine. The results were phenomenal. Accolades started ushering in from different directions. Our views resonated with the readers and their views found place in the magazine.

Reforming: Change is the only constant. ScreenTex has been evolving as a magazine. It has transformed and reformed several times. And not just that when we hear our readers have intelligent conversations with their end consumers, we take pride in stating that we are first in line to raise the standards of discussion.

And as we always said, there are only two types of people: one who succeed through sheer determination, conviction and perseverance, and the other who stare at the opportunity wondering whether to take up the challenge. They never risk , and hence, never attain success.

These five years have made us more humble and more patient. It has taught us why the proverbial pen is mightier than swords. It has taught us that in a country where knowledge is worshiped, you need to speak unbiased, question what has not been questioned till now, speak about success more than failures, speak about disrupters as much as those who have stood the test of time. And

more importantly that success is not about how big or small your product or company is, it’s about fulfiling the right needs of the customer. That journey of an entreprenuer often begins in small steps.

In these five years, we have spoken about several new and old entreprenuers, who are improving the stature of printing in India and the world. It makes us proud, and we hope it does you too.

And as we begin another year of journey, we thank each one of you who has made us what we are today. But even more importantly we want to request that in the land of Gurukul, let’s keep on spreading light; and be more informed than ever. www.screentex.in

August - September 2016 SCREENTEX |

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ADVERTORIAL

Design Essentials – How the right design software can help improve production efficiencies and expand your service offering

By Jurgen Verhulst, Technical Marketing Manager EMEA, SAi If you are reading this as a large format print provider or sign-making business, then the constant need to keep production costs low and increase turnaround times without compromising on quality, will be all too familiar challenges. The curtain has just been closedon another drupa and it’s a safe say that new large format grabbed enough headlines. It is worth remembering that ensuring an efficient end-to-end production workflow – supported by advanced software – will also go a long way to achieving the objectives outlined above.

This of course includes the front-end aspect of the job, even before it is sent to the printer.

Indeed, via the right software solutions, enhancing efficiencies at the design stage can have a huge impact on the overall production time. In short, it can mean the difference between a job making it off the cutter, onto the van and en route to the customer – or a missed deadline and angry customer.

When it comes to pointof-purchase (POP) display and box design software, there are a number of solutions available on the market. That said, it makes sense to check out the respective attributes of each should you be on the verge of your next investment.

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| SCREENTEX | August - September 2016

ADVERTORIAL Indeed, recent new introductions include those packages that tick even more boxes by enabling large format/ sign & display businesses to expand their applications offering, increase revenues and sharpen their competitive edge.

The devil is in the detail So, having established that not all software is created equal, it’s worth being aware of some of the shortfalls in certain options out there. For example, is it compatible with all existing wide-format RIP software that drives flatbed printers and cutters? A number of design packages are either limited to specific cutting machines (which invariably include expensive implementation costs) or require costly additional shape libraries. These are also often only available on licence, but as a customer, you may also have to pay for an annual subscription, which adds to the expense.

Additional or unforeseen costs aside, you should also consider the varying performance capabilities of the respective design software solutions in line with your specific requirements.

For example, most designers would concur that an irksome and oft-faced problem is the issue of accurately visualizing designs in 3D. Because of the difficulty in properly accounting for folding material thickness and folding behavior, achieving accurate design using Adobe Illustrator or Corel is often time-consuming and invariably relies on trial and error during production.

The good news is that a quick review of the latest software options demonstrates that the foremost providers now offer solutions that address this via an animated 3D folding

preview feature.

Unleashing the genie from the bottle If you do happen to be assessing different options, then our own recently-introduced offering, SAi DisplayGenie, is well worth a look – especially if you are also seeking to extend your applications offering to customers.

This powerful, efficiencyenhancing software eliminates multiple steps to improve job creation efficiencies by simplifying the structural design of POP-display and box construction – all within one bundle.

This eliminates the need for any additional software plug-in to access the suite of design options; users simply access a library of popular folding POP display, ECMA and FEFCO box templates and select or adapt the shape or design that best suits the customer’s requirements.

From there users can adapt the dimension, rotate it, include additional shelves and client logos and perfect the final design in as little as five minutes. This saves considerable design time that would have previously taken up to several hours.

Importantly, DisplayGenie also incorporates an integrated graphic and structural design with animated 3D folding preview, which also lets users view the layout/design in 3D on the box they have created.

This clever tool helps maintain workflow efficiency by catching any mistakes before production, so if you’re a large format provider, this spells savings in both cost and time.

This is also aided by

the ability to export rotational package display or box designs as 3D PDF files for customer review or adjustment prior to production.

A fifth of the price of certain other packages on the market, this solution could, for many businesses, help unlock the door to quick, easily and cost-effective POP-display and box creation without the shackles of a longterm subscription contract.

As one would expect, it’s clear to see how accessing software in this way is proving increasingly popular.

If you are large format or sign & display business, the freedom and capability to easily integrate one single all-embracing solution within your current workflow – without having to change your design, RIP or cutting software – is obviously highly attractive.

For those who already have design software, DisplayGenie offers a great foundation to create a wide array of displays that can be adapted to meet the customers’ exacting requirement, right down to the thickness of the board.

These users can simply access the free and regularly updated library of POP display templates with the added option of continuing the design in Illustrator or utilising their existing RIP and cutting solution.

Naturally, it’s a likely objective of most large format print providers to grow business and increase revenues by extending one’s current applications offering. For those that already operate a flatbed printer, but might also be seeking to install a flatbed cutter, DisplayGenie’s ability to provide rapid, trouble-free creation of display and packaging products could hold the key to achieving these goals.

August - September 2016 SCREENTEX |

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7

GUEST COLUMN

Are you closer to your customer?

Why understanding your customer is an important prelude to innovation journey.

Innovation has been a top priority— and a top frustration—for leaders.

In a recent McKinsey poll, 84% of global executives reported that innovation was extremely important to their growth strategies, but a staggering 94% were dissatisfied with their organizations’ innovation performance. Most people would agree that the vast majority of innovations fall far short of ambitions.

On paper, this makes no sense.

Never have businesses known more about their customers. Thanks to the big data revolution, companies now can collect an enormous variety and volume of customer information, at unprecedented speed, and perform sophisticated analyses of it. Printing industry on the other hand suffers not the lack of opportunities to tap data but the absence of a mechanism to tap

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| SCREENTEX | August - September 2016

this data. However, if we exclude the walk-in customers and only look at the repeat customers, can businesses claim that they know enough about their customers?

When we buy a product or service, we essentially “hire” it to help us do a job. If it does the job well, the next time we’re confronted with the same job, we tend to hire that product or service provider again. And if it does a crummy job, we “fire” it and look for an alternative.

It is in this concern that one must read about the theory of jobs to be done (developed

by Harvard Business School and is taught as a subject) as a complement to the theory of disruptive innovation—which at its core is about competitive responses to innovation.

Disruptive innovation theory explains and predicts the behavior of companies in danger of being disrupted and helps them understand which new

entrants pose the greatest threats.

Identifying and understanding the job to be done are only the first steps in creating products that customers want—especially ones they will pay premium prices for. It’s also essential to create the right set of experiences for the purchase and use of the product and then integrate those experiences into a company’s processes. When a company does that, it’s hard for competitors to catch up.

Why do companies persist with indiscriminate selling without regard for a customer’s recent experience or attitude toward the company? One reason is the intense pressure to hit quarterly sales targets. Another is that the sales organization often flies blind: Sales representatives simply don’t have feedback from the customer — that is, if the company bothered to gather feedback at all.

Sales teams have a role in advocating for their customers to make sure that the root causes of problems get addressed in a timely way. Only after it’s clear that the situation has turned around should the customer become a legitimate prospect again.

The final piece of the puzzle is processes—how the company integrates across functions to support the job to be done.

Processes are often hard to see, but they matter profoundly. For instance, it is easy to bargain for paisa if your costing has never been backed with sufficient reasoning. An ad-hoc costing structure not only exhibits that there is scope for bargain but also creates a window for brewing distrust.

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GUEST COLUMN

Industrial printing moving to digital

Industrial printing is a massive industry, serving vertical markets from aerospace to electronics, and from medical to interior design.

Printing has always been an industrial process. Done right, productivity continues to rise and costs to fall. But the widespread adoption of wide format digital printing technologies redefines what we mean by industrial print.

We print 10,000 leaflets in an industrial manufacturing process.

But we also print direct to shape in various industries where the print is only part of the product and only part of the process. In industries as diverse as automotive, home decor and packaging, industry is using digital print to add a graphics dimension to products or product components. This is industrial print.

With wide format digital printing technology doors, shampoo

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bottles, car dashboards and such like printing becomes part of the product manufacturing process.

The technology makes it easy to print graphic images directly onto a product such as a textile or flooring.

Industrial print includes the graphics component of a product as part of its manufacture.

There are no fixed definitions for industrial printing processes, other than that the printing fit into the industrial product manufacturing process. As such printing is a necessary part of the completion of a product.

But printing is not the focus of that product’s manufacture.

This is print as a production element for any industry, rather than print as a product in and of itself.

Endless applications Wide format digital printing means that industrial print

applications are hugely varied and almost limitless. Industrial print could be decoration, adding graphics to products in order to add value. Or it could be adding text to a switch panel.

It could just as easily involve jetting glue or some other fluid through an inkjet printhead to a machine part as part of manufacturing processes.

Industrial print can even mean printing electronic circuits and 3D printing. Such applications add value in many different industries, from automotive to packaging.

Wide format digital printing technology is very much in the vanguard of these developments, with many wide format service providers using flatbed digital printers for industrial applications.

Usually, this involves making a jig to hold in place the products to be printed and some substrates may also require a primer but most UVcurable inks used in wide format printers don’t need primer.

They stick to most materials, including wood and metal as well as paper, cardboard and plastics.

Standard inksets have wide colour gamuts and many also offer white ink, handy for printing onto non-white surfaces. Some wide format digital printers include additional channels for primer or for varnishing to enhance the look of the final product.

Inky dreams Some vendors have developed alternative inksets.

Mimaki, for example, offers a choice of inks for use with some of its printers. This includes the recently launched LUS350 UV ink, which can be stretched by up to

GUEST COLUMN 350 percent. This makes it suitable for vacuum moulding applications, such as retail point of sale signage, a technique also used to create customised car parts.

Most of the companies making wide format digital printers and inks have targeted the industrial print space, either with existing wide format equipment or by adapting the inkjet technology for a specific market. EFI, for example, has developed a range of Cretaprint machines for the ceramics market. These print directly to ceramic tiles, typically with a resolution of 360dpi, with a range of special effects and decoration options.

Flatbed printers are available to print directly onto glass in widths up to 2.5m and at high resolution. Typical applications include furniture, videogames and building facades or printing borders to things like solar panels and car windscreens. Some vendors have simply designed their inkjet printers to better fit a manufacturing line for printing plastics and metal with multiple colours and varnish and a high resolution.

Industrial flatbeds Another approach is simply to build flatbed printers that only really make economic sense if treated as industrial print application devices. Thus HP’s Scitex 11000 and Inca Digital’s Onset X flatbeds can produce a phenomenal number of boards per hour, but really need to be fitted with automatic loading and unloading systems to guarantee enough throughput to justify their cost.

Both of these companies also target the corrugated board market, with HP having developed a version of its printer, the Scitex 15000, which has a special gripper

for handling corrugated boards.

This year, we have seen new machines that have taken this a step further, effectively marrying up short run and customised packaging with the industrial production of boxes.

EFI launched its Nozomi corrugated printer, a 1.8m wide single pass inkjet printer that takes boards up to 3m in length.

It’s capable of producing 75 linear mpm, which equates to around 8100 sqm/hr. It prints seven colours, including white, as well as an inline primer to counter dot gain on some substrates. It uses greyscale printheads with a resolution of 360 x 720 dpi.

HP’s PageWide C500 is a digital corrugated post-print technology that prints direct to board with litho quality.

Smaller flatbeds At the other end of the scale, several of the wide format vendors have developed small desktop flatbed printers specifically for industrial applications. These are meant for customizing a range of products, from smartphone covers to golf balls. They are aimed at existing wide format users looking to expand their market as well as manufacturers adding printing capability to their production lines.

Roland, for example, announced a new object printer earlier this year, the LEF300. It can accommodate items up to

100mm in height and 8kg in weight and has a print area covering 770mm wide by 330mm long. It includes white and gloss inks for creating textured effects.

Mimaki also has a number of desktop printers, and a desktop cutting unit to go with them. The CFL-605RT takes media up to oversized A2 and features a variety of functions including creasing and eccentric, tangential and reciprocating cutting.

Making the cut This brings us neatly to cutting tables and routers, another example of wide format technology that’s also used for industrial applications. Both Zünd and Esko have shown robots for unloading objects that have been cut, with the robot programmed to understand the shape that’s been cut and fitted with an appropriate gripper for picking up a group of objects.

The combination of an automated sheet loader, with a conveyor belt on the cutting table, and a robot for unloading makes for a very fast solution. This helps improve turnaround times for wild format projects.

Screen printing Screen printing may be in

August - September 2016 SCREENTEX |

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GUEST COLUMN decline for the graphics market, but is still widely used for many industrial applications from printing plastic credit cards to adding a coating to automotive parts. Screen printing can be very cost effective over long manufacturing runs and the inks generally have very good adhesion to a range of different substrates.

In addition, screen printing has been around for a long time and the ink developers have accumulated sufficient intellectual property to be able to formulate the inks to handle the demands of manufacturing customers, such as inks that can withstand repeated washing or extreme variations in temperature.

Textiles The idea of printing to fabrics is relatively old, and has

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mostly been used for very short runs, including signage, and prototyping of new garment designs. In recent years the textile industry has embraced inkjet printing and a number of industrial inkjet printers have appeared.

Hollanders for example, has developed the ColorBooster series, ranging from 2.5 to 3.2m wide, and capable of handling both direct to textile and dye sublimation prints.

These machines are highly configurable in terms of the number of printheads and overall productivity they are capable of and suitable for both display graphics and industrial textile production.

In conclusion, wide format print technology is extremely well-suited to industrial

production, whether that means simply a high throughput of graphics or fitting into a manufacturing production line.

The main issue to consider is the substrate that the inks have to adhere to, and whether or not the printer’s transport system can handle the substrate or object to be printed.

But these are the sort of issues that wide format users and vendors have been dealing with successfully for many years now.

You can trust the technology to give you results that are affordable and impressive.

For more print insight and inspiration visit www.fespa. com. This article is published by courtesy of FESPA, who retain the copyright for the content.

LIMELIGHT

Kalavathi Creations: bringing alive creativity of designers

Kalavathi Creations, which is at the nerve centre of the textile hub of India –Tirupur, began its operations in February 2014. The proprietary firm started by Ravi Kumar credits his friend for encouraging him to start a printing business. “The first customer for us was a friend who was into exports,” says Ravi.

“When we saw that there was an opportunity, we setup a manual unit in early 2014. However, by September we increased the number of machines in the unit to support the growing business,” he adds. Asked if being in Tirupur has its advantages, he says, “Accessibility – of knowledge and resources – has been the biggest advantage of being in Tirupur.”

While Kalavathi was busy setting a firm foot in the industry, the

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trend of automation started making waves. The industry was increasingly debating whether automation alone will suffice or is there a need to balance manual and automation in a unit. However, never was it questioned if automation was necessary, because everyone felt that it is. This led to more emphasis on automation; and it at least became a necessary embellishment to qualify one’s production unit as ‘progressive’ or ‘non-progressive’.

Kalavathy, in this debate, believed that automation is necessary to sustain in the longrun. “In 2015, we realized that we would need the unit to also have automated machines. This was in line with the changing demands of our customers and to ensure

that we aren’t left behind in the market. Today, I believe it was the opportune moment to move towards automation,” he says.

Right now the unit has four automatic machines on the shopfloor. The factory is around 8500 sqft and the floor is manned by around 15 people.

“In my opinion, we have mastered the art of bringing alive the creativity of the designer through the use of ink,” he says with a great pride in his voice. He feels there is enough demand in the country, and hence the decision to not to focus on exports in the near future. “Domestic demand currently is growing at a faster pace than exports. Therefore, currently, our focus is on expanding our reach in the domestic market. The decision —whether to look at exports— will

LIMELIGHT be taken at a later stage,” he says.

Asked what the challenges are, he is quick to point price and labour cost still linger around as two key issues that printers face in the industry today. “While many say that price and labour cost is a result of market, a lot of these are actually a result of unhealthy competition. While the labour cost is on the rise, the price of the work is getting heavily chopped.

This has resulted in thinner and sometimes negligible margins which affect not just us but the market in whole,” he says.

He adds that the textile industry overall has not been witnessing “Ache din”. “The macro economic issues are having a cascading effect on even the smallest stakeholder in the textile printing segment. The issues faced by the printers are almost alike across

the country. So much so that few companies are only able to be operation for approximately 8 months in a year,” he says.

In the next five years Ravi wants Kalavathi to be three times more productive than what it is now. Howver in the same breath he adds a caveat, “That is the expectation…. A large portion

of this will depend on market conditions. Perhaps, we may look at setting up a new factory with a range of automated machines.”

However, he makes it clear that Kalavathi is not planning to enter the digital textile printing market any sooner. “Currently, we do not feel that there is enough RoI for us if we install a digital machine,” he concludes

August - September 2016 SCREENTEX |

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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

SPOTLIGHT

Unique UV appointed India distributor of Phoseon Technology

other manufactures in the global UV LED industry.

Unique UV’s Sunil Daddikar speaks to ScreenTex on being appointed as the India distributor of US-based one of LED technology leaders, Phoseon Technology For the benefit of our readers, could you please give a short brief on Phoseon Technology? And what will this alliance offer to India?

In 2002, Phoseon Technology pioneered the use of LED technology for UV curing applications. As the world leader in UV LED curing, Phoseon provides patented LED technology to deliver rugged, high performance products for application specific solutions.

The company is focused 100% on LED technology and provides worldwide sales and support capabilities. The leadership team has more than 80 years combined experience in high-technology sales, engineering, manufacturing, and marketing of semiconductors and systems.

Phoseon’s patented

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Semiconductor Light Matrix (SLM) technology encapsulates LEDs, arrays, optics and thermal management to ensure curing performance. Each of these four components is a strictly engineered system that provides maximum UV energy and superior performance while also increasing long-term robustness for demanding applications.

Phoseon Technology, USA has over 242 patents on their Semiconductor Light Matrix (SLM) technology. We have scaleable LED UV modules in Air cooled as well as high power modules in Water-cooled versions.

Product covers wide ranges of sizes and power capacities as compared to other manufacturers.

Phoseon has recently launched in Radtech 2016 in Chicago highest power level in air-cooled version.

Phoseon UV LED modules are the most easy to operate and flexible to integrate in many applications; as compared to

While LED UV segment is witnessing growth, how is the market in India? Are we still playing catch-up?

Growth of UV curing application in any field in any country depends on three major factors: UV radiation source manufacturers (UV curing system manufacturers), UV curable chemicals formulators (inks/ coatings/adhesives etc) and endusers.

UV LED emits mono-chromatic wavelength. Hence need specially formulated chemicals. Unless this UV LED curable ink/coating manufacturing industry is ready to offer the end-user’s requirements; the growth will depend on expensive imported ink/coatings.

I personally think it is a matter of 2 to 3 years of duration, since many Indian Ink/coating manufacturers have already started inquiring and updating with UV LED curing system in their Lab. To begin with the UV LED growth will follow global trend in UV Inkjet printing; the most preferred application for UV LED curing. Second preferred application used to be in silk-screen printing and such low speed application.

Thanks to high power UV LED systems developed in last 2 years, it is getting popular in Flexo-graphic printing and high speed Offset printing as well.

Initially UV LED application will be limited to printing on thermally sensitive substrates or specialized applications due to higher capital cost of the system.

However in the due course of techno-commercial evolution this

SPOTLIGHT will also be economical and widely acceptable in the time to come.

Til t hen we may have to wait and work in specialized area for specific applications. Wishfully in 2 to 3 years down the line we will close the doors for Mercury Arc lamps.

What application markets does Phoseon support?

Phoseon’s UV curing products are currently used in production applications for UV curing of printing, coatings and adhesives.

These applications include digital and analog printing, assembly, medical, industrial, wood coatings and more.

What is the expected lifetime of the UV LED light source?

As a result of Phoseon’s rigorous reliability efforts, lifetime testing of light sources has now surpassed

50,000 hours of operational ontime with light source irradiance being greater than 80% of its original output when the test first began five-plus years ago. For perspective, utilizing a single shift workweek of 2,000 hours per year, 50,000 hours equates to 25 years of UV LED operating on-time.

How does the SLM technology differ from other UV LED solutions available on the market?

Phoseon’s proprietary Semiconductor Light Matrix (SLM) technology produces significantly higher intensity light than other LED UV curing technologies. The light produced by traditional UV LEDs is limited by the discretely packaged design. Phoseon’s SLM approach is to use proprietary packaging, optics, and thermal design to optimize the output.

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THE INDIAN LION IS TAKING A GIANT STEP FORWARD

Manufacturers of : Now Introduction in 75gsm

PVC PLASTISOL INK Dye Sublimation Heat Transfer Paper (100 gsm Paper)

Size available 24”, 32”, 36”, 44”, 54”, 63”, 64”, 72”

Heat Transfer Film in 75 and 100 micron. Size 48cm *64cm.

Hot Melt Powder Polyester 0-80 micron and 80-200 micron

C-9/26, 1St Floor, Sector 15, Rohini, Delhi 110 085, India. +91 98997 11889 (Rahul Aggarwal) / +91 95604 13034 (Pawan Goyal)

E Mail.: rahulagg9@yahoo.co.in

TECHNOLOGY

Decoding offset printing inks

Inks for sheetfed as well as inks for heatset web offset printing are structured lithographic paste inks and generally consist of a varnish, pigment and extender, mineral oil distillate, vegetable oil and additives.

In this article we will take a look at all these components one-by-one which impact the ink composition.

Varnish The varnish is the binding agent and consists of hard resins, chemically modified wood resin and synthetic hydrocarbon resin, soft alkyd resin and a mix of vegetable oil and mineral oil distillates. The mix is cooked to dissolve and disperse the hard resin, thus forming a homogeneous varnish.

Pigments The colorants in the inks are synthetic organic pigments, not

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to be confused with natural pigment or with dyes. For black ink, carbon black is used as the pigment. The amount of pigment and extenders (chalk/clay) depends on the desired colour and structure of the ink.

Mineral oil distillate and vegetable oil For the heatset printing process it is necessary to use a diluent that can be evaporated in a hot air dryer. For this reason, a fraction or distillate of mineral oil with a boiling range of 240– 290 °C is used. The function of this diluent is to act as a “carrier” for the resins and pigments and to allow the final formation of an ink film of about 1 micron thickness on paper.

Sheetfed inks are designed for drying by oxidation (skinning). Certain vegetable oils harden under the influence of

oxygen from the surrounding air.

The most commonly used type is linseed oil. A dryer catalyst accelerates the drying process.

Additives Certain additives are used for the pigment grinding process or to provide specific ink properties which have an effect on the lithographic behaviour of the ink on press. Waxes are used to improve the rub resistance and slip properties of the dried ink film.

In sheetfed inks certain agents are used to create an appropriate balance between the drying properties of the printed ink film and the skinning tendency of the ink surface in an open can or ink duct.

Interaction ink / fountain solution An emulsion is a mixture of ink and fountain solution where

TECHNOLOGY the fountain solution is dispersed in small, equally distributed droplets in the ink (emulsified).

On press, this emulsion should not lose any of the performance characteristics of the ink itself so that tack, viscosity and proper transfer can be maintained.

Moisture percentage in the ink One of the big questions in the lithographic process is how much water actually is present in the emulsion during the printing process. In the Duke laboratory emulsification test (low-shear stirring), the maximum water pick-up is generally between 35 and 50% or even higher, but no correlation is found with the emulsion behaviour on the plate.

One practical test (American Ink Maker), where samples were taken directly from the plate while the press was running and fountain solution and ink are in contact with each other for a micro-second under relatively high-sheer conditions, indicated a water content of 5–15% (KarlFischer). Another test (Fogra) showed the same values.

The most important conclusions from the American test are: Water pick-up in lab tests is much higher than on the press.

The differences in water pick-up are dependent of colour, supplier and fountain concentrate percentage.

Interaction between ink and paper Adherence Adherence of ink to paper is not a uniform process. Part of the ink anchors into the paper. This means one part of the ink will absorb into the paper (coating), like water into a sponge. The other part actually adheres to the paper.

Picking Removal of coating or fibres from the paper during printing is called picking. It occurs when the pulling force (tack) of the ink is greater than the surface strength of the (coated or uncoated) paper.

Normally, the ink grade is chosen on the basis of its tack level. The higher the tack level the easier picking can occur.

Rub resistance Rub resistance is the ability of printed paper to withstand the effects of repeated rubbing.

The degree of rub resistance is a factor of the ink used, the

type of resin contained in the ink and the additives. One of the most commonly used additives for improving rub resistance is Teflon wax, which enhances slip performance.

It is used in inks for more critical papers and circumstances.

Rub resistance however, is not exclusively related to ink. The printed material plays an important role too. Glossy papers have better rub resistance than matt papers.

Generally rough paper is more sensitive to rub than smooth paper.

This is true for ink as well: the smoother the surface, the better the resistance.

Gloss Gloss is a perception based on the physical, optical property of a surface to reflect projected light to a more or less pronounced degree.

All three phenomena mentioned above, adherence, picking and rub resistance, have a major influence on gloss.

The better the lay of an ink on a paper; the higher the gloss. But the ink itself and the paper itself obviously have effects on gloss as well. On a matt paper it is less easy to achieve proper gloss by way of the ink and vice versa.

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TECHNOLOGY

August - September 2013 | SCREENTEX |

73

TEXTILE PRINTING CHEMICALS TRUSTED NAME IN PRINTING TECHNOLOGIES WORLDWIDE

M

E C I

R OU TO T O

Y

BEST

UALI

T

Q

R

SE P T B

MANUFACTURER OF

• WATER BASED WHITE / CLEAR PASTE • BINDER / THICKENER • DISCHARGE • ADHESIVES • PLASTISOL ( Solvent / Waterbase ) • PIGMENT ( Regular / AZO Free ) www.crownintco.com INDIAN SUBCONTINENT MANUFACTURER (JOINT VENTURE)

TECHNOLOGY

Getting the right exposure

By Anna Harris

You can have the best ink, the best mesh, the best press and the best film/emulsion, but if you don’t get the exposure right, you can get poor image quality on your stencil and/or poor print-life on the press.

This chapter starts with a review of exposure science and ends with a set of tips and tricks for getting the right exposure.

Exposure Definition: ‘On exposure to UV, light the sensitizer within the photostencil materials reacts to crosslink the molecules in the stencil to produce a layer insoluble in water’. The practical mechanics of exposure are fairly simple. The

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photostencil material is held in intimate contact with a film positive and exposed to an ultraviolet light source for a predetermined time.

Photo-stencil sensitivity The emulsions used to produce a photostencil (liquid or film) use light energy to activate the sensitizer which initiates the crosslinking reaction that in turn cures the stencil.

The wavelength of light that the sensitizer absorbs will depend upon it’s chemical nature. Typically emulsion sensitizers absorb light between 300 and 450nm, common absorption curves are: Diazo –

alone in single-cure emulsions.

Acrylate sensitiser – present with diazo in dual-cure emulsions.

Photopolymer – used in ‘One Pot’ emulsions.

The light source for exposure needs to emit light of a suitable wavelength for the sensitizer to absorb. The screen printer mainly uses metal halide lamps, mercury vapour lamps or UV fluorescent tubes. Neither the photo flood nor the quartzhalogen lamp has an output sufficiently high in ultraviolet to be worth considering for photostencil applications.

If the spectral output of the lamp and the adsorption of the sensitizer match, then the light energy will be used by the sensitizer for reaction. Once the reaction is complete then light which is not absorbed by the pigments in the emulsion and dye of the mesh will pass through the stencil. This light can be detected and measured with a radiometer.

As exposure time increases more of the light emitted by the lamp passes through the stencil as less is used in the crosslinking reaction. If only 418nm light is considered then the reaction can be seen to be complete when the light reaches its maximum.

If exposure is insufficient and the whole layer is not penetrated

by UV light, the stencil may wash completely off the mesh during developing, or the stencil may be intact after washout but break down, or become tacky during the print run.

The resolution and definition of the image are compromised by over exposure as excess light is scattered under the positive.

Resolution is taken to be the finest limit of reproduction achievable.

TECHNOLOGY Definition is the reproductive quality as regards, for example, the straightness of edges of print.

There are no real gains in stencil durability from over exposure. The following diagrams outline the effects of under-exposure at 1/4, 1/2 and 3/4 of the full exposure for a direct stencil.

Exposure time depends on many factors: • Mesh • Stencil (type, thickness) • Lamp (type, distance, age of bulb, reflector design…)

Comparing exposure times at different distances from the lamp As a general rule the minimum distance between the exposure lamp and the vacuum frame should be equal to the diagonal of the area to be exposed.

This will ensure fairly even illumination over the exposure area.

Depending upon the exposure area and the size/power of the lamp, the light intensity will fall off at the edges of the exposed area because of the increase in distance between the lamp at the centre and the edges of the vacuum frame. This becomes more critical the nearer the lamp is to the vacuum frame. A test stencil using an exposure calculator will show the maximum area that can be effectively exposed by a given light source.

As the distance between the light source and the vacuum frame increases so less light hits the stencil. This means that the time to achieve full exposure will increase.

The formula for calculating this is: X = Y x (a)2/(b)2 Where: X = New exposure time

Y= Original exposure time a = New distance b = Old distance At the same time, the light hitting the stencil becomes closer to 90°. This will result in less undercutting and improved resolution. This is because light rays that are not parallel can expose bits of stencil that should have been masked by the film.

This is often referred to as light undercutting.

From a practical point of view poor light geometry effects do not present a problem when processing general work, i.e. lettering down to about 6 point and halftones of 65 lines (25 cm) or coarser.

It is only when trying to accurately reproduce very fine line halftones or images that attention must be paid to light geometry. Very high quality work uses a lens system on the exposure unit which collimates the light, ensuring that it all arrives at 90º.

There is always a compromise between exposure time and achievable resolution because there is always some scatter within the system. As you increase exposure to create a harder stencil you automatically start to reduce the resolution.

Comparing exposure times with white and anti-halation dyed mesh White mesh transmits and scatters light, yellow and orange mesh absorb the wavelengths needed for the crosslinking reaction, but scatter far less of the light.

This means that dyed meshes require longer exposures (up to 4x for some yellow meshes) but give better

resolution and definition. Light scatter increases with mesh count and exposure time.

This makes using dyed mesh particularly important for fine detail resolution on fine meshes.

Poor contact with positive. The contact between positive and stencil should be as perfect as possible, inadequate contact results in light undercutting, more so when combined with poor light geometry.

Here’s what can happen if the positive is placed the wrong way up. Light undercutting has resulted in loss of resolution. Similarly, poor contact caused by dust can cause noticeable blemishes in half tones.

Undercutting from a rough stencil Some brilliant detective work

by Dr Eifion Jewell showed that

August - September 2016 SCREENTEX |

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TECHNOLOGY high Rz stencils suffer serious problems during exposure. He used sophisticated equipment to measure “tone gain” (i.e. size of exposed dot compared to expected dot size) in the dots on the stencil itself. The scattering from the high Rz stencil made dots smaller and smaller as exposure was increased.

When the same experiment was conducted using a 1+2 Direct Emulsion (high Rz), and with increased exposure time, the scatter from the Rz caused dramatic filling-in of the dots, i.e. severe undercutting.

Comparing lamp age As lamps get older the light integrator will ensure that the same amount of light hits the stencil so maintaining the level of cure by increasing the exposure time. As lamps get older, however, the wavelength emitted also shifts. The intensity of the longer wavelength light decreases relative to the shorter wavelength. The longer wavelength light penetrates better than shorter wavelength light. So the lamp can deteriorate enough to give poor through-cure whilst still seeming to be bright.

Regular lamp changes are essential to prevent this problem.

Practical issues Although it may seem obvious, we have to point out some practical issues which have caused many print-shop problems.

• Dirty glass increases exposure times and the scattering causes loss of resolution.

• A poor vacuum gives poor contact between film positive and stencil and therefore a loss of resolution.

• A change of mesh-count has a complicated effect on exposure time. There is no good way to calculate the various tradeoffs, so if

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you change your mesh, you must re-optimize your exposure.

Exposure tips and tricks • Get the right distance between lamp and stencil. Too close and you have insufficient exposure at the edges and also strong undercutting. Too far and your exposure times are unnecessarily long.

• Use a light integrator to ensure you have the same exposure each time.

• Change out old bulbs as these can give poor exposure.

• Use an exposure calculator to get the right balance between full exposure (full colour change) and resolution.

• If you have to seriously under-expose your stencil to get the right resolution then there’s something wrong with your lamp (too close?), your mesh (white mesh? Too coarse?) or your stencil material (too lowtech?, too thick?, high Rz?) • High Rz stencils give poor contact with your film

positive and therefore give large variations in resolution according to UV dose. So go for low Rz stencils, without going too thick.

For emulsions this can only be done via multiple wet-on-dry coats; for capillary films it comes naturally.

• Make sure your glass is clean and not scratched or hazy.

Use a good vacuum. A loss in vacuum gives a loss in resolution.

• Re-calibrate exposures if you change your mesh.

• Work in a clean environment to minimize the chances of trapping dust between film positive and stencil.

• Do not use Perspex/ Plexiglass instead of glass in the exposure unit as they absorb a large amount of UV light when compared to glass.

• Do not let the exposure glass get too hot as this can harden the stencil. Underexposed stencils breakdown quickly and are harder to decoat.

• Underexposure is the single biggest cause of problems in screen printing!

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August - September 2013 | SCREENTEX |

73

CASE STUDY

Color Variations Between Presses (same job) PROBLEM

Actual printed color does not match standard.

CAUSE

SOLUTION

1. Improper viscosity measuring and/ or control (Solvent-based inks)

1. Verify established viscosity control standards are in place and in use. (Viscosity cups are standardized plant wide; automatic control equipment is calibrated to inks on each job)

2. Improper pH measuring and or control (Water-based inks)

2. Verify established pH measuring standards are in place and in use. (Hand-held pH testers are routinely calibrated plant wide; automatic pH control equipment is calibrated to inks on each job)

3. Old or previously used ink

3. Replace or add virgin ink (recheck viscosity and/or pH)

4. Inadequate ink in chamber or fountain 5. Same color inks from different supplier 6. Variations in ink batches

4. Ensure adequate ink flow, and ink pressure in enclosed doctor blade chamber 5. Ensure jobs are run with the same supplier’s ink 6. Ensure ink is up to date, check with ink supplier

Excessive Ink Consumption PROBLEM

Less impressions per ink volume.

60

CAUSE

SOLUTION

1. Viscosity too high

1. Reduce viscosity

2. Ink color too strong

2. Use extender to weaken color to acceptable level

3. Weak /old Ink

3. Check ink to original standard, check date and usage. Consult your ink supplier

4. Excessive anilox volume

4. Replace with appropriate anilox

5. Metering roll too soft for job

5. Check metering roll durometer, reduce ink

6. Ink loss on startup or shutdown

6. Review ink handling setup & shutdown procedures

| SCREENTEX | August - September 2016

CASE STUDY

Fill In PROBLEM

Ink bridges across small print & non image areas.

CAUSE

SOLUTION

1. Excessive ink applied to plate

1. Adjust anilox roller impression and/or doctor blade pressure

2. Excessive plate/ substrate pressure

2. Reduce “kiss” impression to acceptable print quality

3. Ink viscosity too high

3. Reduce ink viscosity to acceptable print quality

4. Ink contamination from paper or lint

4. Filter ink in process, set up housekeeping appropriate for the environment

5. Ink drying too fast (Solvent)

5. Check drier air flow, check solvent blend

6. Ink pH too low (Water-based)

6. Adjust pH to accept level

7. Excessive anilox volume

7. Use lower volume anilox roller

Dirty Printing PROBLEM

Printed image in non-printing area.

CAUSE

1. Excessive ink applied to plate 2. Excessive plate and substrate impression

SOLUTION

1. Adjust anilox roller impression and/or doctor blade pressure 2. Reduce “kiss” impression

3. Ink viscosity too high

3. Adjust viscosity to meet job specifications

4. Ink drying too fast

4. Check drier air flow

5. Poor film treatment

5. Check surface of film for adequate treatment; if possible treat in line

6. Ink drying too slow

6. Check driers for heat and airflow; consult your ink manufacturer. Reduce with faster solvent blends

7. Substrate surface contamination

7. Apply primer before printing, use in-line treater

8. Insufficient web temperature

8. Increase temperature settings of driers, check drier balance August - September 2016 SCREENTEX |

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ef[m®eepe& efÒeefìbie kesÀ meeLe Meg©Deele kewÀmes keÀjW?

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| SCREENTEX | August - September 2016

mìWefmeue efmemìce ³ee lees oesnje ke̳eesj [e³epees FceuMeve nes ,peue ÒeeflejesOekeÀ HeÀesìesHeeefuecej Fceumeve nesiee ³ee [e³epees kesÀ DeefleefjkeÌle pegæ[eJe kesÀ meeLe peue ÒeeflejesOekeÀ HeÀesìesHeeueercej FceuMeve~ mener cesMe keÀeGbì keÀe ®egveeJe keÀjvee cesMe keÀeGbì meerOes DeeHekesÀ FbkeÀ kesÀ peceeJe keÀes ÒeYeeefJele keÀjlee nw, FmeefueS nce meueen osles nQ efkeÀ 35 mes 48 Le´s[ Òeefle mesceer.mHe<ì DeeOeej Deewj JneF&ì yesme kesÀ efueS,Deewj 48-90 Le´s[ Òeefle mesceer. neHeÀìesve Deewj De®ís efJeJejCe kesÀ efueS nesves ®eeefnS~ cesMe leveeJe kesÀ efueS megPeeJe keÀce mes keÀce cesMe leveeJe 20 v³etìve mes p³eeoe nesvee ®eeefnS~ Jejer³elee ceW meYeer cesMe ceW mener jefpemì^sMeve kesÀ efueS meceeve cesMe leveeJe nesvee ®eeefnS~ leveeJe ceerìj ceW efveJesMe keÀefjS,³en Òeef¬eÀ³ee ceW DeeHekeÀs mece³e keÀer ye®ele Deewj Kejeye jefpemì^sMeve kesÀ efjmkeÀ keÀes keÀce keÀjsiee~ FceuMeve keÀesefìbie efoMee efveoxMe ieesue íesj mes FceuMeve keÀes keÀesì keÀjW~

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August - September 2016 SCREENTEX |

65

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ìskeÌveesuee@peer

keÀesjesvee ì^erìceWì : FmekesÀ Heerís keÀs lekeÀveerkeÀ keÀer SkeÀ PeuekeÀ

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keÀesjesvee GHekeÀjCe kesÀ efme×eble :

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| SCREENTEX | August - September 2016

kesÀ yeer®e keÀesjesvee mìsMeve mes iegpejlee nw~ GlHeVe Tpee& FueskeÌì^es[ leb$e mes HeoeLe& keÀer melen Hej ef[m®eepe& neslee~ oes Deueie Deueie FueskeÌì^es[ efmemìce, Deewj GvekeÀe SHueerkesÀMeve Oeeleg keÀer iegCeJeÊee kesÀ DeeOeej Hej efveYe&j keÀjlee~ kegÀ®eeuekeÀ OeelegDeeW kesÀ efueS,GoenjCe kesÀ efueS HueeefmìkeÀ ³ee HesHej,Oeeleg FueskeÌì^es[ GHe³eesie ceW uee³es peeles nQ~ Fme FueskeÌì^es[ JJe³eJemLee kesÀ meeLe ì^erìj jesue [eF&FueskeÌì^erkeÀ cewìsefj³eue mes keÀesì efkeÀ³ee ie³ee neslee nw pewmes-efmeefuekeÀeve ³ee efmejsefcekeÀ,efve³eefcele SkeÀ meceeve ©He mes,keÀesjesvee ef[m®eepe& ÒeeHle keÀjves kesÀ efueS DeeJeM³ekeÀ nw~ peneB meb®eeuekeÀ Oeeleg pewmes Su³egefceefve³ece,Oeeleg HesHej,HueeefmìkeÀ Deewj uewefcevesì Jeeuee meg®eeuekeÀ HeoeLe& keÀes ì^erì efkeÀ³ee peelee nw~ FueskeÌì^es[ efmemìce keÀe otmeje efJekeÀuHe DeJeM³e Òe³eesie keÀjvee ®eeefnS~ Fme SHueerkesÀMeve kesÀ efueS efmemìce ceW [eF&FueskeÌì^erkeÀ FueskeÌì^es[ pewmes efmejsefcekeÀ FueskeÌì^es[ neslee nw~ ì^erìj jesue

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keÀes De®ís ef®eHekeÀeJe kesÀ iegCe kesÀ efueS yengle cenlJeHetCe& nw peneB lekeÀ mebYeJe nes mekesÀ keÀesjesvee mìsMeve keÀes keÀesefìbie ³ee uewefcevesefìbie ³etefveì kesÀ Heeme ner ueieevee ®eeefnS efpememes HeLe jesue mes ì^erìs[ melen keÀes Òeotef<ele nesves keÀs Kelejs keÀes keÀce efkeÀ³ee pee mekesÀ~ otmeje cenlJeHetCe& keÀesjesvee ì^erìceWì SHueerkesÀMeve nw keÀesefìbie Deewj uewefcevesefìbie~ yesme cewìsefj³eue pewmes HesHej,keÀe[& yees[&,Su³egefceefve³ece Deewj HueeefmìkeÀ keÀF& ©He ceW GHe³eesie ceW nesles nQ~ ³es HueeefmìkeÀ cesuì keÀe GHe³eesie keÀjkesÀ uewefcevesì ³ee keÀesefìbie nQ~ Deewj ³es meye cewìsefj³eue mJeerke=Àle uewefcevesefìbie MeeqkeÌle Heeves kesÀ efueS keÀesefìbie ³ee uewefcevesefìbie mes Henues HebeqkeÌle ceW keÀesjesvee ì^erìs[ nesvee ®eeefnsS~ Fme kesÀme ceW keÀesjesvee ì^erìj peneb lekeÀ mebYeJe nes mekesÀ uewefcevesìj kesÀ Henues SbkeÀj keÀesefìbie ³etefveì kesÀ vepeoerkeÀ mLeeefHele nesvee ®eeefnS~ cewìsefj³eue Deewj yebOe MeeqkeÌle keÀer ceeBie kesÀ DeeOeej Hej ,kegÀí kesÀme ceW keÀce ueeiele Jeeues keÀesjesvee ì^erìceWì keÀe GHe³eesie keÀjkesÀ Sue[erHeerF& keÀesefìbie efyevee SbkeÀj keÀesefìbie kesÀ efkeÀ³ee pee mekeÀlee nw~ DeefleefjkeÌle ©He mes ,³en Òee³e: DeeJeM³ekeÀ neslee nw HueeefmìkeÀ keÀesefìbie Deeies keÀer Òeef¬eÀ³ee kesÀ efueS cegK³ele: Sue[erHeerF&~ Sue[erHeerF& kesÀ yeeo keÀer Òeef¬eÀ³ee kesÀ efueS keÀesìs[ HesHej Deewj yees[& ,He=<þ leveeJe keÀes O³eeve ceW jKee peevee ®eeefnS~ Sue[erHeerF& kesÀ keÀesì keÀer lejHeÀ Òeotef<ele nesves kesÀ keÀejCe DevekeÀesìs[ HesHej keÀer lejHeÀ He=<þ leveeJe HesHej ³ee yees][& pees oesveeW lejHeÀ keÀesì neslee nw GmekeÀer DeHes#ee Del³eble DeefOekeÀ neslee nw~ mìesjspe keÀer DeJeefOe kesÀ DeeOeej Hej Deeies keÀer Òeef¬eÀ³ee keÀes Deeies yeæ{eves kesÀ efueS ³en DeeJeM³ekeÀ nw efkeÀ Òeeesmesefmebie ceMeerve kesÀ meeLe otmeje ì^erìceWì efkeÀ³ee pee³e~ keÀesjesvee ì^erìceWì keÀe nerì meerefuebie ceW meerefuebie MeeqkeÌle Hej vekeÀejelcekeÀ ÒeYeeJe nw~ cewìsefj³eue kesÀ efueS pees efÒebì nesvee nw Deewj nerì meerue nesvee nw, efÒebì meeF[ keÀer lejHeÀ Deeies keÀer Òeef¬eÀ³ee kesÀ efueS,SkeÀ meceeve He=<þ leveeJe pees ve lees 37-38 [eF&ve mesceer. DeeJeM³ekeÀ nw Fmemes ve lees p³eeoe nes ve ner keÀce nes ³en He=<þ leveeJe He³ee&Hle nw meeuJeWì DeeOeeefjle FbkeÀ kesÀ ef®eHekeÀeJe Deewj De®ís meerefuebie MeeqkeÌle kesÀ efueS ~ SkeÀ meceeve He=<þ leveeJe ieefle Hej DeeOeeefjle pesvejsìj keÀer HeeJej MeeqkeÌle keÀes efve³ebef$ele keÀjkeÀs ³en megefveefM®ele keÀjkesÀ efkeÀ Deueie Deueie ieefle Hej SkeÀ meceeve He=<þ leveeJe ÒeeHle efkeÀ³ee pee mekeÀlee nw~ August - September 2016 SCREENTEX |

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EVENTS CALENDAR

NATIONAL OCTOBER 2016 14 - 16 October 2016 KERLA PRINTEX 2016 Leading Exhibition on Printing & Packaging Industry.

At: Kozhikode, Kerala. keralaprintex@gmail.com 21 - 23 October 2016 GRAKNIT 2016 Leading Exhibition on Garment Industry.

18-20 November 2016 PRINT SIGN DIGITAL EXPO 2016 Leading Exhibition on Digital, Printing & Packaging Industry.

At: Ganesh Kala Krida, Swargate, Pune. atmmultimediags@gmail.com 18-20 November 2016 INTERPRINT EXPO INDIA 2016 Leading Exhibition on Digital, Printing & Packaging Industry.

At: Chandigarh. www.interprintexpoindia.com

At: Milan Mela, Science City, Kolkata

DECEMBER 2016

www.vardaanevents.in

15 - 17 December 2016 PACKTECH INDIA 2016

21-23 September 2016 ELECTRONICA INDIA 2016

Exhibition on Printing, Processing & PackagingIndustry.

At: Bombay Exhihition Center, Goregaon East, Mumbai.

India’s Leading Trade Fair for Electronics Industry.

www.packtech-india.com

At: Bangalore International Exhibition Centre, KArnataka.

JANUARY 2017

www.electronica-india.com

NOVEMBER 2016 05 - 07November 2016 SIGN INDIA 2016 South India’s Leading Show on Advertising & Signage Industry.

At: Chennai Trade Centre, Chennai, Tasmilnadu www.businesslive.in 11-13 November 2016 PAPEREX SOUTH INDIA 2016 South India’s Leading Show on Paper industry.

At: Chennai Trade Centre, Chennai, Tasmilnadu www.paperex-southindia.in 17-20 November 2016 LABELEXPO INDIA 2016

06 - 09 January 2017 KNIT WORLD 2017 Leading Exhibition on Kniting, Garmenting Industry.

At: Dana Mandi, Bahadur Ke Road, Ludhiana, Punjab. www.knitworldexhibition.com 19 - 23 January 2017 PLASTIVISION INDIA 2017 Leading Exhibition on Plastic Industries..

At: Bombay Exhihition Center, Goregaon East, Mumbai. www.plastvision.org 20 - 23 January 2017 KNIT VISION 2017 International Exhibition on Kniting, Printing & Garmenting Industry.

At: Dana Mandi, Bahadur Ke Road, Ludhiana, Punjab. www.showmanexhihitions.com

Exhibition on Labele Printing Industry.

At: India Expo Centre, Grater Noida. www.labeleexpo-india.com 18-20 November 2016 MEDIA EXPO 2016 (CHENNAI ) International Exhibition on Indoor & Outdoor Advertising.

At: Chennai Trade Centre, Chennai, Tasmilnadu www.themediaexpo.com

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| SCREENTEX | August - September 2016

FEBRUARY 2017 04 - 08 February 2017 PRINT PACK INDIA 2017 Internatioanl Exhiition on Priting & Packaging Industry. .

At: India Expo Center, Greater Noida, Delhi NCR. www.printpackipama.com

EVENTS CALENDAR

INTERNATIONAL SEPTEMBER 2016 07-09 September 2016 FESPA AFRICA 2016 Africa’s Leading Show on Screen & Digital Printing Industry.

At: Gallagher Convention Centre, Johanesburg, South AFrica. www.fespa.com

13-15 September 2016 LANELEXPO AMERICAS 2016 Indonasia’s Leading Exhibition on Label Industry.

At: Donald E Stephens Convention Center, Rosemount, IL, USA. www.labelexpo-americas.com

14-16 September 2016 SGIA 2016 Leading International Exhibition on Screen & Graphic Imaging Industry..

At: Las Vegas, NV, USA. www.sgia.org

20-23 September 2016 GLASSTEC 2016 International Exhibition on Glass Industry..

At: Dusseldorf, Germany. www.glasstec-online.com

25-28 September 2016 GRAPH EXPO 2016 Africa’s Leading Show on Graphic Communication Industry..

At: Orange County Convention Centre, Orlando, FL, USA. www.gasc.org

72

| SCREENTEX | August - September 2016

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| SCREENTEX | August - September 2016

AD INDEX Adepatech India 17 Advance Syntex (P) Ltd. 39 Aeon Commercial India (P) Ltd. 80 And Global Sales Corporation 04 Arrow Multimedia 72 Balaji Chemicals 35 Beauty Flex 59 Bharat Fushing 45 Bharti Creation 27 Blue Coat India Pvt. Ltd. 43 Chaiyaboon Inknovation 15 Cheran Machines I Pvt. Ltd. 47 Chromoline 05 D N Enterprises 13 Domex 29 Duratech Automation (P) Ltd. 03, 67 Epta Inks India Pvt. Ltd. 37 Febchem Pvt. Ltd 42 Fespa Asia 2017 37 GTE 2017 62 Garknit 2016 71 34 India ITME 2016 J N Arora & Co. (P) Ltd. 63 Kumar Textile Industries 55 Kunal Enterprise 46 Kishore Brothers 19 Label Expo 2016 75

Litel Infrared Systems 54 Mac Dermid Autotype Ltd. 07 Meetesha Enterprises 74 Natraj Industries 04 NBC Japan 02 Omkar Engineering 06 Paper N Films International 78 Photokina Chemical Pvt. Ltd. 23 Print Pack 2017 73 Ratan Industrial Engineering 04 SAi 31 Sefar Switzerland 79 Santi Arts 06 Shriram Enterprises 76 Smilax International India 30 Sneha Enterprises 77 Sparkel Foil & Films 66 Spoorthi Technologies 21 Suntex Enterprises 26 Sri Krishna Marketing 25 SunShine Graphics 74 Varsha Transprint 51 Vee Jain Dyes and Chemicals 49

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

76

| SCREENTEX | August - September 2016

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