August - September 2017 by Jignesh Lapasiya

Vol : 07 • Issue : 05 • August - September 2017

Pages : 76

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Vol : 07 â&#x20AC;˘ Issue : 05 August - September 2017

FORWARD

PUBLISHER / EDITOR IN CHIEF

Jignesh Lapasia +91 98679 78998 MANAGING EDITOR

Let there be light!

Supreeth Sudhakaran ASSOCIATE EDITOR

Sonal Shah LAYOUT DESIGNER

The festival of lights is just around the corner, and sitting at my desk I can hear the buzz at the printing markets. Experts believe that pent-up purchase decisions of consumers will finally end and more and more businesses will find a reason to cheer. This issue is special for many reasons. The biggest of which is ScreenTex completes six years of being your trusted voice. Thanks for all the support! In addition, we bid adieu to the famous Yellow Pages as it closes it print legacy. While Nessan Cleary writes about LED curing taking over the wide format space, Rob Fletcher explores how are manufacturers responding to textile print trends. There is also an interesting piece on how Lithography will support building, erasing ultra-tiny structures. Smithers Pira have launched a report that states retail and inkjet will drive innovation in the $42 billion printed signage market.In technology side, we explore parameters in rotary screen printing and how to understand calibration and colour profiles. This issue is also special because it contains all the actions (in text and images, of course!) from the first SPAI-FESPA Awards 2017. This was by far the biggest screen printing awards night I ever attended in the country. The industry too seemed gung-ho about the show; over 400 enteries in 15 categories were sent in by 68 companies. Particularly, I remember a moment where one of the nominees came to me and said that after looking at the enteries submitted by other companies, he should have worked more. Well, my response was: Let there be light!

Pravin Gohil GRAPHIC DESIGNER

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Pratik Shah REPRESENTATIVES HYDERABAD

Arihant Sales Dinesh Chauhan +91 93469 51232 KANPUR

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The future is always truly uncertain; let there be light! Light to shine on the snares of darkness; light to take steps with calmness! Light for us to see our paths well; light for us to understand your ways well! Let there be light!

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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.

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CONTENT REPORT

Industry gives a standing ovation to SPAI-FESPA Awards 2017 Winners

BUSINESS

End of an era: Bidding adieu to Yellow Pages

Understanding calibration and colour profiles

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ADVERTORIAL

Daniel Antes Transforms Business Ops, Bolsters Profit Margins with SAi’s EnRoute CAD/CAM Software

GUEST COLUMN

38 40

Why LED curing is taking over the wide format space How are manufacturers responding to textile print trends?

TECH TALK

Lithography to support building, erasing ultra-tiny structures

MARKET

Retail and inkjet to drive innovation in $42 billion printed signage market

SPOTLIGHT

Mitsui Chemicals appoints Paper N Films as Western region distributor

TECHNOLOGY

Parameters in rotary screen printing – type of screen plate August - September 2017 SCREENTEX |

NEWS

Canon launches new Océ VarioPrint 6000 Titan series Canon has launched a new series of monochrome production presses, the Canon Océ VarioPrint 6000 Titan. The Océ VarioPrint 6000 Titan series comprises four models, the 6180, 6220, 6270 and 6330, with each model then available in three versions: standard, Transactional Print (TP) and Magnetic Ink Character Recognition (MICR) for security applications. The technology, explains Canon, has been developed with increased quality, speeds and a wider selection of media weights and formats. Supporting volumes of up to 10 million A4 impressions per month, Canon says the new presses are ideally suited to producers of commercial print materials, books and transactional documents, as

well as for large in-plants. The machines are intended as an upgrade on the VarioPrint 6000 (VP6000) platform, printing at higher speeds and taking a larger selection of media weights and formats, with a new Titan Light Weight Media (LWM) option allowing for printing on 45gsm substrates. They utilise the same Gemini Instant Duplex technology as the original VP6000s, which uses twin print heads to print simultaneously on both sides of the media without the need to stop and turn the sheet. The redesigned Océ VarioPrint 6000 Titan series can print at a maximum resolution of 1,200dpi, taking a maximum substrate weight of 300gsm at a maximum size of 320x490mm or 350x500mm with an additional XL pin. Four new speed models will be available to meet different production requirements

(VarioPrint 6180, 6220, 6270 and 6330). Each machine has a range of optional finishing options, including bookletmaking, perfect binding, die-punching and trimming, along with offering a Document Finishing Device (DFD) interface for further connectivity to compatible thirdparty finishers on demand. Canon explains the Océ Copy Press Technology, which presses toner into the substrate at a low fusing temperature, further reduces the physical stresses on the substrate, while also helping to maintain a flat surface for print and finishing quality and delivering a matte, offset-like image. Supported by Canon’s Prismasync print server v7, which allows for advanced job scheduling of up to eight hours, the machines offer a range of automation tools, including the Prismasync Remote Manager remote control app and the Prismalytics dashboard for remote management and monitoring of multiple engines.

Duplo launches DB290 perfect binder Duplo has announced a new perfect binder, the DB290, which can produce up to 200 books per hour. The new DB-290 uses wheels to glue which helps operators to use an adhesive that dries particularly quicker. The smoother process is also accentuated by their own dedicated glue tank, leaving the main tank with the option to house glue that takes longer to dry, meaning it soak through to the spine of the book. Duplo International chairman Robin

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Greenhalgh said: “Our new side gluing technique is really going to impress users, who will be amazed at the quality from the better binding and squarer books.” “With the emphasis on today’s printer to provide a multi-service approach we have developed DB-290 to deliver a high-quality book without the need for a skilled operator.” “Electronic operation and a clearly marked LED display ensures more precise setting. It is flexible too with a conversation to padding jobs achieved at the push of a button. All these elements have been combined to ease set up

and operation for the most efficient and profitable results.” Operating at up to 200bph or 360cph and taking a maximum book thickness of up to 40mm at a maximum size of 320x400mm, the machine is designed to the production of soft cover books, tape bound books and notepads. North isolated a number of additional improvements on the DB-290 over the DB-280, including improved notching and binding and an improved clamping and nipping system, which grips pages automatically before the binding process begins. It also has a redesigned double rail for improved binding.

NEWS

Mimaki brings photo-realistic colour to 3D printing Mimaki has presented a new approach to 3D printing with the launch of the Mimaki 3DUJ-553 UV LED printing solution, the world’s first 3D printer with over 10 million colours. The 3DUJ-553 UV LED from Mimaki is claimed to be the world’s first 3D printer that can model 10 million colours, eliminating the need for hand painting of 3D printed objects. Furthermore, it builds supports in a watersoluble material that is washed off rather than cut or prized from objects, so there is no risk of their

becoming damaged. There are two primary issues when it comes to creating 3D printed objects, according to Ronald van den Broek, general sales manager at Mimaki Europe. To produce objects in photorealistic colour “often requires that objects be hand painted, a time-consuming and expensive prospect,” he said. “Secondly, most 3D printed objects require removal of stabilising fixtures before they can be used.” The Mimaki 3DUJ-553 can eliminate both of these barriers, explained Mr van den Broek, since it can print photorealistic colour, choosing from up to 10 million different colours. “Its water-soluble support material

can easily be washed off without damaging the object,” he continued. The printer employs the digital light processing (DLP) UV LED curing method to print the layers of ink droplets and apply a final ink coating at a minimum height of 22 μm, in CMYK, white and clear inks. It affords high precision in laying down the droplets as well as a choice of three dot sizes for the modelling of color gradations that are less granular. The inks contain an acrylic resin that possesses hardness equivalent to ABS resin. Objects printed on the 3DUJ-553 are therefore durable enough to withstand post-processing such as overcoating and attachment of screws and other fixtures.

1000 sqm is expected at the event. “With the Indian Printing Industry becoming bigger with every passing year, we have more Foreign Companies looking to expand their interests in India. said Dhote. The event is being marketed both abroad and in India. Team Pamex has participated in various Indian and international events such as LabelExpo India, DrupaDusseldorf, PrintPack India, Sino Corrugated & Sino Folding Carton- Shanghai & China PrintBeijing, among others. In August, a promotional campaign kicked-off with an International Media Week in New Delhi. The first of its kind event saw International Media and associations from several Asian and African countries rubbing shoulders with their Indian counterparts in an event that focused on the developments in

the Indian print industry and also provided an opportunity to the exhibitors to announce to the world, new developments and detailed plans for Pamex. The organisers have also planned extensive promotion through road shows and covering over 50 towns in Maharashtra, Gujarat, Telangana, Andhra, Kerala, Tamil Nadu, Karnataka and Uttar Pradesh. At the regional level, promotional events are also planned in Pathankot, Lucknow, Indore, Ahmedabad, Bangalore and Chennai. Pamex will also go International this year with events in Colombo and Dhaka. “Online visitor registrations are going better than we expected at this stage. In December, I had said we expect a 100% increase in visitors at the show. It looks like we will surpass that expectation,” said a confident Neetu Arora, Director of Print-Packaging.com (P) Ltd.

Pamex: Countdown begins Pamex 2017 is now only six months away. After attaining success in 2015, when the show was shifted to Mumbai, Pamex is gearing up to be bigger than ever before. “With more than 6 months to go, we are already bigger than the last edition. We are striving to get more companies on board and will make all efforts to make Pamex as huge as possible,” said Tushar Dhote, Chairman of Pamex. To that extent, Pamex has a tie-up with KVN Media, a Chinese company who are the co-organizers of ‘All In Print’, China. Their expertise in China’s Print industry is proving beneficial for Pamex and a China Pavilion in excess of

August - September 2017 SCREENTEX |

NEWS

Komori and Highcon announce strategic business partnership Japanese manufacturer Komori and Highcon Systems have entered into a strategic selling agreement, further strengthening the existing Highcon relationship with Komori in Japan and America. Signed earlier this month, the deal allows Komori to sell all of Highcon’s product line in the UK, France, Italy and the Netherlands, with the option to extend beyond these four countries depending on sales success. “Our collaboration with Highcon is the first step in expanding our finishing department,” said Komori marketing manager Peter Minis. “We see there is an incredible overlap in the philosophy of the companies but

also because we are making more and more print work that requires individual finishing, especially with the Impremia. We see this as having a big benefit of having the Highcon machines this close to our other equipment,” he added. Komori Europe is now in the process of installing a Highcon Euclid III digital cutting and creasing machine at its Graphic Center-Europe in Utrecht, the Netherlands, in order to support the partnership, which will be exhibited at an open house on 4 to 5 October. Highcon’s digital finishing equipment is described as ‘the perfect complement’ to the Komori fleet of offset presses, as well as the new Impremia IS29, 29in inkjet, sheet-fed UV printing system.

Minis commented: “We are very pleased with this partnership that highlights Komori’s commitment to support our customers developing successful business models utilizing both offset and digital print, from concept to final product.” Jens Henrik Osmundsen, vice president of global sales at Highcon, said: “We already have several joint customers and are proud that Komori, with their 100 year focus on reliability and quality, understands the true value that our technology can bring to their customers, whether offset or digital. We look forward to working together to expand the Highcon customer base.” Earlier this year, Komori expanded its Lithrone product portfolio with the launch of a larger format one-pass double-sided offset press.

Domino joins forgery fight with new security ink Domino Digital Printing Solutions has launched a new fluorescent ink that it said will help businesses battle counterfeiting and forgery. Developed for use on the Domino K600i piezo drop on demand inkjet printer, the UV80CL prints clear, but fluoresces green when exposed to an ultraviolet UV-A 365nm blacklight. Domino said the new ink is ideal for security printing and brand protection, as it can be used to print a range of applications related to security, authentication and anticounterfeit measures. The company also said that by

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combining printing variable data with the green fluorescence, this will give all products printed with this ink a high complexity rating, which will in turn make it very difficult for counterfeiters and forgers to replicate the printed data. Domino added that the ink is suitable for adding security marks and features to currency, stamps, tax stamps, passports and certificates to help prevent forgery, tampering or counterfeiting. In addition, UV80CL can be used to incorporate security features onto labels and packaging, to allow for tracing and help safeguard against counterfeiting and parallel trade. The Domino K600i printer itself has the ability to produce print in resolutions of 600dpi and the manufacturer said the machine can be integrated into

an existing handling solution for digital printing, or be in the format of a monochrome digital press. Designed for sheet or web, the piezo drop on demand inkjet device can print at speeds of up to 150m/ min on a wide range of uncoated and coated substrates, as well as plastic media, in widths of up to 782mm. In addition, the K600i features i-Tech intelligent technology, which Domino said will enable users to “maximise productivity, minimise manual intervention, and reduce downtime and costs”. Domino added: “Operating at speeds up to 150 m/min, with the versatility to be configured to the print width required, the K600i offers the flexibility and productivity to deliver high quality print at competitive rates helping you to increase sales and profitability.”

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NEWS

Fujifilm introduces entry-level Acuity Fujifilm has launched the latest addition to its Acuity flatbed range, the entry-level Acuity 15, a UV flatbed printer that matches the high quality produced by Fujifilm’s Acuity Select 20 and 30 series, but at a lower investment cost. The newest addition to the Acuity flatbed range is a low cost, accessible alternative to Acuity Select 20 and 30 series. Designed for light production, the Acuity 15 offers nearphotographic image quality and prints in express mode at maximum speeds of 23sqm/ hr at 1,200dpi resolution, the same quality as the higher-end Acuity models. It

takes rigid media at a maximum size of 1.3x2.5m, at maximum thickness of 51mm, printing on a range of materials, including PVC, wood, polycarbonate and aluminium composite. The cost and specifications of the new Acuity 15 printer make it a suitable, high-quality introductory model to meet the low volume and light production needs of commercial, graphic display and industrial printers. However, larger print service providers can also take advantage of the printer, to offer proofs or show sample pieces to their customers, freeing up capacity on their larger flatbed machines. Fujifilm Graphics segment manager Sign & Display Tudor Morgan said, “Able to produce the

same quality as our Select 20 and 30 ranges, the Acuity 15 provides a great investment opportunity for any print business looking to diversify. Whether for a full print job, a proof or even as a way to get into printing thermoformed objects, it gives small and large print businesses alike the chance to offer their customers stunning, rigid and flexible prints on almost any surface.” The Acuity 15 is available now across the EMEA region with the Uvijet KN multipurpose ink system or Uvijet KV thermoforming ink system, with both Uvijet ink ranges enabling CMYK and white ink printing. Fujifilm had also launched two new printers in its 30 HS range at the end of last year.

MagnaColours expands technical team Water-based ink manufacturer MagnaColours has appointed Melvin Hall as its print technician, and Jason Chapman as its new regional technical sales manager for Asia. The new appointments will contribute to Magna’s ambition to be worldwide leaders in environmentally conscious textile printing. Melvin has vast experience in setting up textile screen-printing departments, and has worked in countries including Sri Lanka, USA, Spain, India, China and Pakistan. Having worked in the screen-printing industry since 1976, Melvin has been printing onto textiles and garments for over three decades, throughout which time he has worked with some of the

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biggest brands and manufacturers in UK and worldwide. In another new addition to the MagnaColours team, Jason has had a successful career in senior management of international businesses and consulting services for global brands in the textile printing sector spanning almost three decades. Because of this, he is perfectly placed to help Magna to develop relationships with printers across Asia, while offering support and advice. Jason has worked in SriLanka, China, Turkey and many other Asian countries, with leading manufacturers and printers, introducing, supporting and encouraging the use of waterbased print technologies as well as larger printing, factory design, equipment sourcing, site planning and training projects. Through working with various printers

and retail clients, he has gained a wealth of experience which will serve him well with his work going forward with Magna. MagnaColours managing director Helen Parry commented: “These appointments mark a significant step in strengthening our efforts to educate and support our customers and distributors in getting the best results possible from our products.” Earlier this year, MagnaColours launched their own education programme, MagnaAcademy, as part of their commitment to support and train screen-printers in working with water-based inks. By demonstrating the ease and quality of printing with their inks, Magna are challenging misconceptions which have been a barrier to printers adopting the use of water-based inks over harmful alternatives.

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NEWS

Konica Minolta launches AccurioPress Series Konica Minolta has launched AccurioPress C6100 Series of colour production printers, which according to the company, are designed to support a highly responsive print room environment. The AccurioPress C6100 Series is now available in the 85 ppm C6085 and the 100 ppm C6100. The fast and flexible series has been created for operations that recently started digital printing and are now expanding their service, as well as those that need to handle large, repeat print volumes. Karl-Friedrich Edenhuizen, product manager, Production Printing Group said: ““With the Integrated Color

Care Unit, we overcame some of the biggest pain points in digital print production, such as time-consuming front-toback registration, extensive color setup and complex paper setup operations, which are now something in the past.” He added: “These presses will underpin Konica Minolta’s market-leading reputation for productivity, reliability and quality. They will meet and exceed the advanced requirements of print production at the highest levels, as well as offering digital image quality on par with offset printing. All of our sales are backed by our Digital1234 business support program, as well as marketleading service support.” Uptime is assured via highly automated features such as

automated color adjustment, skillless operation, constant control of gradation and front-to-back registration. Enhanced functions, including stabilized paper feeding, support a wide range of paper weights from 52 gsm to 400 gsm, plus embossed paper, encouraging broader production possibilities. Other enhancements include low-cost envelope printing, via a dedicated fusing unit—all of these features are targeted at growing printers’ business. Reliability and stability is further enabled by Simitri HD E toner for higher offset-like natural textures while lower temperature fusing reduces damage to paper, resulting in higher quality finishes and improved environmental performance.

Heidelberg wants to be ‘Amazon of Printing’, sets sights on €3 billion in sales Heidelberg will aim for €3 billion in sales by 2022, an increase of €500 million over its current sales figures. At the manufacturer’s annual general meeting in Mannheim, Germany, around 1,600 shareholders approved all items on the agenda with a clear majority, including the election of Oliver Jung to the Supervisory Board. Heidelberg CEO Rainer Hundsdörfer introduced the “Heidelberg Goes Digital” strategy, which will focus on technology leadership, digital transformation, and operational excellence. “Over the next five years, Heidelberg will once again become a leading light in the sector, enjoying strong growth and profits. We’ve defined the relevant success factors and have already introduced initial measures. This marks the start of a new era of growth for

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Heidelberg,” Hundsdörfer said in a statement. Heidelberg claims that its digital strategy was rewarded on June 30 when investors converted 95% of a €60 million mature convertible bond into Heidelberg shares, reducing the company’s debt and costs of interest. Dirk Kaliebe, CFO explained how Heidelberg’s Push to Stop principle was like moving from a satnav to guide an operator through the process steps needed to run a machine as speedily and efficiency as possible, to an fully autonomous vehicle. The company has more than 40% of the sheetfed litho market worldwide, meaning there are limited opportunities for expansion, especially in a flat market. But it also has less than 5% of the worldwide

market for digital press and less than 5% of the worldwide market for consumables. Both offer opportunities for sales growth, Hundsdörfer added. The opportunity in its core sheetfed offset market is to tap into consumables and service revenues which are currently being missed. Over a five-year period a printer can spend as much as 70% of the initial investment price on these areas which again is an opportunity for the business. Much of these sales can be captured through Heidelberg’s expanding online shop. It wants to become the Amazon for the printing industry, shareholders were told. Printers would be able to buy non-Heidelberg products through the online store. This is a step further than predecessor Gerold Linzbach had envisaged.

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NEWS

SPGPrints to open new training centre for textile printing Screen and digital print equipment manufacturer SPGPrints has announced the developing of a new 700 sqm demonstration and training facility for digital textile customers and end-user brands. The company has already started the construction of the facilities, that are set to open on September 4, 2017, at its global headquarters in Boxmeer, The Netherlands. The experience centre will feature operational SPGPrints Pike and Javelin digital textile printers for demonstrations and customer trials. There will also be a conference room with an advanced audio and video system, and areas to provide technical and commercial training and information. Their purpose is to ensure that suppliers and buyers of digitally

printed textiles fully understand the revolutionary benefits and implications of digital production. Textile printers will be able to bring their own jobs and fabrics and print them, with expert assistance, on a Pike or Javelin printer. Seeing the technology in action, and the fine detail possible, will give them a good understanding of how they can expand their product offerings cost-effectively. Beyond the technical aspects, they will be able to learn how printing on-demand can save money as well as time, throughout the supply chain. Being able to see the Pike and Javelin printers in the same environment will help printers reach the best buying decision for their companies. Both the Pike and Javelin use SPGPrints’ Archer technology to fire variable-sized drops up to 4 millimetres to the substrate, achieving maximum flexibility, rich blotches, and fine detail.

The Pike printer, designed for annual production exceeding 2 million linear metres, is a fixed array, single-pass system. The printer at the experience centre is configured to print six colours on a nine-colour frame with reactive inks. The Javelin at the experience centre has a 3.2 metre width and can run a wide range of fabric from wovens to nets, full width, or at 1.85 metre. It features a scanning carriage for six colours with six print heads for each colour and is equipped with a three-pass dryer. Samples printed for customers will be shipped to them for steaming and washing. The new experience centre is part of an €8 million capital investment programme by SPGPrints. This also includes the building of the expanded 1000 square metres digital inks factory for production of its inkjet inks, enabling the company to boost capacity in response to the growth of the digital textile printing sector.

Modi Rubber exits Xerox India, offloads stake for $3.8 mn Modi Rubber Ltd has sold its entire 7% stake in Xerox India Ltd to The Netherlands-based Xerox Investments Europe BV for Rs 25.09 crore (around $3.8 million), the company said in a stock exchange filing. Xerox India and Xerox Investments Europe BV are subsidiaries of US-based Xerox Corporation. As on 31 March 2016, the promoter group entities Xerox Ltd, XC Trading Singapore Pte Ltd and Xerox Developing Markets Ltd together held 89.29% stake in Xerox India.

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Xerox provides centralised print services, transactional printing, document and data processing, managed print services, workflow optimisation and automation. Established in 1971, Modi Rubber was originally an automobile tyre and tube manufacturing firm. In July 2011, the company sold its fully-owned subsidiary Modi Tyres Company Ltd to German tyre maker Continental AG for Rs 135 crore which included a non-compete fee of Rs 17.23 crore.

In November 2012, Modi Rubber formed a joint venture with Japan’s Asahi Organic Chemicals Industry Co. Ltd to set up Asahi Modi Materials Pvt. Ltd. Asahi Modi Materials is involved in the manufacture of resin-coated sand used by automotive and nonautomotive original equipment manufacturers in the Indian and overseas market.

QUICK BYTES Industrial printing market to grow to $114.8 billion by 2022: Smithers Pira In ‘The Future of Functional and Industrial Print to 2022’, Smithers Pira values the current market at $76.9 billion, up from $37.2 billion in 2012, but with further growth forecasted to $114.8 billion by 2022. Asia is the largest region, reflecting the concentration of manufacturing there, with large printing companies supplying electronics and environment materials, films and interior décor materials; and it is home to many giant electronic companies using printing as part of the manufacture of membrane switches, tags, circuitry, displays and photovoltaics. ”While analogue printing methods – gravure, flexo, litho, screen, pad printing and foiling – are widely used, there is very strong growth in digital methods, with new inkjet inks and fluids opening many new opportunities.” “These markets do not use paper or paperboard substrates, but rather plastic, film, glass, wood, metal, ceramics, textiles, laminates and composite materials are involved. In the case of 3D printing there are plastics and metals, with some composites,” Smith added.

KM and Screen partner on workflow Konica Minolta and Screen have enhanced collaboration in the digital commercial

printing area to achieve seamless hybrid workflows and increase user-friendliness in offset printing and digital printing. The two companies will further improve efficiency, expand business opportunities, and deliver new value in the commercial printing industry. In the commercial printing industry, digital printing equipment is being increasingly introduced due to growing demand for high-mix small-lot printing to meet the diverse needs of consumers. In some cases, users cannot take full advantage of the equipment because the CTP workflow RIPs for offset printing – the core of workflow systems – cannot fully control the equipment.

Avery launches PVCfree film for textured surfaces

optimization features. The complete solution will be

Avery Dennison Graphics Solutions North America has introduced MPI 1405, an

ultra-conformable film with a long-term removable (LTR) adhesive. The company says it is suitable for a broad range of applications, from car wraps and outdoor graphic needs, to textured surfaces like brick walls or cinderblock. The film can be reliably printed across all leading printing platforms: latex, UV, EcoSol and solvent. The new film is warranted for cement, brick and concrete surfaces, making it ideal for indoor and outdoor architectural applications. It also requires less heat during installation, due to its high conformability. Fleet and vehicle wraps, which require an eco-friendly solution, can also benefit from MPI 1405, which is pending Greenguard Certification.

Landa Appoints Dafna Gruber as CFO The Landa Group has announced the appointment of Dafna Gruber as CFO of Landa Digital Printing. Dafna comes

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to Landa with over 20 years of a successful track record in the financial and operational management of global public hi-tech companies. Over the past two years Gruber served as CFO of Clal Industries. Prior to that, she served as CFO and head of Operations at NICE for over eight years, and as Alvarion’s CFO for 11 years. Dafna holds a B.A. in Accounting and Economics from Tel Aviv University. She replaces Elan Sigal who has relocated with his family to take up a new professional role in the United States.

Kornit and ColorGATE team up for DTG Kornit Digital and ColorGATE will be collaborating to take their high-end industrial and professional solutions to the next level. Direct-to-garment printers can now profit from the trusted Kornit Digital quality, enhanced by the ColorGATE RIP performance

available as of Q4 2017. The ColorGATE Textile Productionserver (TPS) will be tailored to the Kornit settings and subsequently added to the Kornit offering. This way customers will gain both an outstanding print output and an optimized workflow experience. Technical support and training will be delivered by Kornit, with the ColorGATE support available at the back end.

Q.I. Press Controls honours The Printers House For fifteen years that Q.I. Press Controls (QIPC-EAE ) has been active in India, The Printers House (TPH) has been one of its most highly valued partners. QIPC-EAE, specialist in measurement

QUICK BYTES Messe Frankfurt India acquires Screen Print India In another defining acquisition to strengthen its presence in the country, Messe Frankfurt India Trade Fair Pvt Ltd, the Indian subsidiary of one of the world’s leading trade show organisers, Messe Frankfurt Exhibition GmbH, announced that it has acquired the rights of Screen Print India (exhibition). Raj Manek, Executive Director and Board Member of Messe Frankfurt Asia Holding Ltd. said: “By allowing both Media Expo and Screen Print India fairs to be independent of each other, we aim to develop the exhibitions in a more targeted and well-defined manner to suit their respective visitor profiles and market demands. Going forward, we also aim to expand the exhibit segments and develop the scale of the platform to that of internationally renowned exhibitions in this space.” and control systems for the printing industry, and TPH, an Indian constructor of printing presses, recently celebrated this long-stranding partnership. To mark the occasion, TPH was presented with a commemorative figure by QIPC-EAE.

manroland rejigs ecomm plan, launches MARKET-X manroland web systems’ has completely renewed eCommerce offering by expanding and rebranding its online shop as MARKET-X trading platform. The manroland web STORE supplies well over a thousand web offset customers with spare and wear parts as well as authorized consumables. Completely redesigned and relaunched in July 2016, this well-established online shop follows the model of the most modern shops in the B2C sector. From August 2017 the pilot stage for the new MARKET-X trading platform starts. Numerous suppliers from the printing industry are going to sell their products through the manroland web store.

Domino launches K-Series targeting screen printing industry Domino

Digital

Printing

Solutions is set to launch the new K600i White digital print

module featuring a new stateof-the-art ink management system. The K600i White is targeted primarily at printers looking for a digital alternative to screen printing, offering instantaneous job change, minimal maintenance, variable data printing capability and eliminating the need to purchase screens. The company claims that the solution is particularly well suited to printing high definition white text in very small point sizes onto personal care labels and for other transparent label applications. With variable data print capability, the K600i White can also be used for promotions such as personalising with different names, places and promotional games, providing a real ‘added value’ offering. It can also be readily integrated into an existing PDF workflow.

Baldwin buys inspection system company PC Industries Headquartered in Gurnee, US, PC Industries (PCI) is a leading manufacturer of stateof-the-art vision inspection

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systems for the printing, converting, packaging, pharmaceutical and security printing industries.Founded by Jack Woolley in 1975, PC Industries’ products are complementary to Baldwin’s offerings.PC Industries is Baldwin’s fourth acquisition since joining the BW Forsyth Partners’ family of companies in 2012. In 2014, Baldwin acquired Web Printing Controls and in January 2017, LED UV curing technology provider Air Motion Systems. Earlier this month, they completed the acquisition of Ahlbrandt Systems GmbH. Following the AMS acquisition, a new division within Baldwin combined AMS with Baldwin’s UV division and rebranded as AMS Spectral UV.

Epson adds new dye sublimation textile printer Epson has launched a new dye sublimation textile printer, the 1.6m-wide SureColor SCF9300. Replacing the existing SC-F9200 flagship model, Epson’s new SureColor SCF9300 dye sublimation textile printer is designed primarily for fast, high-volume printing for clothing, textiles and soft signage, as well as other printed merchandise. The printer features new Epson Precision Dot technology for

dye sublimation including a halftone module, lookup tables and micro-weave, while Epson’s wide gamut CMYK input profile combined with UltraChrome DS inks is intended to ensure the maximum possible colour gamut, for accurate reproduction of even the most complex designs. Offering print speeds of up to 108m²/h, the SC-F9300 is designed to maximise uptime and eliminates problems such as cockling and head strike with its improved take-up and other reliability features. The SureColor SC-F9300 will be available from October 2017.

Mimaki releases UV LED printing and cutting solutions Mimaki has announced the launch of the Mimaki UCJV300-160 and UCJV150160 roll-to-roll UV LED printing and cutting solutions. These two systems add creativity to the production of signs and display graphics. In bringing this solution to market, Mimaki is also introducing a brand new environmentally friendly ink, LUS-170, guaranteed to ensure vibrant, eye-catching print results. The UCJV Series is expected to be available for customer shipments in the fourth quarter of 2017.

REPORT

Industry gives a standing ovation to SPAI-FESPA Awards 2017 Winners

What’s the role of an association? This is a question that has often elicited varying responses. However, regardless of how one defined the core operations of an association, there was always a consensus on one thing: Association should shoulder the responsibility of promoting the industry and best practices. The first SPAI-FESPA Awards 2017, which was held in Goa on 15th September 2017, shouldered this responsibility with dignity and poise. In fact, it went beyond and ensured that the screen printing industry gets inspired to do excellent work in the times ahead. Not that it hasn’t been doing so. The issue lay in not exhibiting the great

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work and best practices followed. When one shows inadvertence towards highlighting such good work, they essentially forget that art has always lived upon inspiration. Amidst the shimming lights of the gala night, there were many who were not expecting to see the number and the level of quality work the expert panel of jury had to adjudge. Perhaps, that’s the reason why the team of SPAI committee members decided to exhibit all the winning works in an Award Gallery. “The entries in the gallery were exemplary. In fact, I feel I should have done a bit of more hardwork in my entry. It’s a

learning for me, and will ensure that next year I set the bar high,” said one of the nominee who visited the gallery before the Awards announcement. This edition of SPAI-FESPA Awards was about infusing confidence. Confidence in the art of screen printing, best practices, entrepreneurship, and appreciating the self-less contribution of many legends from the industry. The event was also used as a platform to unveil the new logo of SPAI. The eminent panel of jury comprised Michel Caza, Past President of FESPA, and Chairman of ASDPT (Academy of Screen and Digital Printing Technologies, USA); Jacek Stencel of PASJA, Poland;

REPORT Artem Nadirashvili from Midi Print, Russia; Bernard Banks, Technical Expert, UK; and Kamlakar Wadekar of Ace Printers. The Awards saw over 400 entries in 15 categories from over 68 companies. Only a fraction of those who participated won the biggest laurels; and there was an unequivocal consensus that they deserved it. “Screen printing is an interesting mix of art and science. You cannot be a good screen printer without understanding the science behind it. Neither can you be a good screen printer if you cannot appreciate the art of it. SPAI is proud that we could organise the biggest ever event that honoured the best works and inspiring individuals,” said Jignesh Lapasiya, Chairman - Awards, SPAI. In addition to the category awards, few special awards were also conferred. Suresh Babu of AB Screens was awarded with the Creative Artist Award. Four companies were honoured as Innovative Company of the Year: Keetronics (Pune), Image Care (Ahmedabad), Spectrum Scan (Mumbai), and Tarun Prints (Mumbai). Saurabh and Gaurav Kappor of JSG Innovation, and Amit Narke of Pure Coats were honoured with the Young Entrepreneur Award. Difference in Vision Only a few editions ago, we

had published the inspiring story of Srikanth Bolla, the visually impaired entrepreneur of Rs 50 cr Bollant Industries. In his interview, Bolla had mentioned that his blindness hasn’t impaired his vision. This difference in vision is what earned him the Award of Indian of the Year, organised by television new media channel, NDTV. In stark contrast to other industry awards, SPAI wasn’t about the glamour; it was about purpose. The delegates were in utter belief when 18 performers from the National Organisation of the Disabled Artists stepped on to the stage to enthral the audience with their show: Jeena Isi Ka Naam Hain. Blending inspiring stories with apt songs from Indian cinema, they expressed that life is about commitment and dedication. SPAI also utilised the platform to thank and honour the legends of the industry. Shri Madhu Kumar Doshi was honoured with the Yeoman Service Award for his undeterred and selfless contribution to the industry. SPAI-FESPA Awards 2017 also honoured Shri Man Mohan Kharbanda and Shri Manubhai Sheth with Lifetime Achievement Award. “It is important to recognise people who have helped the industry flourish and nurtured

SPAI-FESPA AWARDS WINNERS LIST

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REPORT

it with their selfless contribution. While we would never be able to repay them, honouring them at the first SPAI-FESPA 2017 Awards was our small step towards conveying to them how indebted we are for their service,” said Bhargav Mistry, Chairman – Awards, SPAI. Preparing for the next edition

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The event would not have been such a success if it didn’t receive the right partners. The ScreenTex and Grafica News were the media partners for the Awards, and were honoured for their support by SPAI-FESPA. In addition to the support of the members from screen printing fraternity, SPAI-FESPA Awards 2017 also received accolades from its key sponsors. Fujifilm Sericol India was the title sponsor and Huber Group India (formerly Micro Inks) was the Platinum Sponsor of the Awards. The Awards also had several Gold Sponsors namely, EptaInks India Pvt. Ltd., Print Dynamic, Photokina Chemicals India Pvt. Ltd., Gurbaksish Group, Indian Dye Sales Corporation (IDSC), and SanPrintech India

Pvt. Ltd. The Silver Sponsors of the Awards were Nishi Arts, AND Global Sales Corporation, and Printlife Packaging Solutions. The students of GIPT (Government Institute of Printing Technology - Mumbai) and DMI also volunteered to be part of the Awards team and ensured that the show went without a glitch. In fact, even before the event concluded, the organising committee was approached by the supporters to announce the next edition too. In addition, many screen printers too volunteered to support the next edition and create the biggest screen printing event of the country. The organising committee is now working on the dates for the next edition. Stay tuned to hear more about it in our future edition.

SPAI - FESPA AWARDS 2017 AWARDS WINNERS

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SPAI - FESPA AWARDS 2017 AWARDS WINNERS

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SPAI - FESPA AWARDS 2017 AWARDS WINNERS

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SPAI - FESPA AWARDS 2017 AWARDS WINNERS

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BUSINESS

End of an era: Bidding adieu to Yellow Pages

The Yellow Pages will stop printing from January 2019 after more than five decades, its owner Yell has announced. Yell has taken the decision to fully digitise the business, ending the publication’s 51-year run. The history of how the name Yellow Pages came about is really interesting. The name and concept of “yellow pages” came about in 1883, when (according to a popular legend) a printer in Cheyenne, Wyoming, working on a regular telephone directory ran out of white paper and used yellow paper instead. It was only after three years that Reuben H. Donnelley created the first official Yellow Pages. In the UK in 1966, the Post Office first launched the directory, which later became part of British Telecom. The Business Pages was launched in the mid 1980s when British Telecom was privatised by Margaret Thatcher’s Conservative government, growing in popularity with a series of funny adverts. The group launched the first electronic delivery of classified directory information in 1987

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alongside Talking Pages. With the rise of the internet, Yell launched yell.co.uk in 1996, offering transactions on the site a year later. Now, with a clear focus on taking ‘YP’ digital, the first of the 104 final editions will be distributed in Kingston in January 2018, and the last will be sent out a year later in Brighton, where it was first published in 1966. The company will print 23m copies of the final editions, which Yell hopes will become a souvenir. Richard Hanscott, CEO of Yell said: ‘‘After 51 years in production Yellow Pages is a household name and we’re proud to say that we still have customers who’ve been with us from the very first Yellow Pages edition in 1966. How many brands can say they’ve had customers with them for over 50 years?” The publication became famous for its advertisements, including the “JR Hartley” campaign in the 1980s and the “French Polisher”. It was a vital tool for finding service providers

and tradespeople, but the rise of social media and Google have reduced demand for printed directories. However, in the recent years, the directory has caused environmental concerns, prompting the launch of the Say No to Phonebooks campaign in 2009, which called for an “opt-in” scheme whereby only those who want these directories left by their door would receive them. At the time, the Yell Group, then maker of Yellow Pages, maintained it was “among the most sustainable companies in the world,” adding: “Our directories are produced in an environmentally responsible way and are 100% recyclable. In common with other members of the Data Publishers Association, we maintain an opt-out scheme that enables consumers to choose not to receive a directory.” BT sold the Yellow Pages for £2.1bn in 2001 to private equity companies, subsequently launching a new telephone service and bringing the number of Yellow Pages published to 102.

ADVERTORIAL

Daniel Antes Transforms Business Ops, Bolsters Profit Margins with SAi’s EnRoute CAD/CAM Software bedside cribs. According to Antes, after trialling many software solutions, it came down to just two packages offered at the same price. “The final deciding factor was SAi’s responsiveness and support throughout our trial period,” he explains. “We realized that this was an indication of the care that we would receive moving forward and today, we still receive the same level of assistance that we did as a new customer.”

“Originally founded in 2001 under the name of Distinctive Hardwood Floors, Daniel Antes has established itself as a leading full-service, handmade flooring company. With its customer base expanding and jobs diversifying, the company required a software solution to meet its customers’ demands. This saw the company introduce SAi’s EnRoute and Flexi software in 2007. Utilizing EnRoute’s design-to-output workflow, the company has increased its profit margin by 50%, propelling its turnover from $180,000 to well over

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$1,000,000. Daniel Antes, based in Nashville, Indiana and named after the company’s founder and owner, has carved a niche market outside of its traditional scope of hand-made flooring and furniture. Using SAi’s EnRoute CAD/CAM software to drive its laser cutter and Flexicam Stealth XL CNC router, Daniel Antes produces a range of applications. These include signage, parquet and flooring inlays along with

Slashing production time from five days to four hours Having firmly established EnRoute as a central function to its operations, Daniel Antes continues to push the boundaries of the software to optimize its workflow and maintain its competitive edge. This is exemplified in a recent repeat project which saw the company reduce its turnaround time of a large wooden compass medallion measuring 1.82m/ 5.97ft by a huge 96%. “Previously, it would take us up to five days to chisel this piece by hand. This method dramatically delayed our production cycle and had a domino-effect on other jobs in the pipeline,” explains Antes. “EnRoute enables us to draw, toolpath and cut the full piece in just four hours. This not only massively improves our throughput but ultimately ensures we get the orders out of the door on time, or in most cases well ahead of time.” Increasing profit margin by 50% According to Antes, these

ADVERTORIAL substantial savings are felt across the board. Using the Obstruction Nesting tool, which allows users to nest around barriers, the company can use competitively priced material to help reduce overall costs while still producing premium results.” This benefit is not restricted to the CNC machine. “With its nesting capabilities far surpassing that of our laser cutting machine’s software, EnRoute offers the opportunity to nest pieces inside of unused remnants,” says Antes. “This ensures that we maximize our material usage. In fact, since adopting this method, we have increased our profit margin by an incredible 50%. “I think it’s fair to say that EnRoute has been instrumental in transforming us from a $180,000 turnover company to one now well over $1,000,000.” Maintaining this healthy margin requires Daniel Antes to streamline its throughput and minimize waste. Using EnRoute’s Toolpath feature, the company toolpaths up to 15,000 different pieces or up to 6,000 of the same part onto one layer, ensuring maximum productivity. Beyond this, the company also relies heavily on EnRoute’s ability to produce reliable code. Antes explains: “EnRoute offers the reassurance that we can plug in a 12-hour job over night, return to the workshop the next day and know that it will be outputting correctly. This prevents mistakes, removes costly rework and ultimately streamlines our production.” Entering new markets With its feature-rich tools, EnRoute is also propelling Daniel Antes into new markets. These include manufacturing aids, one-off replacement parts for the

workshop and art installations, to name a few. A prime example of this is a recent job which saw the company machine an alignment rail to place labels on medical bottles. Previously, the company outsourced this part to Germany, which led to escalating lead times and, should iterations be required, mounting costs. Daniel Antes reverse engineered this part. This saw the company take the original rail and input its exact dimensions into EnRoute. The final metal part was output by the CNC machine in just a few hours. “As you can imagine, when developing parts for the medical sector, precision is paramount,” says Antes. “With the materials of the bottles costing in excess of $8,000, ensuring that the labels perfectly align is crucial to accelerating the company’s time-to-market. EnRoute not only ensures this but it offers us the reliability to repeat these parts at a competitive price.” Outside of this, Antes

incorporates his EnRoute expertise with his personal interests, opening the door to even wider markets. This is demonstrated in a recent collaborative project with American sacred geometry artist, Eileen Bradley. Based on the nature-inspired artwork entitled ‘Unbroken’, Antes input 1240 intricate pieces into EnRoute – the most parts he’s produced per square meter. Toolpathed onto one layer, he completed the complex replica in a matter of days and is now for sale. “The hope is to continue expanding our business offering and establish ourselves as the company that ‘thinks outside the box’,” says Antes. “With the versatility and ease of EnRoute, no job is too complicated. “The software has reshaped our business and elevated us to new heights. It offers us a vast gamut of possibilities that goes beyond the scope that we ever thought achievable – the only limit is our imagination.”

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GUEST COLUMN

Why LED curing is taking over the wide format space By Nessan Cleary

One of the more obvious trends from this year’s FESPA Hamburg show was the widespread use of LED curing in wide format. One of the major advantages of UV curable ink is that it dries instantly so that there’s no need to wait for the inks to gas out, meaning the prints can be laminated and shipped straightaway. UV-curable inks rely on a chemical reaction, known as photo polymerisation, in which the elements fuse together almost instantly, simultaneously bonding the graphic to the substrate and forming a tough finish that’s resistant to rubbing and outdoor weathering. This polymerisation is triggered by photo initiators within the ink, which produce free radicals

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when exposed to UV light. The major components of these inks are monomers and oligomers, which the free radicals cause to cross-link together to cure the ink. T he conventional approach has been to use mercury lamps located on the print carriage to provide this light source but many vendors are now turning to LEDs as an alternative light source. A Light Emitting Diode is basically a semiconductor that produces light when connected to an electric current. In truth this is not a new technology though its adoption by the printing industry for UV curing is relatively recent. Today LED curing is used

in many different print processes, including offset and flexo presses as well as digital devices such as label printers and, of course, wide format. The power of the LEDs has improved dramatically in the last couple of years and this is leading to more vendors looking to use LED curing. There has been an issue where the inks had to be very finely tuned to ensure that there was enough energy to trigger the photo initiators to cure the ink. Ben Woodruff, sales manager for Inktec Europe, explains: “It took us 50 different formulations to produce our LED ink.” “That’s the main reason you see so many machines with mercury curing. It’s because the ink

GUEST COLUMN is not widely available but being an ink manufacturer we had the luxury of being able to make our own ink.” That said, as more powerful LEDs become available so more ink manufacturers are looking at developing LED UV-curable inks. There are a number of practical benefits, including a considerable saving on energy, which adds up to a much lower total cost of ownership. Reinhilde Alaert, product manager for Agfa’s Jeti range, estimates that an LED system will use 50 percent less energy than an equivalent mercury lamp, explaining: “With LED the lamps are only on when they are printing.” Another advantage is that LEDs have much longer lifespans, since a semi-conductor is a solid material so they are not prone to wearing out. Most manufacturers will quote at least 10,000 hours, and many claim the LEDs will last for up to 20,000 hours. Given that the lamps only need to be on for the actual printing, this effectively means that most users will not need to replace their LED lamps throughout the life of the printer. Alaert adds: “Also we have a more durable system because the lamp itself is simpler and doesn’t require shutters or mirrors so there are less parts to replace.” It’s also worth noting that since there’s no degradation of the lamps over time you get their full performance up until the point they fail, unlike a conventional lamp which has to be monitored and replaced as the performance tails off. The printers will still need to be warmed up to their operating temperature, but the lamps themselves don’t need to be kept at temperature. As a result, most vendors

report considerably shorter start up times, with no need to wait for the lamps to warm up again if the machine’s been sitting idle for a short spell. Woodruff says that the lamps produce very little heat, adding: “The main advantage of LED is the range of substrates and the ability to print on plastics and things which are heat sensitive in multiple passes without having to worry about deformation of the substrate. So something like foamboard would rise up if you had too many passes.” He says that this also helps to improve the overall productivity of the printer because there’s less need to tape down the substrates to counter the effect of curling since there is less heat. This in turn reduces the risk of head crashes and subsequent damage to the expensive printheads. All of this adds up to a more eco-friendly solution, with less energy consumption and potentially less waste. Alaert adds: “It’s greener because you don’t have mercury and you don’t produce as much ozone.” This also means that there’s no need to worry about ventilation for ozone gas. One further advantage is that the LED lamps are lighter, and since they’re usually located on the print shuttle close to the heads this means that there’s

less weight in the overall print shuttle. This in turn reduces the level of vibration that the printer has to contend with, which allows for better image quality at higher speeds. An added benefit is that it’s cheaper to build a lighter system, which helps to keep down the overall cost of the printer. Alaert says that the feedback from customers is extremely positive, adding that Agfa has not had to give up anything in terms of performance or image quality. She notes: “We said that we wouldn’t take any step back in image quality because that was our unique selling point so I am very confident that the vividness of the colour is identical to what we had with mercury.” There’s still a question mark over the use of LEDs for some of the fastest machines on the market, which rely on the fewest number of passes to keep their speed up. But given all the advantages of this approach we should see more vendors bringing out LED UV curable wide format printers as more powerful LEDs and a greater range of suitable inks become available.

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GUEST COLUMN

How are manufacturers responding to textile print trends? By Rob Fletcher

Textile print has been regarded as one of the key growth areas in the industry for some time, and manufacturers have responded by delivering new, innovative kit. However, with textile print also one of the most varied areas of the market, there is a certain amount of pressure on manufacturers to ensure that this technology is able to meet customer demands. One such company that will feature at the Mexican event is Kornit Digital, which develops and manufactures kit for the garment, apparel and textile industries. Lea Duckwitz, regional marketing manager EMEA at Kornit Digital, describes the textile print sector as an “ever-evolving” market and, from the point of view of both a manufacturer and print company,

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keeping track is a “non-stop job”. “The industry now really needs the tools to enable companies to become online business enablers,” Duckwitz said. “That is how they will be able to meet not only the increasing demand for short-run turnarounds, but also customisation and personalisation requirements, while at the same time remaining versatile and sustainable.” Duckwitz went on to say that the Kornit team has been able to identify two key trends in the current textile print market, namely mass customisation and the professionalisation of workflow and job management solutions. “Mass customisation is on

a high,” Duckwitz said. “Our new Storm Duo, optimised for fast double CMYK printing on light garments, is a leading example. And also our Vulcan is aiming at the screen printer’s segment by enabling users to switch to digital printing while still keeping up the high volumes in mass customisation.” The Storm Duo is a directto-garment printing system that has 16 print heads in a double CMYK configuration, a productivity of over 200 prints per hour, and is well suited for producing light garments. Meanwhile, the heavy-duty Vulcan is targeted at screen printers producing collections and short-runs for retailers and promotional purposes. With a focus on workflow and

GUEST COLUMN job management, Duckwitz also draws attention to the solutions that Kornit Digital can offer: “We’re determined to elaborate our ecosystem to provide customers with the most complete web-to-print solution. “Thanks to a collaboration with mass customisation workflow specialist Custom Gateway, our customers can now create their own ‘garment decoration kitchen’. Customers can design their individual shirts online, have them printed immediately afterwards in the production site, not to mention ship instantly. “This platform covers the entire supply chain, from website and personalisation frontend through automated production and printing to packaging and shipping. “The solution is flexible, available worldwide and suitable for B2B customers and B2C ones clients. We’re also working on adding more workflow solutions to our portfolio as our customers are operating in increasingly demanding production environments.” Gaining an advantage in a competitive market Heather Kendle, market development manager for Epson Europe, said that the manufacturer has picked up on an increasing call for on-demand, customised and personalised fashion and interior decor. Kendle said: “Digital processes can print on synthetic as well as natural fibres and we have seen huge strides made in the range of polyester-based materials, many convincingly simulating the look and feel of natural products such as cotton, silk, satin or leather. Polyester-based materials are required for the dye sublimation process and can achieve really top quality results, even with complex

design. “Epson has the advantage of designing and manufacturing all the critical components for the technology: hardware, software, printhead and ink. This ensures that all production components are designed to work together to provide high quality output with competitive running costs. In this sector, Epson offers both dye sublimation and direct-togarment (DTG) inkjet technology.” With this in mind, Kendle draws attention to some of the textile print solutions on offer from Epson, such as the SC-F9200 and the SC-F7200 64-inch models from the Epson SureColor SC-F series, which the manufacturer said are suitable for low to medium production. Epson also offers the 44-inch SC-F6200, which it said is “ideal” for more flexible production environments. Kendle added: “Each of these models features Epson’ s Precision-Core TFP printheads and run with Ultra Chrome DS inks to give vibrant results.” Focusing in on DTG production, Kendle highlights the Epson SC-F2000, which can print onto cotton or cotton blend products such as T-shirts, sweatshirts, hoodies and similar items of clothing. Kendle said: “This DTG printer has four different platen sizes, up to 406 x 508mm, giving users a versatile promotional option. With the ability to handle substrates of up to 25mm thickness and safety systems to protect the printhead; it offers a high quality print resolution of up to 1,400 x 1,400dpi. “The SC-F2000 uses the Precision-Core printhead and Ultra Chrome DG inks. This model offers black, cyan, yellow, magenta as well as

white, which allows printing onto coloured as well as white items. It uses an automatic head cleaning system and is very easy to run and maintain.” In addition, at the industrial level, there is also the Monna Lisa press, supplied by Robustelli, a member of the Epson family. Shifting from centralised production Another major manufacturer that has a strong presence in the textile print sector is Mutoh. Nick Decock, commercial marketing manager at Mutoh Belgium, gives an insight into the firm’s business in the EMEA region, explaining that textile print is a “growing business” at present. Decock said: “What we clearly see is a shift from centralised

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GUEST COLUMN

production and stocking of prints made with analogue equipment towards local and on-demand production of digitally printed textiles, specifically linked to the key benefits of digital inkjet technology. “There is also a new trend towards direct printing on natural fibres like cotton using water based pigmented inks for applications such as home furnishings, upholstery and fast fashion.

One of the advantages of water-based pigmented inks is that prints only need to be fixated after printing, making the manufacture process a lot shorter and easier.” Mutoh is able to offer both direct-to-textile printers and dye sublimation printing machines. Decock said that these types of technologies offer a number of major advantages over conventional analog printing, such as the possibility to produce plateless multiple products, even at low volume, and what Decock described as “endless” full-colour design possibilities. Decock added that users of this kit can also benefit from quick and local delivery – production plants rather decentralise their production and

work without stock – as well as lower production costs, high added value and even environmentally friendly production, as there is no need to clean plates after printing. With this in mind, Decock draws attention to some of the latest options on offer from Mutoh. These include the ValueJet 1948WX, a four head, 1,900mmwide dye sublimation printer that can operate at speeds of up to 194sq m/hr, as well the ValueJet 1938TX 1,900-wide direct-totextile printer with integrated gutter, Decock added: “Digital printing has now reached a good level of maturity with regards to technology, quality and print speeds, factors which have proven to be acceptable for traditional textile printers for their short run needs.”

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TECH TALK

Lithography to support building, erasing ultra-tiny structures

To build the world’s most cuttingedge nanotechnologies, engineers rely on lithography — a printing concept dating from the late 1700s that has evolved into an ultra-modern fabrication technology. Now, a team of engineers from Princeton, the University of California-Los Angeles and IBM has developed a new nanolithography technique that promises greater flexibility than other methods by allowing engineers to create, analyze and erase nanoscale structures from a variety of materials. The researchers used the technology to build structures less than 10 nanometers in diameter — for reference, a human hair is approximately 80,000 to 100,000 nanometers thick. The structures

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were so small they could only be visualized using an electron microscope. The technique might one day be used to create anything from next-generation medical sensors and drug delivery devices to tiny lasers and better batteries. Daniel Steingart, an associate professor of mechanical and aerospace engineering and the Andlinger Center for Energy and the Environment at Princeton said, “Our new method combines several existing fabrication technologies to produce unprecedented flexibility to use in a variety of metals, build multiple types of nanostructures, and fabricate and erase those structures on the fly.” The team based their technique on electron beam nanolithography, a technology where nanoscale structures are typically deposited in layers. The layers are laid down using an electron-sensitive film called a “resist” that changes its chemical makeup when exposed to the beam. Areas of the resist that aren’t exposed to the beam are etched away, leaving the pattern drawn by the beam intact. Every new layer requires a new resist film to be applied over the previously etched layer, so the three-dimensional nanostructure is built up stepwise as the layers stack. Nanoprinting details Princeton researchers including Daniel Steingart and collaborators invented a system for creating ultra-tiny structures that is more versatile than previous methods, including

the ability to erase. The first two columns (images A to H) show structures that were created out of minute particles of gold then erased. Images I to L show how different structures could be created by modulating the time and electrical current of the devise. The pictures were obtained by an tunneling electron microscope, which can view objects too small to see with visible light. This beam-centered method offers greater flexibility than techniques that used a precut mask to produce shapes, as the electron beam can draw nearly any shape. An analogy is the difference between painting words on a sign with a brush or using a precut stencil — the stencil can only produce words already cut into it, while freehand painting (electron beam lithography, in this case) can produce any word. Current electron beam methods do, however, have some limitations. The necessity of building the layers in a stepwise fashion is slow and laborious, and the process must take place in a vacuum, which requires expensive machinery. Also, drawing on a resist film makes it difficult to fabricate alloy structures made of multiple metals. The researchers sought to develop a method of electron beam lithography that could build nanostructures without using a resist film. To do this, they combined the beam technology with a technique for using electrical current to grow metals in a solution. In their device, tiny metal electrodes made of gold, nickel or copper were attached to the wall

TECH TALK of a tiny chamber filled with an electrolyte solution. To generate nanocrystals used to draw a desired shape, an electrical potential was applied across a pair of electrodes, and the electron beam was positioned between the electrodes. The electrical potential caused the electrodes to release metal ions that turned into metal when they interacted with the electrons of the beam and deposited as nanocrystals on the side of the chamber. The device was able to print alloys as well as “core-shell” nanostructures, where one type of metal forms a shell around a core of another type. Both structures are important for various applications in nanotechnology. In addition to creating nanostructures, the researchers used the device to erase the structures, another advance that

adds to the flexibility of the device. “We can dissolve a shape previously deposited by scanning slowly over the existing nanostructures or increasing the current to the beam already irradiating a deposit,” said Jeung Hun Park, an associate research scholar at Princeton and the IBM T. J. Watson Research Center who was lead author on the paper. “The ability to erase a structure adds another factor of control to this technique, making it a highly versatile approach to fabricating nanostructures,” Park said. Park said the research team is now focusing on mapping the precise structure of the crystals formed by the technique, and how temperature and other parameters affect the crystalline structures. This will be important

to optimizing the technology and building nanostructures with precisely defined materials. The majority of Steingart’s research focuses on battery technology but he said the current project was not focused on immediate applications. He said the work could very well lead to better understanding of structures that improve battery performance, but in the near term the technology is more useful for experimentation and testing. The research was supported by the BP Carbon Mitigation Initiative and the National Science Foundation. Other authors on the paper were Suneel Kodambaka, of the Department of Materials Science and Engineering at the University of California-Los Angeles, and Frances M. Ross of IBM T. J. Watson Research Center.

August - September 2017 SCREENTEX |

MARKET

Retail and inkjet to drive innovation in $42 billion printed signage market

Innovative technologies will become increasingly important as the world printed signage market evolves across the next five years, according to Smithers Pira. Its new report – The Future of Printed Signage in an Electronic World to 2022 – analyses the key drivers shaping this segment. This shows that the global market for printed signage is worth $42.00 billion in 2017, and overall market value will increase only marginally, 0.1% CAGR for the five-year forecast period, to reach $42.13 billion in 2022 at constant prices. The total volume of media printed for indoor and outdoor signage applications will grow slightly more across the same period, to 11.17 billion metres square in 2022, up from 10.80 billion metres square in 2017: a 0.7% CAGR. Smithers Pira finds that: within

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the retail environment there are several trends that will directly impact the demand for printed signage in the future. Increased competition in supermarkets and other retail environments to drive sales around short-term promotions – such as Halloween and Valentine’s day – is creating a corresponding demand for signage and point-of-sale (PoS) media to engage the consumer and generate seasonally inspired or impulse purchases. The arrival of online retail and a greater fluency with technology among consumers means that brands are increasingly looking to adopt omni-channel marketing approaches, integrating realworld and virtual media and data. This trend creates a useful link for sellers of traditional physical media into the online world, but

poses new challenges, for example how to integrate QR codes into existing display graphics. Both these trends aligns with the continued penetration of inkjet printing into signage work, where it can handle the demands of variable data print and short runs at quick turnaround. Inkjet remains the focus of the majority of future innovation for signage printing, further marginalising litho and screen presses into low-paying applications. Wide-format inkjet printers have now settled on a fairly standard format. Evolutionary improvements in sizes, speeds, capabilities, price points, and media handling can be expected for 2017–2022 – for example, the capacity to print side-by-side simultaneously on wider-format machines, rather than on base printers. The global signage market remains in a state of transition between traditional analogue 2017–2022 print processes and digital inkjet processes. The latter have seen around a decade of strong growth at the expense of the former, and are the focus of the majority of R&D budgets. It is not a foregone conclusion that digital will replace all analogue processes over time in all applications. This is because processes such as lithography and screen will continue to offer long-run economies of scale, and inkjet systems are only forecast to see incremental advances in this direction and the overall print process proposition for 2017-2022 is heavily dependent on the format of signage/PoS media demanded.

Duratech Automation Pvt. Ltd. Plot No. 74, VMC Industrial Estate, Umela Phata, Vasai (West), Maharashtra, India 401 210. Tel.: +91-250-6555034, 93215 27113, 93215 27131 e-mail: info@unitech-india.net or www.unitech-india.net

SPOTLIGHT

Mitsui Chemicals appoints Paper N Films as Western region distributor

Mitsui Chemicals India, the Indian subsidiary of one of Japan’s leading chemical companies, has appointed Mumbai-based Paper N Film as its Western region distributor for its coatings for paper and flexible packaging industry With its headquarters in Delhi, the decision to appoint Paper N Film was part of its strategy to expand the reach in the country. Excluding Paper N Films, Mitsui has another partner focusing on the north market. With Paper N Films, Mistui will focus on paper coatings and emulsions which accelerates the life and property of the paper. The company is one of the major suppliers of coatings to thermal paper manufacturers. In addition, the company is also planning to introduce a new water based material for blister packaging. Commenting on the appointment, Suraj Arya, general manager - marketing, Mitsui Chemicals India said, “When we scout for partners two key factors determine our decision: market

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reach/understanding and domain knowledge. We have known Paper N Films for some time and are very confident about the domain knowledge and market understanding. While we are specialists in coatings, Paper N Films is a specialist on paper. This decision is a win-win for both.” “While we are all adopting paper cups with strong determination to be more ecofriendly, we often forget that the paper cups available in the market have a polylactic acid (PLA) coating which makes it difficult to recycle. What we intend to do is introduce a coating that will make it more easy to recycle, added Arya. The company is optimistic about the opportunities in the market, especially taking a cue from the commitment of the present government to attain sustainable growth. In fact, the Swachch Bharat initiative and Paris treaty already has provided enough signs for the industry to adopt an eco-sensitive

approach to businesses. “For the paper applications, we see a lot of opportunity in the country. As you are aware the flexible packaging industry, due to government regulations, is trying to switch to more recyclable options,” said Arya. On being questioned that the country has been termed as a laggard in adoption of change especially in matters concerning the environment, Arya disagreed. “If you recall the ban on flexible packaging/ laminates for chewing tobacco and pan masala, it was a fairly swift shift. Of course, when changes are prescribed there are a certain few who exhibit signs of friction, but with a committed government such changes are accepted sooner or later,” he said. “Today, the potato chips and wafers segment is looking at a similar fate. The flexible packaging largely used by the manufacturers of such products have not yet adopted (or perhaps given a serious thought of switching over to) more eco-sensitive option. At the same time, while government regulations are important triggers to adopt an eco-sensitive technology, there has to be an economic advantage too. This economic advantage is what the industry is slowly assimilating,” he added. For Mitsui, the three key segments of growth are automotive, packaging and healthcare. We are witnessing healthy growth rates in the segment and will further strengthen our reach in the coming times. Mitsui will also be present at PAPEREX show with their range of products.

TECHNOLOGY

Parameters in rotary screen printing â&#x20AC;&#x201C; type of screen plate

To achieve a good print result, particular attention needs to be paid to the most important parameters in rotary screen printing. The key influencing factors are the type of screen plate, the ink, the squeegee and the flow path. This article focuses on the type of screen plate, the parameter with the most decisive influence on the print result. Press operators can control this parameter by selecting the appropriate screen.

A uniform fabric structure is key The screen printing plate regulates the volume of the ink layer that is transferred to the substrate. The Gallus Screeny screen printing fabric is made of steel and is produced at special mills. The same terminology is used for woven stainless steel fabric as for woven textiles, so it is made up of warp and weft threads. The more uniformly the fabric is woven, the more precisely the required volume of ink is transferred to the substrate. It is therefore important for warp and weft threads to be woven so as to always form a square mesh. This homogeneous structure is vitally important if large ink pigment particles are to be pressed through the screen fabric, for instance. Galvanising to stabilise the fabric

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The steel fabric itself is very fragile. If it is to be used for rotary screen printing, it needs to be strengthened using the galvanising process. This involves covering it completely with a homogeneous layer of nickel. Experience has shown that this nickel layer needs to cover the steel fabric smoothly and evenly for the galvanised fabric to benefit from a good level of stability and an optimum ink flow. Closed photopolymer layer Following nickel plating, a full-area photopolymer layer is applied to the steel fabric in the cleanroom. It is important to ensure that there are no gaps in this layer and that its thickness remains the same over the entire screen fabric (EOM = emulsion over mesh). If these basic requirements are not met, it is not possible to define and specifically control ink

TECHNOLOGY transfer. An evenly applied, closed photopolymer layer is an essential quality factor for a rotary screen printing plate. The combination of perfectly woven and galvanised stainless steel fabric and closed, homogeneous photopolymer layer creates the basis for targeted ink control in screen printing. Once the photopolymer layer has been exposed and washed out, the

key role in this respect â&#x20AC;&#x201C; the thickness of the ink layer, the resolution and the size of ink pigment particles. The ink pigment resolution is extremely important, because rotary screen printing is still primarily used for solid and line motifs. An inhomogeneous photopolymer layer leads to pinholes in the print image. During exposure and subsequent washing out of the screen, parts

required volume of ink is pressed through the openings in the galvanised stainless steel fabric.

of the photopolymer layer are rinsed out. This means that the screen printing plate has to be reworked manually with a photopolymer filler before being fitted onto the press. A screen printing plate produced industrially should always have a smooth, homogeneous and closed photopolymer layer.

Key selection criteria for the right screen printing plate But which criteria should label printers use to select the right screen printing plate for the relevant application? Three elements play a

August - September 2017 SCREENTEX |

TECHNOLOGY

Understanding calibration and colour profiles By FESPA Staff

While a surprising number of prepress operators and designers still spend a huge amount of time and materials “trying to get the colours right”, this should really be a quite straight forward process today. There is no way around it – if you want to manage colours – be it on your screen or on your printer – you need to invest in a spectrophotometer. You will use this in the two main steps involved in colour management. The first step is a base calibration of the device. When you are assured that the device is in a stable and predictable state, you display or print a test form, and measure the colours the device now produces.

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The result is saved as an ICC-profile, and this will now tell the Colour Management System (CMS), inside the operating system in your computer, Mac or PC, how to manage the colours of your device. At the core of it, it’s no more complicated than that. But you will, of course, need some software in order to do this, and this is perhaps where the problem with colour management lies. There is a wide choice of software, and they often seem very complex and complicated to use. But be brave, and be a bit stubborn, and you will figure it out. There are many books

written on the topic, but unfortunately not all of them are entirely accurate, and might confuse more than they help. One we can recommend though is Color Management Handbook: A Practical Guide by Adams, Sharma and Suffoletto – it’s a classic and goes through the basics as well as some of the more advanced stuff. But let’s go through the two main steps – calibration and profiling – a bit more in detail, and it should help you get started with applied colour management. Consistency and Calibration There is actually a step before calibration that needs to be checked, to make sure you have a

TECHNOLOGY stable and repeatable result from your device. You need to ensure consistency. For a monitor screen, it means you need to ensure your environment has a stable and suitable light. Avoid strong light sources that can cause glare on the screen (don’t sit by a window with strong sun light.), and ideally you should have a shading hood on the monitor. For a colour printer, you need to check that all the nozzles are clear and working and if you can check and optimize the registration of the nozzles, you should do this before calibration. Avoid fluctuations in temperature and humidity – they will both affect the printed result. To achieve the highest possible print print quality, you may need to use air conditioning to control both temperature and humidity. Now you can print a test form to check that the printer produces all the tone values in a linear way, meaning 50% cyan really comes out at 50% etc. If not – use the software to adjust this. For a monitor this calibration is done in the software, by measuring the tone values on the screen and adjusting if necessary so that the monitor produces a smooth reproduction of all the tone values. Profiling (really called Characterisation) When the printer is calibrated it’s time to print a colour chart representing all the colours in the expected colour gamut the printer can produce. In colour management language this is called characterisation, because when you measure this printed colour chart with a spectrophotometer the

measurement data will describe the characteristics of the printer. The profile, because the ICCprofile is created based on this colour data, won’t correct any of the colours, contrary to what if often said about ICC-profiles. Instead, the colour table which resides inside the ICCprofile is used when converting colours from one colour space to another. Typically, this will be when you convert your images in RGB to the colour space of your printer, mostly the CMYK colour space. The CMS inside your computer calculates the closest match, using the table in the ICCprofile for your printer, to match the colour in your image. This is why it’s so important to use the correct ICC-profile when you prepare your design for output. If you are not sure it’s better to keep the images in RGB, and we would suggest Adobe RGB since it’s a quite large colour gamut, and let the printer convert to CMYK at the stage of output. But even better, is to ask the printing company which ICCprofile they suggest for the job in hand. This depends mainly on what substrate the job will be printed on and what ink will be used. The paper and ink are the two main factors which determine the achievable colour gamut. The beauty of knowing the exact characteristics of a certain output device, that is, knowing which ICC-profile to use when printing on a specific substrate, is that you can now predict the end result. Using the Adobe Creative Cloud suite of software, you can

preview with great colour accuracy what the colours and photos will look like, assuming you sit at a calibrated monitor of reasonable quality. Or you can use your calibrated colour printer as a proofer, simulating exactly what the final prints will look like. More and more colour printers now have the option to have a spectrophotometer built into the printer – this will save you a lot of time, both when calibrating the device and when validating the printed result (checking that the printer conforms to the standard you want to achieve). All the professional RIPsystems have a Colour Management module – learn how to use this in depth. Or you can buy a stand-alone colour management solution to complement this – there are several very good ones on the market – ask the manufacturer of your printer which solution they know works well with your model. Using applied colour management in this way will save you a lot of time, give you the satisfaction of knowing, not guessing, what the colours will look like when printed. This is quality control at its best, and will help you stay within budget or even save some money here and there.

August - September 2017 SCREENTEX |

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August - September 2013 | SCREENTEX |

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DeefOekeÀlej ³etJeer SueF&[er efvecee&lee S³ej ketÀu[ efmemìce efJekeÀefmele keÀj jns nQ~ pees ueQHe kesÀ ns[ ceW Kego efmLele neslee nw~ S³ej ketÀefuebie efmemìce ueQHe ns[ ceW ner neslee nw Deewj FmeceW keÀce jKe jKeeJe neslee nw~ S³ej ketÀefuebie keÀes GHe³eesie keÀjves keÀer meeJeOeeveer ³en nw efkeÀ Deeme Heeme keÀe JeeleeJejCe meeHeÀ nesvee ®eeefnS~ keÀcejs kesÀ leeHeceeve ³ee ketÀuej Hej jKee nesvee ®eeefnS~ efoMee efveoxMe kesÀ ©He ceW SkeÀ ®eewLeeF& DeeOes Hej 4 Jeeì ³etJeer SueF&[er efmemìce meceeveeblej ueQHe kesÀ meeLe 300 Jeeì ceke&À³etjer JesHej efmemìce kesÀ meceeve nesleer nw~ efpemekeÀer otjer 6Hueme Fb®e nesleer nw~ meeceev³e leewj Hej ³etJeer SueF&[er ueQHe Deewj ketÀefuebie efmemìce keÀes ®eueeves ceW 30-50 ÒeefleMele Tpee& keÀer KeHele ceW keÀceer keÀjlee nw~ ³en efJemLeeefHele nJee keÀes þb[e ³ee iece& keÀjves kesÀ efueS ceke&Àjer JesHej efmemìce DeeJeM³ekeÀ Tpee& keÀes O³eeve ceW veneR ueslee~ ³etJeer Sue F& [er ceeHeve : ³etJeer ceeHeve GlHeeove Òeef¬eÀ³ee keÀer megj#ee,efJeéemeveer³e ³eesi³e Hejer#eCe DevegmebOeeve Deewj efJekeÀeme, Òe³eesieMeeuee ceW megefveefM®ele keÀjlee nw~ ceekexÀì ceW keÀF& ÒekeÀej kesÀ meWmej,p³eeefceefle kesÀ meeLe leerJe´lee Deewj/³ee KegjekeÀ ceeHeves kesÀ efueS GHekeÀjCe cegnw³ee keÀjelee nw~ pees Deemeeveer mes efJeefMe<ì SHueerkesÀMeve mes cesue Keeleer nw~ ³etJeerS #es$e ceW ³etJeer mHeskeÌì^ce keÀe YeeweflekeÀ JeieeakeÀjCe 400 mes 321 SveSce nw,³etJeeryeer 320 mes 380 SveSce Deewj ³etJeermeer 280 mes 200 SveSce nw~ p³eeoelej ceeceueeW ceW meWmej keÀer JeCe&¬eÀceer³e mebJesoMeeruelee kesÀ Devegmeej ûenCe keÀer ieF& nesleer nw~ efJemle=le ³etJeer mHeskeÌì^ce keÀer efJeMes<elee keÀes efJemleej mes efJeMues<eCe efkeÀ³ee

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August - September 2017 SCREENTEX |

ìskeÌveesuee@peer

keÌ³eeW ueesie efHeÀj mes efÒebì mes pegæ[eJe cenmetme keÀj jns nQ

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| SCREENTEX | August - September 2017

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iewpesì,meesMeue ceeref[³ee Deewj DeeveueeFve meeceûeer DeeOegefvekeÀ ceekexÀefìbie keÀe efnmmee nw~ Deepe pees yeepeej Deewj KejerooejeW keÀes GÊesefpele keÀjlee nw Jen kegÀí Deueie nw~ ope& keÀjW,efÒebì keÀjW~ keÀF& meejs lejerkesÀ nQ Fmes GHe³eesie keÀjves kesÀ efueS~ ³en yengle ner jesceeb®ekeÀejer ceekexÀefìbie Deewpeej nw~ Deewj peye ûeenkeÀ Glmeeefnle nesles nQ lees keÌ³ee neslee nw? Jes Kejeroles nQ~ ef[efpeìue Meesj kesÀ ceeO³ece mes efÒebì keÀìewleer meef¬eÀ³e ©He mes Kego keÀes Deueie keÀjkesÀ DeefOekeÀ mes DeefOekeÀ ueesie ®egveeJe keÀjles nQ~ ³en DeeveueeFve ceekexÀefìbie keÀer JeemleefJekeÀ mecem³ee nw~ efÒebì kesÀ meeLe ³en keÀesF& cegÎe veneR nw~ efÒebì Meesj veneR nw~ ³en DeeHekeÀes efJe%eeHeveeW Deewj YeìkeÀeJe kesÀ meeLe yeewíej veneR keÀjlee~ Deewj ³en DeeHekeÀes efmejoo& veneR oslee~ JeemleJe ceW,efÒebì Yeer keÀYeer - keÀYeer DeveefJev[ neslee nw~ efHeíueer yeej keÀye peye DeeHe DeHeves HewjeW keÀes Gþe³es Les Deewj SkeÀ efkeÀleeye Deewj Heef$ekeÀe keÀes Deejece mes Heæ{e Lee? DekeÌmej ieesefue³eeW keÀe meceeve ÒeYeeJe veneR neslee~ lees efHeÀj efÒebì kesÀ meeLe DeefOekeÀ mes DeefOekeÀ ueesie H³eej ceW Heæ[ jnW nQ~ ³en efÒebì ceekexÀefìbie keÀe GHe³eesie keÀjves keÀS efueS SkeÀ yeefæ{³ee mece³e nw~ DeeHe YeeJeveeDeeW keÀes ÒekeÀì keÀjkesÀ DeHeves oMe&keÀeW kesÀ meeLe mebyeOe mLeeefHele keÀj mekeÀles nQ,Deewj Jes DeeHekeÀes,DeeHekesÀ ye´eb[ keÀes Deewj DeeHekesÀ mebosMe keÀes ³eeo jKeves keÀer DeefOekeÀ mebYeeJevee jKeles nQ~ keÌ³ee DeeHe efkeÀmeer keÀes MeeyeeMeer osves keÀs yepee³e peevekeÀejer HesÀkeÀvee Hemebo keÀjWies pees Jes Yetue pee³eWies? cegPes ueie jne nw mece³e De®íer lejn mes efyelee³ee! August - September 2017 SCREENTEX |

Glitter

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

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

GLITTER POWDER Glitter Powder is Made from 12, 24 micron polyester film in size 0.05 mm (0.002â&#x20AC;?) Hex/square by German Technology in many beautiful colors namely Metallic, Holographic, Irridiscent, Florescent and Formaldehye free coated color as per specific requirements of consumer.

METALIC FIBERS Metallic Fibers are cut length of Metallic Yarn from 0.3mm x 1.5mm length or as per customer requirement

ADVANCE SYNTEX LIMITED 233/2 & 238/2 GIDC Por, RamanGamdi, Dist.: Vadodara â&#x20AC;&#x201C; 391243, Gujarat, Phone : (0265) 6536463 , (0265) 2831400. Fax : (0265) 2831848 Mobile : 09824 050782 Email : midas1002003@hotmail.com / midasglitter@midasglitter.com website : www.midasglitter.com SOUTH DISTRIBUTER : M/s Honnex Inc. - 21, Easwaramoorthy lay-out,1st street , kuruvumpalayam, Tirupur- 641604, Tamilnadu. Phone : (0421) 4342588 Email : sales@honnexinc.com

EVENTS CALENDAR

NATIONAL OCTOBER 2017

JANUARY 2018

26 - 28 October 2017 PACPROCES INDIA 2017

26 - 29 January 2018 KNIT WORLD 2018

India’s Leading Show on Processing & Packaging.

North India’s Leading Show on Knitting & Garment Industry.

At : Pragati Maidan, New Delhi.

At : Dana Mandi, Bahadue Ke Road, Ludhiana, Punjab.

www.pacprocess-india.com

www.knitworldexhibition.com

NOVEMBER 2017

FEBRUARY 2018

01 - 04 November 2017 PAPEREX INDIA 2017

02 - 04 February 2018 SIGN INDIA 2018 MUMBAI

India’s Leading Exhibition on Pulp, Paper & Allied Industries .

Leading Show on Advertising & Signage Industry.

At : Pragati Maidan, New Delhi.

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

www.paperex-expo.com

www.businesslive.in

03 - 05 November 2017 SIGN INDIA 2017 CHENNAI

03 - 06 February 2018 KNIT VISION

South India’s Leading Show on Advertising & Signage Industry.

Leading Show on Garment Machinery Technology Exhibition.

At : Chennai Trade Centre, Chennai, Tamilnadu.

At : Dana Mandi, Bahadue Ke Road, Ludhiana, Punjab.

www.businesslive.in

www.knit-vision.com

03 - 05 November 2017 GARKNIT X 2017

22 - 24 February 2018 MEDIA EXPO 2018 ( MUMBAI )

Leading Show on Garment & Apparel Technology.

Leading Expo on Advertsing & Signage Industry.

At : Science City, Kolkata.

At : Bombay Exhibition Centre, NSE Complex, Goregaon (E), Mumbai 400 063.

www.vardaanevents.in

www.mediaexpo-mumbai.com

16 November 2017 DIGITAL TEXTILE SYMPOSIUM Leading Conference on Digital Textile Printing. At : The Lalit, Mumbai. www.inkjetforumindia.com

DECEMBER 2017 01 - 02 December 2017 INSIDE 3D PRINTING EXPO 2017 Leading Expo on 3D Printing Industry.

MARCH 2018 07 - 09 March 2018 INDIAN CERAMICS 2018 India’s Leading Show on Ceramics Industry. At : The Exhibition Centre, Helipad Ground, Gandhinagar, Gujarat. www.indian-ceramics.com

At : Nehru Centre, Worli, Mumbai.

09 - 12 March 2018 PACKPLUS SOUTH 2018

www.inside3dprinting.co.in

Leading Show on Packaging Industry.

07 - 10 December 2017 ITMACH INDIA 2017

At : HITEX, Hyderabad, Telangana. www.packplussouth.in

International Expo on Textile Machinery & Accessories. At : Helipad Exhibition Centre, Gandhinagar, Gujarat. www.itmach.com 18 - 21 December 2017 PAMEX 2017

MAY 2018 04 - 06 May 2018 PRINT & PACKTECH EXPO 2018 Leading Show on Printing & Packaging Industry.

International Exhibition on Printing & Packaging Industry.

At : Prabhakar Kore Convention Centre, Bangalore, Karnataka.

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

www.printandpacktechexpo.in

www.pamex.in

| SCREENTEX | August - September 2017

EVENTS CALENDAR

INTERNATIONAL OCTOBER 2017 04 - 08 October 2017 PRINT TEK 2017 Turkey’s Leading Show on Print & Paper Technologies. At : Tuyap Fair & Congress Center, Istanbul, Turkey. www.printtekistanbul.com 05 - 08 October 2017 VIETNAM PRINT PACK FOODTECH 2017 Leading Expo on Printing & Packaging Industry. At : SECC, Ho Chi Minh City, Vietnam. www.vietnamprintpack.com 06 - 08 October 2017 GHANA AGRI & FOODTEC 2017 Africa’s Leading Show on Food Technology. At : Ghana International Trade Fair Centre, Accra, Ghana. www.ghanafoodtec.com 06 - 08 October 2017 GHANA PLAST 2017 Leading Show on Plastics Industry. At : Ghana International Trade Fair Centre, Accra, Ghana. www.ghanaplast.com 10 - 12 October 2017 SGIA 2017 Leading International Exhibition on Screen & Graphic Imaging Industry. At : New Orleans, LA, USA. www.sgia.org 11 - 14 October 2017 TAITRONICS 2017 Taipei International Electronics Show. At : TWTC Exhibition Hall, Taipei, Taiwan. www.tradefairdates.com 11 - 13 October 2017 THE PRINT SHOW 2017 UK’s Leading Expo on Printing Industry. At : The International Centre, Telford, U. K. www.theprintshow.co.uk

| SCREENTEX | August - September 2017

Arrow PHOTOS O NName in One i INDIA for f Stock Images, Templates, Software & Tutorials We manufactures high resolution, ready to use stock images and templates. We also provides stock images, which are used for Advertisement, Fonts, Logos, Clip-Arts, Brouchers, Visiting Cards, Wedding Cards, ID Cards, DTP Purpose, etc. For more details Contact :

Arrow Multimedia

3, Mount Road, Shop No. 10, City Center Plaza, Chennai 600 002. E Mail : arrowmultimedia@yahoo.com

Mahedra M h d SSethia h - 92824 37480

| SCREENTEX | August - September 2017

SR INDIA Coimbatore Office : Mr. Ramesh Ganduri : rameshganduri@gmail.com: +91 9994455149

AD INDEX Advance Syntex (P) Ltd.

Kishore Brothers

Aeon Commercial India (P) Ltd.

Kumar Textile Industries

And Global Sales Corporation

Kunal Enterprise

Arrow Multimedia

Mac Dermid Autotype Ltd.

Astra Chemtech

Meetesha Enterprises

Balaji Chemicals

NBC Japan

Beauty Flex

Omkar Engineering

Blue Coat India Pvt. Ltd.

Paper Ex 2017

Cheran Machines I Pvt. Ltd.

PAMEX 2017

Colours World

Photokina India Pvt. ltd.

Ratan Industrial Engineering

Duratech Automation (P) Ltd.

03,47

Dakota Chemicals India Pvt. Ltd

SAi 35

Epta Inks India Pvt. Ltd.

Sefar Switzerland

Febchem Pvt. Ltd

Shriram Enterprises

GARKNIT KOLKATA

Smilex International India

GARKNIT TIRUPUR

Sneha Enterprises

Garmentech Bangaldesh

Sparkle Foil N Film

GTE 2017

Spoorthi Technologies

Hari Impex

SunShine Graphics

Imprint Solutions

Vee Jain Dyes and Chemicals

J N Arora & Co. (P) Ltd.

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

| SCREENTEX | August - September 2017

Mob +91 7400451521 arvind.singh@sefar.com