JUNE - JULY 2017 by Jignesh Lapasiya

Vol : 07 • Issue : 04 • June - July 2017

Pages : 68

INTELLIGENCE

IS THE ABILITY

TO ADAPT TO CHANGE

INKJET SOLUTIONS

The complete Sublimation Printing Solutions Dye Sublimation Printer

Flat-bed Transfer Machine

DYE SUBLIMATION PRINTING SOLUTIONS

Roll-to-Roll Transfer Machine

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

SBT

Shri Balaji Traders

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

Lenticular Sheet

Screen Printing Emulsion Photokina Chemical Product & Any Coating

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

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

Screen Printing Mesh Nylon / Polyester

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

| SCREENTEX | June - July 2017

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

FORWARD

Vol : 07 • Issue : 04 June - July 2017

PUBLISHER / EDITOR IN CHIEF

Jignesh Lapasia +91 98679 78998 MANAGING EDITOR

Supreeth Sudhakaran ASSOCIATE EDITOR

Sonal Shah

Intelligence to adapt change is by not being ‘myopic’

LAYOUT DESIGNER

The world is changing; and it’s changing faster than we ever imagined. Iam sure you must have seen/heard Sophia. Sofia is an android with emotions, which can recognise and repeat over 60 human expressions. David Franklin Hanson, Jr., the creator of Sophia is an American robotics designer and researcher. He was previously associated with Walt Disney Imagineering. Bill Joy, the co-founder of Sun Microsystems, was famous for saying, “Not all smart people work for you.” One of the most important acumen of a good CEO is to intelligently prepare for change. The idea is to shelve myopic view of things and carve a growth path for the future. As I write this editorial, I know for sure that we have lost one such great leader, HV Sheth ji. His vision was never myopic; he wanted the print fraternity to collaborate, to unite and to be the force that will be recognised at least in Asia. Sincerely hope that his vision and dreams are fulfilled by the community soon. Drawing you to this edition of ScreenTex, we have Mono Chem Graphics in the limelight. Laurel Brunner continues with her focus on sustainability with her views on textile printing’s waste problems, and Andy Rogers dives to figure why everyone is falling in love with print again. Simon Eccles explores opportunity beyond the IoT in printed electronics and smart systems, and also gives a detailed article on reproducing photographs and other artwork for very large format printing. We also have a technical write up on LED vs. traditional UV curing. And as we wrap it up, here are few lines in memory of HV Sheth ji from the iconic film Anand:

Pravin Gohil GRAPHIC DESIGNER

Preetam Shetty WEB SUPPORT

Pratik Shah REPRESENTATIVES HYDERABAD

Arihant Sales Dinesh Chauhan +91 93469 51232 KANPUR

Sandeep Keshari +91 98391 23611 +91 93363 32742 Ritesh Agarwal +91 93355 89233 DHANBAD

Roshan Agrwal +91 93340 49625 NAIROBI - KENYA

Darshit +254 722 737413 +254 733 621761 PRINTED AT

Om Sai Printer, Mumbai MEMBER OF

Doobti nabzon mein jab dard ko neend aane lage Zard sa chehra liye chaand ufaq tak pahunche ... Din abhi paani mein ho, raat kinare ke kareeb Na andhera ho, na ujala ho ... Na aadhi raat, na din Jism jab khatm ho aur rooh ko saans aae ...

All material printed in this publication is the sole property of SPRY MEDIA. Reproduction in any manner is prohibited. SCREENTEX is a bi-monthly printed and published by Jignesh Lapasia. All printed matters contained in the magazine are based on information from those featured in it. The views, ideas, comments and opinions expressed are solely of authors, SCREENTEX does not subscribe to the same.

SPRY MEDIA 702, Jugal Apartment, Liberty Garden, Road No 3, Malad (W), Mumbai 400 064, Maharashtra, India. Mobile : +91 98679 78998 E Mail : jignesh@screentex.in • Website : www.screentex.in

| SCREENTEX | June - July 2017

CONTENT ADVERTORIAL

Shaping ideas: Signnovation uses EnRoute from SAi to create signs of distinction

GUEST COLUMN

32 38

Artefacts and how to tame them Why everyone is falling in love with print again

TECH WATCH

Textile printing’s waste problem

LIMELIGHT

Diversification is on the cards: Man Mohan of Monochem Graphics

TECHNOLOGY

46 50

LED vs. Traditional UV Curing

Opportunity beyond the IoT: Printed electronics and smart systems

ìskeÌveesuee@peer

56 58

cesjer ¢ef<ì cesjs ¢ef<ìkeÀesCe keÀes ÒeYeeefJele veneR keÀjleer-ÞeerkeÀeble yeesuee (yeesueebì Fb[mì^er]pe) uewecf evesMeve kesÀ efueS Deuìercesì ieeF[

June - July 2017 SCREENTEX |

NEWS

Double-digit growth forecast for digital textile printing According to a 2013 InfoTrends study, the global digital textile printing industry is worth around £115 billion (approximately $148 billion US) and growing. In fact, the value of digitally-printed textile garments, décor, and industrial products is more than £7 billion (approximately $9 billion US). What’s more, the five-year forecast for digital textile printing equipment, and ink sales projects a 39% growth by 2018. According to the FESPA Print Census in 2015, textile substrates were making significant inroads in the signage and graphics space,

with 67% of PSPs observing sustained growth in soft signage. In the visual-communication sector, the increased interest in printing on textiles seems to stem from two key considerations; aesthetics and economics. As an alternative to PVC vinyl and rigid materials, printed textiles are versatile and appeal strongly to commercial customers. They typically find the softer, sleeker look and feel and more natural, fluid movement of textiles aesthetically appealing – whether for soft signage and graphics in retail, hospitality, or event environments. Economic drivers are of course also influential; textile substrates can be less costly to store and transport, and can lend themselves more readily to re-use than rigid materials. This is attracting particular interest in the events industry, where stand designers and builders are seeing textile as a flexible, lightweight alternative that’s easier and cheaper to transport, construct, and de-mount.

Clearly the shift toward digital textile printing is also enabling new levels of customization and increased design complexity which – together with digital’s inherent just-in-time advantage – can be expected to fuel further growth. Investment, particularly into digital-textile technologies, remains high on the agenda for many PSPs; at FESPA 2017, there were a number of significant announcements of new textileprinting solutions from many vendors and developments in soft signage a dominant topic of discussion with visitors. Oliver Luedtke, director for marketing in EMEA at Kornit Digital Europe, observes that the trend to print shorter production runs continues, yet quality requirements remain high. He also identifies the impact of web-toprint business models on the sector, explaining that Kornit’s most successful customers receive their orders online and work with designs and business models that enable higher than average margins.

Xaar launches Customer Waveform Tool to help printer OEMs Xaar has developed a Customer Waveform Tool (CWT) to help its OEM customers deliver Xaar-enabled print systems ‘highly tuned’ to each customer application. End users buying machines that have been developed using the CWT can expect to see a higher degree of print performance, according to Xaar, while the new CWT will also provide more development flexibility and decrease timeto-market for OEMs developing new printers.

| SCREENTEX | June - July 2017

Waveforms are electrical drive signals that are applied to the channel walls inside a printhead to create a movement. This in turn produces the acoustic (pressure) waves used by most of Xaar’s printheads to eject the ink or fluid from the nozzles. The new CWT is said to enable Xaar’s customers to finely tune these electrical drive signals in-house to produce jetting characteristics. The new CWT is available to Xaar’s OEMs and ink partners at two levels: authorized or certified. Authorized

practitioners can develop and test waveforms for internal use, and Xaar will then approve them if external distribution is required. OEM and ink partners who meet certain technical criteria can become certified practitioners, which means they are technically qualified to develop and distribute waveforms as well as delivering service level CWT support. Xaar said it will continue to work closely with its select partners to ensure quality, consistency and maximum added-value to its customers and markets.

NEWS

Konica Minolta launches Professional Print Division Konica Minolta has launched a Professional Print Division in Europe for which it has appointed a new general manager. The new division has been created to reflect the growing importance of the industrial and commercial printing sectors. Konica Minolta has a stated aim of replicating its success in the mid-production colour printing sector in the industrial printing market. Key industrial applications such as label and packaging are the focus of Konica Minolta’s research, as

evidenced by its development of new printing technology and partnerships with companies such as MGI Digital Technology. In recent years, the company has increased its presence in industrial markets with the launch of its AccurioJet KM-1 UV inkjet sheet-fed press and bizhub Press C71cf on-demand label printer, as well as other developments in packaging and professional printing sectors. Indy Nakagawa, president of Konica Minolta Business Solutions Europe, said: “The new division has been established to further support these with dedicated knowledge, expertise and leading-edge solutions.” Charles Lissenburg is to

lead the Professional Print Division as general manager, and said: “There are huge new opportunities within industrial and commercial printing markets which we seek to capitalize on. As we continue to grow our unique approaches into the high-end commercial print and industrial markets, it is key that we provide customers with insight and business tools to enable them to capture new market opportunities.” “The Professional Print Division aims to expand its digital printing business by leveraging its technologies to meet the need for high-mix, small-quantity variable production and short lead times, and by offering solutions to enhance printing operation efficiency.”

Industry mourns the loss of a visionary It is a huge loss for the industry. A void that shall remain in our hearts for years to come. HV Sheth ji, the founding member of IPAMA and owner of Sheth Printograph attained heavenly abode at his residence in New Delhi on 27 July 2017. He was also the current President of IPAMA. In May, he was Sheth was elected the president of the Asia Print Association during China Print. Sheth ji’s journey -- from learning letter press printing at his father’s printing house to being the owner of a company that produces excellent print finishing packaging and converting machines-- is a story of perseverance and determination. Sheth Printograph or its brand DAYA has been serving the Indian print packaging industry since the last five decades. In this period, the company expanded its operations 45

countries — from a humble beginning as a trader for machine to a manufacture. Daya started operations as a trader for machines in 1963. In the ’70s they started exporting the machines. The market was growing at a healthy pace and they realised that the future for postpress, converting and finishing is bright owing to the changing consumer preferences. In 1980s, they had our manufacturing unit set-up. Sheth was a visionary who wanted nothing but the development of print fraternity. His views on the policies of the government, the best (and not so good) practices prevailing in the print industry were insightful and truthful. “I have only met a handful of people who are so committed towards building the print

fraternity as much as Sheth ji did. During a recent IPAMA meeting in which I was present with him, he was determined to connect different print and allied associations to make the next Printpack nothing short of the biggest print event for Asia. I am sure the committee will continue to work in the direction, but we shall all feel the vacuum of his vision and direction,” says Jignesh Lapasiya, publisher, ScreenTex.

June - July 2017 SCREENTEX |

NEWS

Canon adds varioPRINT 140 to monochrome print collection Canon has launched a new series of mono production printers, which it said deliver “substantial productivity gains” over the devices they replace. Canon Europe has expanded its range of monochrome print solutions by launching the varioPRINT 140 series of production printers, in a move the manufacturer said demonstrates its “continued commitment” to this area of the industry. The variant is also expected to hit the Indian markets soon. The new varioPRINT 140

series can print at speeds of up to 143 images per minute in simplex and duplex modes, with the ability to deliver monthly print volumes of up to 800,000 copies – more than double that of the existing varioPRINT 135. Other features on the new solution include options for various, in-line finishing options, including stapling, saddle stitching, folding, die punching, inserting, ring binding and highcapacity stacking. For example, the new W1 booklet finisher offers a new saddle stitch option for flat finished booklets, while Canon said the upgraded F1 booklet trimmer will help users to enhance their cutting options. The varioPRINT 140 will also have the new Océ PRISMAsync 5

controller, which Canon said will allow customers to use remote printer driver technologies to plan production and schedule jobs up to eight hours in advance. Other options include new impositioning possibilities, such as layout, trim and cover, alongside an embedded JDF/JMF interface. In addition, users will benefit from the open Document Finishing Device (DFD) Interface that Canon said allows for in-line connectivity to, third-party finishing devices, which in turn means the varioPRINT 140 can be introduced into an existing production setup. The varioPRINT 140 will launch alongside the varioPRINT 130 and varioPRINT 115 models, which boast operating speeds of 133 and 117 A4 images per minute, respectively.

HP upgrades its latex printing range HP used its appearance at FESPA 2017 to launch two midrange Latex printers as well as a series of enhancements to its PageWide printers and an automated feeder for its flagship HP Scitex 17000. The new 180sqm/hr 3.2m-wide HP Latex 3600 and 3200 offer the headline speeds and image quality as the 3500 and 3100 machines they replace, but

| SCREENTEX | June - July 2017

due to a significant number of enhancements they offer a 30% productivity boost on the old machines. “A lot of the focus was based on improvements requested by customers. Some of the very heavy installations, where customers are producing huge volumes, gave us a lot of good feedback,” said Michael Smetana HP head of marketing, Graphics Solutions Business EMEA.“ With these new machines, we are reinventing the mid-volume portfolio,” he added. New features on the sixchannel machines include a special tiling mode, offering full colour consistency for tiled jobs and reduced media wastage when changing media type. The company has also further enhanced ease of use and automation, which means one

operator can now comfortably operate up to four of the roll-to-roll devices. HP has also improved the 3600’s ability to run overnight by beefing up the roll feed mechanism so that it can handle single rolls up to 300kg or two 200kg rolls and enlarging the ink tanks to 10 litre. Both devices also feature a new automated printhead maintenance routine. Both also now feature HP Service Centre, which analyses live data to predict technical issues and minimize downtime. “All of these combined means the machines can truly run 24/7 if you want them to, because we have enhanced uptime and performance” said Smetana. The superseded 3100 and 3500 machines are field upgradable to the new 3200 and 3600 specifications respectively.

NEWS

Flint Group launches XCURA EVO UV LED sheetfed ink Flint Group has launched its latest version UV LED process inks, XCURA EVO. “EVO” is short for evolutionary,” explained Trevor Amps, Global Product Management Director for Energy Curing inks. “This signals a step change from our world renowned XCURA formulations which, for the past four years, have served our customers. XCURA EVO is our next generation offer to the UV LED and low energy sheetfed market” “More and more sheetfed press manufacturers are heading their technology development with LED and low energy curing, and we see growing

numbers of retro-fit conversions from lamp providers and OEMs as well,” stated Amps. “Some of the main drivers encouraging commercial printers to switch to UV LED are improved efficiency, reduced energy costs and the ability to break into new markets. ” Based on the new energy curing “Platform Technology” that premiered in May 2017 with UltraCURA Sens Low Migration process inks and bases, XCURA EVO is created out of the new resin technology system, which delivers increased stability and performance consistency. Dario Zarantoniello, UV Inks and Coatings Technical Manager who managed field trials of the new inks said, “We tested EVO on all the main presses and many

formats, straight and perfecting, with and without IPA, highest production speeds and quality standards and we drew critical comparisons against our existing products and all of our main competitors.” “XCURA EVO is the second global launch this year to be created with these unique formulations,” Amps said. “As well as all the improvements Dario just mentioned, one more main impact from EVO is the low waste generated thanks to excellent transfer properties on all substrates. Considering we are the only manufacturer offering just one product for both UV LED and the low energy systems, I think we’ve come up with an excellent new product that will prove to be a real winner!”

Baldwin launches PREPAC for automatic blanket cleaning Baldwin Technology Company has announced the launch of PREPAC Advanced and PREPAC Advanced UV, the next generation of pre-impregnated cleaning solutions for automatic blanket cleaning systems. These products are part of the latest additions to Baldwin’s portfolio of customized and optimized solutions for printers that keep their specific needs, and their bottom lines, in mind. PREPAC Advanced and PREPAC Advanced UV feature a new cloth with an open weave design that has been customengineered by Baldwin specifically for the North and South American markets. This innovative material, combined with Baldwin’s unique solvent technology, provides the best cleaning performance on the market, offering enhanced solvent

| SCREENTEX | June - July 2017

transfer and absorbency for customers. “Our new product development team has developed a breakthrough formula within the PREPAC Advanced portfolio to meet the printing industry’s increasing demand for shorter runs, improved quality and slimmer-staffed organizations,” said Birger Hansson, Vice President of Business Development at Baldwin. “We are proud to offer customers increased productivity and efficiency, along with outstanding print results and a reduced environmental impact.” As a leading global supplier of equipment for the printing industry, Baldwin introduced the first PREPAC pre-impregnated cleaning cloth system in 1995, and customers worldwide now use this, highly effective and

environmentally efficient product line. PREPAC Advanced and PREPAC Advanced UV are the latest developments in Baldwin’s long history of continued research and development. The company also offers dry-to-wet conversion programs for printers wanting to utilize the benefits of PREPAC technology.

NEWS

Mouvent launches 8-colour digital textile printer Mouvent – a new company founded by a joint venture between BOBST and Radex focused on digital print using pioneering digital technology – has announced the launch of its first printer. The TX801 is an 8-colour digital textile printer producing high print quality on textiles with up to 2’000 DPI optical resolution, and is associated with unmatched printing speed. “This is a major step forward in textile printing,” said Ghislain Segard, Marketing & Sales Manager, Textile Machines at Mouvent. “The TX801 enables crisp, colourful, very high printing quality in a cost-effective way for short to medium print runs on a wide range of textile materials. Not only is this machine a major advance

on traditional textile printing but also on existing digital methods, with a noticeable leap forward in quality, industrialization and reliability.” The TX801 prints with up to 8 colours and, even though it is a scanning type machine, up to 50% of the print jobs are completed in a single pass, boosting productivity up to 200 m2/h or 120 m/h without compromising on quality. The TX801 utilizes an ingenious, very compact proprietary print engine development, integrating Fuji’s Samba print head technology. This is associated with speed, precision and scalability, deploying up to 16 g/m2 of ink in a single pass. The engines are based on the MouventTM Cluster,

which results in high optical resolution and a very high printing quality. The machine can print onto knitted, woven and non-woven textiles. The maximum fabric width that can be processed is 1,800 mm with roll diameters of up to 400 mm. “The TX801 also has a very competitive price per square meter compared with basic digital printers, but with unrivaled print quality,” said Ghislain Segard. “We believe it will change the face of digital textile printing.” The TX801 is the first printer to be launched by Mouvent, the digital printing competence center of BOBST. The company has a full product pipeline of digital printers which will be unveiled in the months ahead.

MacDermid Graphics Solutions appoints Sr VP & GM MacDermid Graphics Solutions, a division of MacDermid Performance Solutions, has announced the appointment of Melanie Galloway as Senior Vice President and General Manager, effective immediately. Based in Atlanta, Melanie is responsible for the global Graphics Solutions business and charged with leading the organization to continued success, providing innovative technology like LUX flat-top dots which enable flexo printers to increase print quality, improve print consistency and, at the same time, print more efficiently and reduce waste. With over 20 years of global commercial leadership and senior management experience, Melanie brings a wealth of knowledge to both MacDermid Graphics (MGS) and Performance Solutions (MPS).

| SCREENTEX | June - July 2017

Prior to joining MGS, Melanie began her career with FMC Corporation working for 8 years in commercial and management roles. Melanie then spent 12 years with Kemin Industries, a specialty chemicals manufacturer, in a series of senior management roles with increasing responsibilities, including the Global President of Kemin’s Food Technology business. Melanie also held the position of CEO for Universal Cold Storage and Pasteurization, a service company headquartered in Atlanta, offering high pressure processing and cold storage services for the food industry. Most recently, Melanie was the Global Director of Marketing and Strategy for J.M. Huber Corporation based in Atlanta. “Melanie is a very dynamic,

hands-on leader with a proven track record of success,” stated Scot Benson, President of MacDermid Performance Solutions. “She is a well-known and highly regarded sales and marketing executive with a wealth of experience leading global technology businesses. I am very happy to welcome Melanie to our management team.” Melanie earned a Master of Business Administration from Duke University’s Fuqua School of Business and a Bachelor of Science in Chemical Engineering and Pulp and Paper Technology from North Carolina State University. She resides in Atlanta with her husband and is an active member of the community involved in local boards and service organizations. In her position as MGS SVP and GM, she will be reporting to MPS President, Scot Benson.

NEWS

Screen-printed batteries for renewables on the way Ultra-thin, flexible screenprinted batteries for cheap portable devices and intermittent renewable energy are closer to reality, thanks to a joint UNSW-University of Queensland project to further develop technology by battery energy storage firm Printed Energy and bring it to market. Backed by the energy innovator and philanthropist Trevor St Baker, founder of ERM Power and creator of the St Baker Energy Innovation Fund, Printed Energy is a Brisbane company with patented technologies in printing batteries and photovoltaics and a laboratory in Arizona focused on energy storage and materials science. The $12 million project received a grant of $2 million from

the Cooperative Research Centres Projects scheme, announced by the Minister for Industry, Innovation and Science, Senator Arthur Sinodinos, that will allow the partners – including Sunset Power International and Sonovia Holdings – to accelerate the technology. Printed Energy’s solid state batteries are a thin, flexible format – printed in a roll-to-roll process like a newspaper – that can be adapted to almost any shape. It has potential applications in powering everything from disposable medical devices, smart cards and wearable electronics to large-scale solar panels and energy storage. “The highly innovative technology is ideal for powering sensors, devices for the Internet or Things, disposable healthcare devices and eventually, even for large-scale application to help manage the intermittent nature of electricity generated by solar panels,” said Rodger Whitby, CEO of Printed Energy and of the St

Baker Energy Innovation Fund. Mark Hoffman, UNSW’s Dean of Engineering, agreed. “Storage has been the missing piece of the puzzle when it comes to renewable energy. ” Chris Greig, director of University of Queensland’s Dow Centre for Sustainable Engineering Innovation and the UQ Energy Initiative, said. “Australia has seen a decline in manufacturing industries in recent decades. This technology represents not just an opportunity for us to be involved in cuttingedge science and innovation but presents a real opportunity for the next generation of Australian manufacturing. First applications of the technology will be in small-scale devices, with development work in large-scale uses to be explored by the partners over the next three years, relying on Printed Energy’s proprietary designs. UQ’s the Dow Centre will coordinate the research effort, with UQ’s Lianzhou Wang and UNSW’s Da-Wei Wang driving the development.

Quark acquired by Parallax Capital Partners Quark Software announced today that it has been acquired by Parallax Capital Partners, a Southern California-based software-focused private equity firm. The new owners intend to help Quark accelerate the adoption of its transformational content automation solutions through investment in organic growth and acquisitions. Recently selected as a Gartner Cool Vendor in Content Services and a 2017 SIIA CODiE Award finalist for Best Multi-Channel Publishing Platform, Quark has quickly emerged as a global leader

| SCREENTEX | June - July 2017

in content automation. “Quark is having a transformational impact within a wide range of industries, completely redefining how organizations create, manage, publish and deliver business-critical content,” said James Hale, Managing Partner at Parallax. “This is a company with outstanding talent and leadership, innovative technology and acclaimed customer base. Parallax is looking forward to bringing its experience and expertise to help Quark take its enterprise content automation business to the next level.”

“I couldn’t be more proud of our employees and customers in reaching this milestone,” said Quark President and CEO Ray Schiavone. “Quark has achieved what so many established brands fail to, which is to reinvent our company in the face of insurmountable odds. Through content automation, today Quark enables some of the world’s largest organizations to transform customer experience, reduce timeto-market, improve compliance, and reduce costs. In Parallax we believe we have a partner that shares this vision for organizations to realize the true value of their content.”

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

QUICK BYTES Domino announces launch of K-Series white digital printer Domino Digital Printing Solutions is set to launch the new K600i White digital print module. Featuring a new state-of-the-art ink management system while utilising a heavily pigmented UV curable white ink, the K600i White is targeted primarily at printers looking for a digital alternative to screen printing. 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.

Onyx 12.2 now released

and rotation directly from the file-open dialogue before sending jobs to the RIP-queue.

GEW appoints Director - International Sales

The latest version of Onyx Graphics’ software features improved RIP and data transfer processing speeds, new multi-roll functionality, job scaling and rotation, and cut workflow enhancements. Highlights of the new software include: a new multi-roll user interface that delivers an interactive workflow showing a live view of loaded media with automated roll selection between jobs in the RIP-queue, and enhanced media and page size handling to streamline printer configurations and job setup. A new user-interface shows device-specific information based on bi-directional data including easily visible ink levels, printer status and media information. Cutting workflow updates include the ability to handle multiple cut-path prefixes and duplication of cutter device settings, enabling greater automation. Production time is reduced and workflows are streamlined with job scaling

GEW, the British manufacturer of UV systems for printing and converting machines, announces the appointment of Marcus Greenbrook as its new Director, International Sales, with immediate effect. Marcus will be responsible for contributing to GEW’s overall strategy and will oversee worldwide sales, strategic business partnerships and marketing reporting to Malcolm Rae, Managing Director at GEW.

Memjet hires Eric Owen as General Manager Commercial Print Memjet has announced that Eric Owen will join the company as general manager in the commercial print business unit. In this role, Owen will oversee the sales, marketing, and distribution activities

| SCREENTEX | June - July 2017

that will increase awareness and adoption of Memjet’s single-pass inkjet technology in high-volume commercial print and packaging markets. Owen brings a wealth of expertise to this new role.

For over twenty years, he has held global leadership roles overseeing sales and business development at Eastman Kodak Company. Most recently, Owen was responsible for worldwide sales and marketing activities in Kodak’s Enterprise inkjet systems division.

Since the launch of the flagship Massivit 1800, the company has also grown its worldwide distributor network, now 25-strong, to provide full customer service support and training. The Massivit 1800 empowers companies to produce attention-grabbing applications that surpass those created using traditional methods, while also enhancing their competitive edge.

RISO Partners with EFI, launches ComColour GD Series Printers RISO customers have a new range of capabilities for highvolume, high-performance, variable data print production with the release of the first EFI Fiery digital front end (DFE) for RISO printers. Running on the latest, award-winning Fiery FS200 Pro platform,

Massivit 3D Achieves 350% since its drupe launch Massivit 3D Printing Technologies today announced that its business has grown by almost 350% since the launch of its Massivit 1800 3D Printer at drupa 2016. The exponential success has seen the company secure over 30 customers from 15 countries on five continents.

the new DFE provides centralized job and colour management that unleashes the full potential of RISO’s

QUICK BYTES Paper N Films International offers coating for water-proof paper Paper N Films International has started promoting its range of water repellent coating for waterproof paper. Paresh Shah, owner of the Paper N Films, said, “We can supply water base coating for making all types of paper and board waterproof easily, which enhances life of paper and save valued documents from water and moisture damage.” He adds that the coating is of food grade and an environment friendly coating is used to make paper and board waterproof but still offset and laser printable.

for Phoseon’s global sales network. Michael brings over 25 years of experience in international sales, sales management and applications engineering from the UV and capital equipment industries.

affordable high-speed colour systems, running at 160 pages per minute. Leveraging the ubiquitous Fiery Command WorkStation, users can manage multiple printers or an entire shop from a single point for more streamlined and efficient operation, even in multi-vendor printing environments.

Phoseon Promotes Michael Beck to VP Worldwide Sales

Phoseon Technology today announced it has appointed Michael Beck as the company’s Vice President of Worldwide Sales. Michael will join the company’s senior management team, responsible for providing strategic direction

GST poses difficulties for textile sector Imposition of 5% GST on job work in the textile sector is expected to badly hit the industry across India, especially States like Karnataka that has a large number of garment and textile units. Earlier, the GST council had clamped 18% tax on job work but reduced it to 5% following protests. Textile job works such as cutting, embroidery, finishing, washing or pressing, packing, bleaching, dyeing, printing, knitting, and colouring has been brought under the 5% GST slab. Earlier, there was no tax for these works. Hanumanthe Gowda, KASSIA vice-president, who also runs a silk textile unit in Bengaluru, said the council has imposed 5% tax irrespective of the quantum of work. Powerloom and handloom units across the State and in particular in Ballari, Doddaballapur, Kanakapura, Ramanagaram, Chennapatna, HubballiDharwad, Belagavi, and Vijayapura will face severe difficulties. “About 90% job

| SCREENTEX | June - July 2017

work people are uneducated and will unable to file tax online,” Gowda said.

SPGPrints expands inkjet ink production capacity SPGPrints has doubled the size of its digital ink production facility at its Boxmeer, Netherlands, headquarters for the second time in two years. Scheduled to open in the final quarter of 2017, the expanded 1000m2 production facility is part of an €8 million capital investment programme. This will also include the building of the new Experience Center, dedicated to driving innovation in digital textile printing. The expanded facility is in close proximity to both SPGPrints’ research and development laboratories, and the corporate headquarters so that communication chains are short and decisions can be made quickly.

GST hits industrial production in Ludhiana Ludhiana, the industrial town of Punjab, is witnessing a slowdown in production after implementation of the GST. Printing industry dealing with box making, however, has almost stopped its production because of confusion over GST. Kamal Chopra, President of AIFMP said, “While we make

box, we use corrugated paper and folding paper for the same. Earlier, both were mentioned separately however in GST, only corrugated box has been mentioned at 12 per cent GST, while there is no mention of folding paper and hence we are in confusion as what will be the GST on folding paper. In the absence of this clarification, we are not able to make any bills and hence are not doing any production.”

Scotland’s PG Paper to invest 3 mn pounds, set up 3 mills in India Scotland-based PG Paper Company, which provides customised paper solutions, plans to invest 3 million pounds-sterling in setting up three mills to manufacture packaging paper in India by 2018. The three facilities will be come up in Delhi, Mumbai and in one of the southern states, Poonam Gupta, Founder-CEO told media. Gupta said she was into advanced stages of planning to set up the three mills which will go operational in 2018. Founded in 2003 by the Delhi-born, Scottish-Indian entrepreneur, PG Paper Company Ltd’s turnover in 2016 was 35 million pounds which is projected to increase to 50 million pounds in 2017.

The SPAI FESPA Awards 2017 is witnessing a wave of entries and therefore to judge the best works SPAI has appointed a jury of the finest print experts from the world. Here is a dekko at the jury list: Michel Caza, Screen printing Guru Born in 1935, Michel Caza is an acknowledged hi-tech screen printer since 1954. Michel Caza became the ‘wizard’ and considered the ‘Guru’ of screen printing. He owned several companies, the last big one was Graficaza (created 1983), devoted to industrial graphic screen printing and manufacturing POP/POS, until 2004 when he sold it. As the specialist and pioneer of UV technologies since 1976 for screen printing and 1996 for digital printing, he was also the very first to screen print 300 lines/inch (120/cm) halftones. He was involved in several other improvements of the screen printing technology such as stochastic screening, superimposition of flat tones, thixotropy of inks, very high tension of the screens, yellow coloration and calendering of fabrics, creation of several special effects, control of files, Certified PDF for screen printing, creation of ICC profiles, and others. One of the founders of FESPA (1962), Michel Caza has been 44 years one of its Board Member and its President between 1996 and 2002 and, since 1994, he was preaching for a total integration of the wide format digital printing by companies of which the ‘core business’ was screen printing, explaining that those technologies were complementary to each other.

Jacek Stencel, CMD, PASJA, Poland Jacek Stencel is involved with the printing close to 30 years. After graduating with honours from high school with general offset printing profile he started to work in screen printing ceramics factory. Founded in 1992, his company PASJA (means: passion) is a most innovative and reliable screen printing house in Poland, focused on special effects printing. In 2005 Jacek Stencel has become the president of Polish Screen and Digital Printing Association, a member of FESPA. He holds continuously this position till today. Since few years he is judging several printing contests including prestigious FESPA Awards. In 2016 Jacek was inducted in USA to The Academy of Screen and Digital Printing Technologies (ASDPT) as the first Pole and one of the few Europeans in this noble body.

Kamlakar R. Wadekar, Proprietor, Ace Printers, Mumbai Kamlakar R. Wadekar is often called the Badshah of specialty screen printing and he is truly an ace printer in value addition. With over 20 years (1997-2017) in spot UV and specialty screen printing, he is still going strong with 11 national awards since 2004. It’s but natural that he is a “Lifetime member of the FESPA Hall of Fame” He revolutionized the print finishing in India with the inception of his company Ace Printers - one of the only print finishing houses in India with a mammoth setup having a fleet of automatic screen printing machines (cylinder presses) with inline UV and semi-automatic screen printing machines. Kamlakar entered printing business in 1984 with offset printing and got into full-fledged screen printing in 1997 with semi-automatic screen printing line.

Lorenz Boegli, owner of Atelier fuer Siebdruck, Switzerland Born in Solothum, Switzerland, after his basic training in screen printing, he spent a year at Michel Caza's Graficaza firm in France in 1991. Later, he taught screen printing at the Superior School of Art in Bern. Boegli then conducted his own research on the relationship between the technologies of screen printing and offset lithography. When he founded Atelier fur Siebdruck, in 1992 in Zurich, he began to relate the two technologies to take advantage of both. Lorenz has been honored with several industry awards for the quality of his production work at both FESPA and SGIA International's Golden Image Award competitions. He was also a jury at SGIA, FESPA and Screen Printing Asia awards programs. He is also a Member of the Academy of Screen & Digital Printing Technology (ASDPT), USA. Lorenz Boegli possesses extensive experience of industrial products and brings his knowledge to bear wherever precise reproduction is at stake – advising paper producers and paint manufacturers but also in the packaging industry and mechanical engineering and electronics sectors.

Artem Nadirashvili Artem Nadirashvili, Moscow, Russia, is a multiple award-winning printer and a leader in the global screen and digital printing industry. He has been an active member of the Specialty Graphic Imaging Association (SGIA) and the Federation of European Screen Printers Association (FESPA) since 1993. In 1995, he established the Russian Screen-Printing Association (RSPA) and still leads it as the President. In 1989 he founded his own printing company, Midi Print, which specializes in high quality general screen-printing for advertising, POP, posters and postcards, industrial and decorative applications and textile printing. Since its inception, Midi Print has become a world industry leader not only in screen-printing, but in offset and digital printing as well. As a pioneer of screen-printing in the USSR and later in Russia, Artem has been taught by and collaborated with many world-famous screenprinters like Preben Nielsen, Lascelle Barrow and Joe Clarke. Artem is a student and disciple of the great screen-printing master, Michel Caza.

Narendra P, Chairman, Pragati Offset Narendra Paruchuri of Pragati Offset is one of the most known and respected printers from India. His family run business specializes in high quality offset printing and packaging with special focus on value-addition through utilisation of various print finishing techniques including screen printing. Pragati is also a recurring winner at many international and national awards. With an illustrious career spanning over 40 years, he has been known to be an expert in creating fantastic works that win awards. In fact, the brands he has worked for are his biggest and most vociferous advocates of the quality of works. His modesty shines through whenever he speaks. And so does his expertise about the technology. Nonetheless, he often refers himself as a ‘printing student’. He feels he may remain a student of printing throughout his life, as there is so much to learn. At his unit he drives productivity through the Kaizen -- a Japanese business philosophy of continuous improvement of working practices, and personal efficiency.

Bernie Banks. Technical Expert in Industrial Screen Printing, UK With over 40 years of rich experience in industrial & various other screen printing applications such as Electronics, Automotive, IMD, PCB, Graphics, Ceramic Decals & Tiles. Closely worked with Motorola's design team in Singapore to deliver the world’s first phone with front and back cover manufactured using the IMD process. He has set up a world class Technical Centre in Suzhou, China comprising of a class 10,000 clean room screen making and printing facility. Spent three years in China managing this Technical Centre and supporting the development of the IMD business with Nokia and their manufacturing partners Foxconn, Hi P and Jabil Greenpoint.

ScreenTex exclusively spoke with the key partners to gauge their reason to support the Awards.Here is what they had to say: Raghav Rao, SERICOL We want high quality screen printing to thrive in India. We want to encourage screen printers in India to be more creative and innovative. Printers need to differentiate between cost and value. The cost of ink though forms a very small percentage of the total print cost; it significantly enhances the value of the print. Consumables play an equally important role in producing high quality prints and hence one should not be neglected. Utilising such Award platforms helps the industry recognise talent, dedication and hard work of printers who strive to make screen printing maintain its relevance as an important print technology.

Raja, EPTA INKS INDIA This is a good initiative by SPAI and FESPA which will encourage Indian screen printers. Feel proud to be part of this event. This offers screen printers to get recognized for their fantastic works. Such events will also motivate other printers to work towards quality and set new benchmarks. Eventually this will bring an atmosphere of healthy growth to the industry. Epta Inks worldwide is striving a lot to bring the best of the finishing industry in all fields and will continue to provide all support in this regard. Any award winner reaps good appreciation and recognition. This in turn makes him well known in the market as a quality printer. Quality is always followed by good reputation, and eventually good business. At the show, we will be present with our FREE Series of non-PVC, non-phthalate plastisols, and range of solvent based inks for UV and pad printing.

Jayesh Shah, Indian Dye Sales SPAI is the only organisation in India working for the screen printing community. As a supporter of screen printing industry, it is our privilege to extend support for SPAI FESPA Awards. Garment printing industry is now changing to new technology with digital printing or screen printing with automatic printing machines. All garment manufacturers have been requesting for new development, soft feel, vibrant colours etc. for which printers have to adopt quality and reputed ink and machine manufacturers. The time has come to forego old system like table printing and give way to glass table printing and automatic printing machines. In last 5 years, I more and more garment screen printers have started sending entries to international award shows. After winning Awards, they certainly they get recognition among their clients and it also instils more confidence among them. At the show, we will be highlighting Matsui water-based ink, M2 digital garment printer, ThermTX sublimation transfer machine, and Go Tx digital fabric printer.

Aakash Sheth, Photokina Chemicals We believe that excellent output is a result of quality input. Since we research and develop screen making chemicals and auxillaries, we understand the requirements of these expert printers in getting such outstanding results in printing. Showcasing and offering these solutions at reasonable prices is a step we have taken to support our printers. SPAI FESPA awards are a benchmark of excellence! It is highest degree of recognition of work. Once accredited with a FESPA award, the printer gains the reputation of being established in the market. It certainly raises the standard of the printer in terms of his dedication towards work, respect and acceptability in the market. Innovation in methods of printing like quality of products used, the equipment used and the creativity in making these prints a reality is what makes a ‘perfect printer’! We believe that in changing demands of the world market, migration towards newer technologies in screen making and screen printing equipment is the important innovation parameter to be addressed. We will be present at the show with two star products from our basket: Capillary Film and Dual Cure Screen Emulsion. Both are exclusively manufactured by Photokina and offer high resolution printing definition in comparison to known imported substitutes. They are also reasonably priced in comparison to well-known traded foreign brands. This gives a boost to our printers' margins since costs of these products are lower.

Gurubakshish, Omega Marketing The screen printing industry in India has already started making strides towards industrial printing. This is the future. The Indian government has been making concerted efforts to make the Make in India initiative successful. This would mean that more and more companies would need to develop their products in the country, and screen printing industry can benefit from such a move. Therefore, we are going to highlight our IMD (In-Mould Decoration) inks from Germany, UV Varnishes and plastic bottle ink from France. Capilex EX for fine line printing and high performance films for membrane boards and fascia from MacDermid. We are one of the oldest companies in the screen printing industry in India, and are always up to promote screen printing technology. Our printer community are adept and equipped to produce brilliant works. Therefore, we wanted to support a platform that gives global recognition to excellence in screen printing. An award helps in boosting the morale of the printer, encouraging him to improve quality standards and work on innovative practices.

Akhil, Print Dynamic We will be present at the awards to highlight our Make in India project: Transfer film and PET film. The machine, material and coatings are made in India. The goodwill the association enjoys gave us the trust to be part of an award that is aimed at celebrating great works of the industry. SPAI has been living up to its expectation; helping in creating awareness about the industry. This gives printers a level playing field to showcase their excellence. The industry is changing. We have no choice than to accept digital. So it’s time the industry changes in accordance with the changing times. In India, building reputation and building business are two different things. Winning awards help you build reputation but finally you need to work on the cost matrix too to sustain in the market. However, awards is a form of reminder and encouragement for printers to be on a continuous journey of improvement and innovation.

Nilesh Savla, And Global Sales Corporation In India, Screen Printing industries are very old type of business. I think more than 80% printers are in very low level of doing printing, to play with their mind set is difficult but not impossible. I think with the effect of GST they are going to improve printer’s business style, but it also changes in their behaviour too. With the help of awards those winners earn better brand worth in the market and that pushes up the bargaining power of the printers. And those who has not participate but at least they see the how peoples are getting involve and doing well in screen printing.

Gautam, Print Life Packaging Solution This is a platform which opens new doors of business for us. So, we had to extend our support to such an initiative. I am glad to be associated. An award for any business is like a certificate of authenticity when presented by reputed and learned people of the industry. This gives clients assurance and we make better business in turn. However, I believe the industry should start focusing on digital printing and value additions which can be achieved through post presses. With a focus on reaching to the wide audience at the show, we are introducing new and improved packaging products like thick Metpet window boxes combined with duplex, Magnet boxes etc.

ADVERTORIAL

Shaping ideas: Signnovation uses EnRoute from SAi to create signs of distinction

“If you drive around the Netherlands, you will see our signs everywhere,” said Ramon Wiggers, head of planning at Signnovation International Dinxperlo BV. “It’s ironic, Signnovation is invisible, but our work displays the names of businesses all over the country.” While 80 percent of Signnovation’s work is in the Netherlands, it exports a large number of signs to Austria, Belgium, Denmark and Germany. The company’s ‘invisibility’ stems from the way it does business: its customers are other signmakers, not end-users. Signnovation has been in business for nearly thirty years, and has used SAi’s EnRoute CAD/

| SCREENTEX | June - July 2017

CAM software since the early 2000s to drive its two heavy-duty MultiCam 5000 routers, and its Cyborg 2030-SV-L-Pro purchased through Belgium reseller, Ketele NV. These three high quality CNC routers from our supplier in combination with the EnRoute software guarantee beautiful artwork and perfect finished signs. “We have four EnRoute licenses,” Wiggers said. “One for each of our routers, and one for emergencies – or a new machine!” Focusing on the job “All we do is make signs,” Wiggers explained. “Whether

they are 2D signs of acrylic or foamboard, or 3D channel signs1 with fabricated steel and aluminum bodies – that is all we do: letters, numbers and logos. We don’t do design; we don’t do installations. We focus on producing and shipping outstanding letters.” Wiggers is in charge of Signnovation’s planning department, and oversees all aspects of employees’ work, welfare and training as well as output quality, and machine performance – including future needs. “Since we work for a large number of signmakers – each working with many designers – from a wide geographical area, it’s not surprising that they have different ways of doing things. This is why we have developed one way of doing things, and we have built our success by following that method. Each customer has a single point of contact at the company who oversees the project from the moment it comes in to when it goes out the door. “As you can imagine, working with so many companies and designers, we receive files in all sorts of formats. We would prefer them as EPS or DXF files, but using EnRoute, we are able to handle just about anything,” he adds. Nonetheless, everything is checked to ensure that expensive substrates aren’t wasted, and that the job meets – or exceeds – customer expectations. The specifications for color, material, thickness, finish, and details like drainage requirements, are all set out on a standard form for the

ADVERTORIAL planners to check. “EnRoute is very good at finding errors in the files,” Wiggers said. “It won’t let the cutting start until the problem has been resolved. This feature prevents mistakes, cuts waste, and ultimately ensures more streamlined production.” The variety of tools available in EnRoute software actually goes well-beyond Signnovation’s needs. “We don’t cut wood, or make moldings, for example, but all the tools are there,” he said. “It’s a great software for us: it’s easy for people to learn; there aren’t too many settings, and with the displays it’s simple to see all that’s going on.” Reliable versatility EnRoute’s full CAD design handling capabilities and advanced 2D tool pathing and drilling ensure clean cuts, internally and externally.

Accurate inlays and channel cutting enable the realization of complex designs, and EnRoute even has the ability to include textures. The reliability of EnRoute is also very important to Signnovation. “We normally process between 60-100 orders per day,” Wiggers said. “That’s a lot of letters, and a lot of cutting to be accurately driven. EnRoute helps us to maintain consistent throughput, which helps get the orders out the door on time.” The typical materials cut with EnRoute software range from Dibond, Alupanel and PVC foam to acrylics up to 30mm thick. The signs themselves range from 70m overall, to ones with letters of only 1.5cm. As part of its innovative,

creative, culture, Signnovation has developed a number of its own substrates that suit its applications and meet its specifications for durability, translucence, color fastness and sustainability. All materials must be suitable for the myriad design variations and their unique challenges. “For one well-known Dutch company, we produced an illuminated logo six meters high,” he said. “You never know what kind of job is going to come in. It might be a big repeat job for a supermarket or furniture store chain that’s opening another branch, or it could be a small company that’s just opening and wants a special look. “Ketele NV not only supplied our large format printers, they are support our EnRoute software. There is also very good online support should we need it.

June - July 2017 SCREENTEX |

GUEST COLUMN

Artefacts and how to tame them by Simon Eccles

In last issue of the magazine we looked at how understanding and controlling resolution is vitally important if you’re going to be reproducing photographs and other artwork for very large format printing. This time we’re looking at other things that may affect image quality when viewed close-up, such as file compression and image sharpening. First though, we’ll consider what to do if you receive a job file that isn’t just a single photograph to be enlarged. Layout files and PDFs It becomes less easy to fix resolution and other image problems if the original images have been placed into a layout program, such as Adobe InDesign or Illustrator, QuarkXPress

| SCREENTEX | June - July 2017

or CorelDraw, where the photographs are combined with vector elements such as text and boxes. These programs don’t give you a numerical readout of the final pixel resolution of the placed page, though some (especially InDesign) will show a realistic preview that should predict a resolution problem as long as it is viewed at 100% onscreen. However some designers just lay out the correct job shape but not the final size, so that wouldn’t work either. Layout files are often sent to printers in the PDF format. The PDF essentially acts as a “wrapper” to display and print the images and other elements within it. If you have a PDF and need to check and increase resolution, you can use Adobe Acrobat Pro (or the current DC) to extract (ie “unwrap”) image files and save them separately, then open up the relevant ones in Photoshop to check and fix any resolution issues. It’s easier to use Adobe

Illustrator, which can open and edit PDFs with more tools than Acrobat provides. Acrobat can increase pixel counts in its Optimized PDF menu, but only by using “nearest neighbour” techniques so the quality isn’t improved. A dedicated PDF editor is preferable, of which Enfocus PitStop Pro is the most affordable (starting at €608 but with an annual subscription option of €261). This runs as a plug-in to Acrobat and provides an extensive set of manual and automatic editing tools as well as pre-flight checking. It has better interpolation tools than Acrobat (with Bicubic, Bilinear and Bicubic B-Spline, but you may still be better off exporting images, up-scaling or replacing them in a proper image editor, and then re-importing them. A lot of this repair work depends on how much time you’ve got, and whether the customer understands the principles of image quality enough that a printer can return bad images with a request that they’re fixed. Artefacts Apart from the issues of resolution, the other major two factors that affect image quality on major enlargements include whether (and by how much) the images have ever been sharpened and whether (and again by how much) the lossy JPEG file compression has ever been used on the image. Both can produce visible effects and patterns in the image that become painfully apparent if the image is subsequently enlarged a lot. Typically you’ll see

GUEST COLUMN pale or dark haloes along edges, blurring of detail and square blocks in what should be smooth gradations such as sky colours and skin tones. Ideally, an image destined for large-format printing should never be saved as a JPEG file. This “lossy” technique works by progressively throwing image detail away to reduce the file size by significant amounts. Customers like JPEGs as they keep the file sizes own for e-mailing. However, they tend to overdo the amount they select. Light compression (10 or 12 on the Photoshop scale) is usually fine and will typically reduce the file size to a fifth or tenth of the original without causing significant image quality loss. You should discourage customers from using lower down the quality scale, 8, 5 or worse. The problem is if an image file has been passed around a bit. Someone at an earlier stage may have been tempted to apply high compression JPEG without you knowing. Quality lost can never be regained, so even if the file is opened and re-saved with light compression, the damage is done forever. The best workflow to ensure top quality is to start with the original camera file (which will be Raw if a decent camera is used) and save it as TIFF with LZW lossless compression. This keeps the full quality of the image at about half the original file size, and can be placed in any standard layout program. If a layout is to be converted to a PDF in InDesign, QuarkXPress or the like, then either switch compression off in the PDF setup controls, or choose a High Quality Print option that will apply minimal JPEG compression. Sharpening

Artefacts due to sharpening are likewise hard to fix if the result becomes too obvious when enlarged. Most digital photographs and scans need at least some sharpening, which can really improve the appearance. However the effect usually relies in part on increasing the contrast around edges (either darkening or lightening them depending on the surroundings) and this can appear as a halo if later enlarged. Most image editors or Raw converters give you sharpening tools (such as Photoshop’s Smart Sharpen or Unsharp Mask). Where the menus give you manual controls, one of them usually involves the width in pixels that the effect covers. Between 1 and 2 pixels on a 24 mp image is usually fine for most pictures that are adequately in focus. This effect may or may not become obvious if the image is later enlarged. It’s best to play around with to preview various effects in conjunction with the resizing tools, which may not be possible if a client has supplied an image that has already been sharpened. If an image has noise or film grain, the sharpening process may exaggerate this. You can reduce this somewhat by fiddling with the amount and threshold settings if you’ve got them. Otherwise a more timeconsuming technique is to mask out skies, smooth skin tones and anything else that you don’t want to be sharpened before going into the Sharpen menu. If you’ve been supplied with an image where sharpening has exaggerated grain, you can reduce this by masking out areas that look noisy and applying

a slight blur. Use a soft edged brush for the masks or you’ll see transitions between sharp and unsharp. Lens aberrations A common source of green or purple coloured fringes (or haloes) around fine detail is chromatic aberration (sharpening haloes tend to be light or dark versions of adjacent colours). This is an optical effect produced by all but the most expensive camera lenses which may be exaggerated by the camera sensor. Cameras that export JPEG rather than Raw often remove this automatically, but as we’ve seen elsewhere, Raw is better for ultimate image detail. Most Raw converters (such as Photoshop Raw, Adobe Lightroom, Corel Aftershot Pro, DXF Optics Pro, PhaseOne Capture One), have tools for reducing chromatic aberrations in images. Some are manual, others can be pre-set and saved for particular camera/lens combinations.

June - July 2017 SCREENTEX |

GUEST COLUMN

If you’ve been supplied with an image that wasn’t fixed at the Raw stage, then The Raw Filter in Photoshop CC has a menu called Lens Corrections that has very adaptable “Defringe” sliders for green and purple fringes. Halftone originals As noted in part 1 of the article series, retail stores, banks and even art galleries often put up large murals showing their local areas in the past. Often these are taken from old black and white photographs, and sometimes they are from newspapers or travel books that were originally printed as halftones. If you blow up a scanned halftone, you see the dots. Very often this is evocative of a time and is exactly what the designer wants. However, it is possible, just

| SCREENTEX | June - July 2017

about, to make the dots invisible. Most flatbed scanners offer a “de-screening” option, where you tell it roughly what the original halftone resolution was and it will then take groups of dots and blur them until they are a uniform grey (or colour). Sometimes it works well, sometimes it doesn’t. It tends to work better with black and white halftones than colour, but many historic photographs were printed black and white anyway. An alternative technique that I used on monochrome halftones in a republished book ten years ago, is to switch de-screening off and scan the image as a greyscale in the highest resolution available. This produces a huge file with every dot in sharp detail. Then experiment with Photoshop’s blur tools, applying just enough for the dots to disappear and smooth out. Next you Resize the image down to the output resolution you want to print with. Finally experiment with the image enhancement tools, especially tone curves, contrast and sharpening, until you get a good result. I found this works better than the built-in scanner descreening, but takes a lot longer. Vector graphics So far we’ve only considered bitmap images made up from pixels. These are normally photographs but may include artwork produced by a painting program such as Corel Painter. The other main type of graphic program uses vectors, ie mathematical descriptions of lines and shapes and blends. These can be blown up to any size you like with no quality loss, with perfect curves, diagonals,

type and colour gradations. The most popular vector programs are Adobe Illustrator, CorelDRAW, CADlink SignLink, SAI Flexi (previously called PhotoPrint) and a relative newcomer, Serif Affinity Designer. Illustrator and CorelDraw include painting tools that put brush-like effects along vector lines and shapes. These effects can also be scaled up infinitely without quality loss. They also include raster-to-vector conversion tools that basically take true photographs and convert them to vector images in up to 256 tones. If you have a low res image and need to really blow it up, it may be worth experimenting with these tools. Layout design programs also work with vectors: Adobe Illustrator and QuarkXPress being the main ones today (note that most of the “design” programs also do layout for single-sheet images). Any shapes and colour fills they create, and any type set, will be vectors. They can also import and preserve vectors from design programs. However, an imported and placed bitmap image made from pixels, will stay as pixels when you print it. Enlarging a placed pixel image in a design program file will not interpolate it, and if it’s low resolution to start with, you’ll see the pixels when it’s printed in large format. It’s important to set the correct resolution before you place an image in a layout file. This pair of stories has been a quick introduction to the considerations and techniques for preparing images to look their best at high enlargement. Experienced users will know about all these and more already, but you rarely see anything actually written down that addresses very large format image preparation.

WE ALSO MAUFACTURE OFFSET UV ATTACHMENTS, INTER DECK UV, LED UV SYSTEM & ROLLER COATER

TABLE TOP PRINTING MACHINE

EXPOSING MACHINE

VERTICAL SCREEN PRINTING MACHINE

UV DRIER 2” - 30”

TABLE TOP UV DRIER

F9, BHATIA ESTATE, OPP GARUDA PETROL PUMP, HINDUSTAN NAKA, KANDIVALI WEST, MUM - 67 MR. BHAVIN.M.MEHTA 9820700489 / 022 868 0488 BHAVINMEHTA15@YAHOO.COM WWW.ASW-HARIIMPEX.COM WWW.VIOLET395MM.COM

Live Demo at KNIT SHOW 2017,TIRUPUR 11th to 13th August 2017.

Cheranâ&#x20AC;&#x2122;s Digital / Oval Textile Printing Machine (PIGMENT)

Key Features Print Heads Printing Resolution Rip Software Speed

Industrial Printing Heads 600*800dpi,600*1000dpi,600*1200dpi Wasatch ,photo Print A4 400pcs/hr , A3 280 Pcs/hr

Sales and Serviced by 2015

GUEST COLUMN

Why everyone is falling in love with print again By Andy Rogers

Research shows: 1. 46% of U.S. Internet users said they only read printed books 2. 56% of all consumers trust print marketing more than any other advertising method 3. The average reader of a branded magazine will spend up to 20 to 25 minutes with it, rather than the two minutes you hope for online So I ask again, why can’t we let print go? Print is like a relationship, we keep going back to it for one reason only: the way it makes us feel. Every relationship we have, we are in because of some emotional connection. When done well, your print media can evoke almost every emotion, which in turn increases your advertising effectiveness.

| SCREENTEX | June - July 2017

Print: The Sensory Experience As print is tangible, it stimulates our senses. Having the weight of print in your hand already establishes a connection, which in turn transfers this credibility to the content. Now it’s up to the print itself to build the relationship, by triggering our senses. The sensory experience begins with the feeling of the paper, followed by the smell of the ink or added scent, the sound of the pages as you turn them, even the colours and images that are used can make you feel a certain way. Have you ever stroked a brochure cover that has a velvet finish? Or inhaled a new book smell? Then you know

exactly what I mean! It has been shown that “when brands appeal to more than three senses, advertising effectiveness will increase with 70%”. This makes total sense when you think about it. If a brochure has quality paper, you might note this favourable quality and move on. However, if that brochure also has a soft touch laminate cover, design that pops, includes smells for you to engage with, and has useful content that is relevant to you, you are more likely to revel in the sensory experience and become a loyal customer! Print should be about taking people on a journey, not just educating them. Print is more memorable

GUEST COLUMN We all know that we tend to remember things more if it made us feel strongly. This is exactly the same for print. For example, as customers feel or smell your print, these tactile memories will always be associated with you. How often have you randomly inhaled a particular scent and it’s taken you back to that memory? We all have, and it is this nostalgia that is actually the most powerful emotion that we can evoke. Print in particular is a great way to stimulate nostalgia, making your customers long for the days where things were simpler. As they now associate this simplicity with what you offer, they are more likely to choose you to keep making them feel this way. When you invoke people’s emotions, this makes you, your services and your message more memorable. Print is more engaging As well as engaging our senses, print also engages our minds. Today, we tend to use the internet for finding answers to almost anything, but where do we go to think about what questions we should be asking? This is where print comes in! When we get so engrossed in a newspaper article or textbook, the content makes us ask so many questions that we feel we need to take a step back to digest what we’ve just read. This is where you’ll find yourself leaning back in your chair staring off into the distance. Do you get like this when you read something online? Not often. I normally tend to lean into the computer screen when I’m reading, and forget what I’ve read not long after. When people read information on a screen, they often find it more difficult to digest. This is because it causes a ‘flicker effect’ with your eyes, making you scan

information which is harder for the brain to process. By not processing everything that you read, it’s no wonder that we still turn to print to engage with and ask ourselves those tough questions. Print can be more personal As I said previously, the tangibility of print is what makes it credible to us, and without either party realising, this is all you need to form a personal relationship with each other. When you have printed materials, all with a consistent brand, this immediately establishes trust. You’ve, after all, taken time and effort into creating these quality materials, so the customer knows from the get go that you are serious about your business. You can then further establish this relationship by sending out personalised print, such as thank you cards. Building trust is essential for your business. It is one of those strong emotions that solidifies a relationship, and once compromised cannot be mended. Print can also make you more personable. By simply including an image of yourself on your print, it reminds people that there is a face behind your business. People love people, so they are more likely to follow you as a person than your company. And of course, ultimately, people buy from people. Print puts you ahead of your competitors Although we like to be up-to-date and in fashion, we also love when something that’s

‘retro’ becomes ‘trendy’ again. As electronic gadgets, social media and online content is all part of the modern marketing, what excites marketers and buyers today is something different! Enter, print! With so many different ways to use it, it’s a very exciting marketing tool to play around with. And what happens when consumers are excited? They buy. Print cuts through the digital noise With more and more people actively choosing to unplug themselves, this is a real problem for online marketing. With print, this is not an issue. Print isn’t noisy, it doesn’t bombard you with distractions and ads, and it doesn’t give you a headache. In fact, print is sometimes used to un-wind! When was the last time you put your feet up and read a book or magazine to relax? Often, tablets just don’t have the same effect. So with more and more people falling in love with print again, it’s a great time to be using print marketing! You can establish relationships with your audience by evoking emotion, and they are more likely to remember you, your brand and your message. Wouldn’t you rather make someone feel appreciated than throw information at them that they’ll forget? Sounds like time well spent to me!

June - July 2017 SCREENTEX |

TECH WATCH

Textile printing’s waste problem By Laurel Brunner

The textile printing business is set to explode, thanks to digital printing technologies, but sustainability consultant Laurel Brunner says the boom in printed fabrics could aggravate the industry’s waste problem. By all accounts, the textile printing business is set to explode, thanks to digital printing technologies. For instance, Fibre2fashion, analysts for the fashion industry, reckon that in 2017 the amount of fabric printed digitally will be more than one billion square metres and reach 2.5 billion square metres by 2020. They estimate that CAGR from 2015 to 2020 will be 28%, with 5% of that printed digitally, up from 2% in 2016. We can mostly accept these numbers but there lots of reasons to be anxious about them, not least the environmental impact of such growth. Textile production is one of the heaviest when it comes to

| SCREENTEX | June - July 2017

the environment, not least for the massive amounts of water required to produce fabrics, starting with processing the raw materials and all the way through to washing textiles ready for turning them into clothes. The big driver is of course our desire for instant and inexpensive gratification. We all love to have new clothes, to change our looks, to bolster our sense of self-esteem, our vanity. And in developed markets it is very easy to get new stuff at low cost, whether it’s brand new or second-hand, bought in a shop or online. The fashion industry has of course responded brilliantly, tapping into this need and producing stylish designs at low cost with increasingly frequent new looks and lines. This inevitably increases the burden on reprocessing textiles, particularly in geographies where a throwaway mentality

dominates. Digital printing could encourage desires for instant gratification and in so doing aggravate the waste problem. Or it may turn the whole model completely on its head. This is a very real possibility because digital printing collapses manufacturing and supply chains so effectively. These days there are plenty of internet sites offering fashion and bespoke designs for clothing on demand. Just a few short years ago, this application was limited to polyester sportswear, but now you can design your own gear, get it printed on various substrates and get it delivered within a few days. And it’s so easy to sell on clothes you get bored with via Amazon or eBay. We need to encourage a different expectation because the quantities of textiles going to landfill is still too high and rising. In the UK for instance, over one million tonnes of clothes is thrown away every year. Recycling the clothes through resale means less landfill and reduced resource usage. Two very large fashion brands are encouraging such new thinking with support for clothing recycling instore. Both Zara and H&M have bins in their stores, so that people can discard unwanted items before buying new ones. It could be chance for non-shoppers to get free new clothes and it could further prod consumers to buy more than they need, guilt free. But longer term it should help people to think more about how we should be using resources. We aren’t likely to turn away from the charms of instant gratification, but perhaps environmental thinking will be encouraged.

TEXTILE PRINTING CHEMICALS TRUSTED NAME IN PRINTING TECHNOLOGIES WORLDWIDE

E C I

R OU TO T O

BEST

UALI

SE P T B

MANUFACTURER OF

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

LIMELIGHT

Diversification is on the cards: Man Mohan of Monochem Graphics

“Do what you do so well that they want it again, and they bring their friends” This statement by Walt Disney is etched as the principle driving force of Monochem Graphic’s customer centric approach. Monochem Graphics Group of Companies was started as a modest business house in the year 1962. Man Mohan, Managing Director of the company, reminisces how his father laid the foundation of the company. “In those times, the industry was very small. There weren’t many opportunities for

| SCREENTEX | June - July 2017

growth. You had to seek one. At the same time, there was hardly any competition as it was seller’s market and was quiet stable,” he says with a faint smile. It’s been now over 5 decades. Monochem is celebrating its 55th Anniversary this year. Over the years the company has built its reputation in the market and is now associated with several leading brands of India for insignias, decals, graphics, and advertising material. “Today, the industry has grown substantially and so have avenues for growth. However,

sustaining the leadership (and business) is a challenge with stiff competition and huge price undercuts,” he adds. The global market for automotive labels is projected to grow from USD 5.74 Billion in 2015 to USD 7.30 Billion by 2020, at an estimated CAGR of 4.93%. The market for automotive labels is growing due to increasing demand in the packaging and automotive industries as well as the rising demand for eco-friendly labels production techniques. The automotive industry in India is one of the largest in the world with an annual production of 23.96 million vehicles in FY (fiscal year) 2015– 16, following a growth of 2.57 per cent over the last year. For Monochem this is a huge growth segment. While the company serves leading automotive players such as Maruti, Honda, Suzuki and Nissan, it also works in tandem with over 40 OEMs (Original Equipment Manufacturers). “The

LIMELIGHT growth rate of this segment has been approximately 10-15%. The organized India automotive market in my guess will be around Rs. 1200 crores. However, the unorganized market is even bigger which is still untapped and unaccounted for,” he says. The company has four manufacturing units - three in Delhi, one in Gurgaon, occupying covered area of 2,50,000 sq. ft. , manufacturing products with the latest state-of-the-art imported plants to the best quality specifications meeting national and international standards. “We have four plants. We have six fully automatic Japanese printing presses and several semi or three-fourth automatic printing machines along with plants for producing “KROMEX” and “ECODOME” badges. Apart from

this, all required cutting presses and allied equipment’s required are available in house with world-class tool room, Man Mohan shares. The industry though has been jostling to find and retain quality workforce, Monochem has over 600 employees working in different units. Asked how he retains quality talent, he replies, “There are three key things we do: 1) we maintain good industrial relation with the employees and with a personal touch. 2) We pay well, and on time, and 3) we take care for their important issues even if it is personal. The key is to not

treat them as resources but as human. Care for your employee’s needs, and he shall care about your profitability.” For future growth, Man Mohan says that diversification is on the cards. “For next phase of Monochem, we plan to diversify, add new products and try to add new customers by offering even higher quality and competitive prices,”

June - July 2017 SCREENTEX |

TECHNOLOGY

LED vs. Traditional UV Curing

For many years UV technology has been a reliable method for the curing of photo-reactive chemicals. In response to increasing production speeds and new applications, e.g. in the field of 3D, UV lamp technology has also developed. Today, a great variety of different systems are available, each specific to the particular application. Users and providers of chemistry are constantly developing new applications for UV curing. Their innovative ideas often mean increasing demands on UV curing devices â&#x20AC;&#x201C; where sometimes conventional UV technology has reached its technical limits. Thus, within the recent years, a completely new branch of UV technology has developed: UV LEDs. This report provides the reader with an objective comparison between both technologies, UV and UV LED. It should help the user determine to

| SCREENTEX | June - July 2017

what extent LEDs can provide an alternative to conventional UV solutions. Comparison of technologies The operating technology of conventional UV lamps is based on plasma physics and optics, whereas UV LEDs are based on semiconductor technology and optics. UV technology is based on a high-voltage arc between two electrodes leads to the vaporization of mercury and any optional doping within the lamp. A continuous UV spectrum between 200 nm and 450 nm is emitted. LEDs are based on semiconductor technology. Specific wavelengths are directly emitted by the current input. Generally, UV-LED systems have a tolerance range of +/-5 nm and an nm output curve that

is relatively narrow but spans approximately +/- 15 nm. The initiators selected for UV-LED inks target this range, but are also reactive outside this range. This means that UV-LED inks should be reactive to both UV-LED and mercury vapour curing systems. This may vary to some degree depending on the specific inkâ&#x20AC;&#x2122;s colour and pigment load. With the introduction of 4+ watts, 395 nm UV-LED light sources, inks can effectively be cured at processing speeds typical for screen and digital printing. Systems that are below 4 watts would require a thinner ink deposit, lower pigmented ink, closer distance between the lamp and the printed ink and slower scanning / belt speed when curing. Currently in the market, manufacturing a 4+ watts system requires access to higher quality UV-LED lamps with a more

TECHNOLOGY sophisticated cooling system. Accessing parts and assembling a lamp to gain effective curing remains out of reach for those thinking of assembling their own units. Cooling Configurations UV-LED lamps require cooling at the lamp and electronics to run efficiently and effectively. A good cooling system should have a lamp life of 20,000+ hours of continual usage. Two types of systems are used: air cooling and water cooling. Water cooling tends to be more effective and is not affected by the surrounding unit’s environment. However, a water chiller has a higher upfront cost, needs to be maintained on a regular basis, and has a potential for leaking. More UV-LED manufacturers are developing air cooled systems that are built into the lamp head itself. Air cooling systems are incorporated into the lamp head and tend to have less maintenance. The caution to using air cooling is that the environment should be clean and kept at room temperatures or cooler. UV-LED to Mercury Vapour UV-LED is unlike mercury vapour curing systems in that they are not focused or use reflectors; instead, the light directed at the substrate is diffused. Reference the illustration. In addition, UV-LED systems are rated on their output or how much light is generated at the lamps. For example, a 4 watt UVLED system refers to 4 watts of energy emitted from the lamps. Mercury vapour curing systems are rated based on their input of energy. For example, a curing system can be set to 200 or 300 watts. A radiometer is then used to measure the output of the system; typical output for a graphics

screen printer is about 400 to 600 mW. Because of these differences, it becomes difficult to determine how to compare apples to apples energy consumption between systems. As a very general guideline, a 4 watt UV-LED system at ¼” to ½” is similar to a 300 watt mercury vapour system with typical lamp to print distances 6+ inches. In general, UV-LED provides a 30-50% reduction in energy consumption to run the lamp and cooling system. This does not take into account energy needed to cool or heat the displaced air pulled through a mercury vapour system. UV LED measurement UV measurement assures production process security and for research and development, reliable and repeatable test results in the laboratory. The market offers a selection of devices for measuring the intensity and/or the dose with different sensor geometries which can be easily matched to the specific application. The physical classification of the UV spectrum in the UVA region is from 400-320nm, UVB from 320-380nm and UVC

from 280- 200nm, in most cases the spectral sensitivity of the sensor is adapted accordingly. The specific characteristics of a broad UV spectrum can therefore be analysed in detail. However, LED irradiation units do not produce a broad UV spectrum, but emit narrow bandwidths at specific wavelengths. Therefore, any intensity measurement of these bandwidths with conventional sensors is inaccurate. To enable the measurement of LED UV units, a broad band sensor can measure the intensity and the dose across the bandwidth of all LED-wavelengths from 365 to 405nm - with only one sensor. The UV LED measuring sensor is attached to a standard UV meter which automatically indentifies the LED sensor when connected. The measured value for the intensity is displayed in W/cm² or mW/cm² with a maximum intensity of 20W/ cm², for the dose it is displayed in J/ cm² or mJ/cm². Compared to conventional UV irradiators, it’s clear that LEDs can offer many advantages in a variety of coating applications. However there are some restrictions, governing or preventing the use of LEDs. The benefits of LED curing should be carefully considered, case by case.

June - July 2017 SCREENTEX |

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

SUN SHINE GRAPHICS 5/44, Siddharth Nagar No 5, Near Maharshtra Medical Store, Goregaon West, Mumbai 400 104. Tel : 93213 35502 / 9920135530 sanjay335550@yahoo.com

| SCREENTEX | June - July 2017

TECHNOLOGY

Opportunity beyond the IoT: Printed electronics and smart systems By Simon Eccles

The Internet of Things (IoT) continues to garner attention from technology vendors, organizations, business decision makers, and consumers. With connectivity penetrating applications such as wearables, home automation, transportation infrastructure, retail devices, and industrial manufacturing, to name a few, the future seems very bright for a connected world. When faced with the prospect of developing business cases for these connected things, we often limit our thinking to the “widgets” or devices that have connectivity and some level of intelligence or computational capability embedded within them. However, there is a broader opportunity of bringing sensor capability and tracking to “things” that can extend the utility of the IoT

| SCREENTEX | June - July 2017

beyond the devices to products whose data can provide valuable insights or benefits to businesses and consumers. Printed electronics technology has the potential to address some of the limitations that electronics currently have today. Recent advances in printed electronics enable basic memory, sensor, logic, display, battery, and communication functionality. Advantages that printed electronics bring include rapid prototyping as well as economical, scalable mass production. In contrast to printed electronics, new semiconductor fab manufacturing requires

extensive capital outlay and focuses on leading-edge technologies. Older, fully amortized semiconductor fabs are being retired as the semiconductor market consolidates and these older fabs become less competitive or products reach their end of life. Wafer capacity for the foundry industry is expected to grow only slightly higher than the revenue growth forecast, 10% for 2014, while semiconductor companies are also carefully rationalizing capacity additions. Forecast capacity growth will primarily support organic growth in microprocessor and memory production, and adding the manufacturing of billions of additional simple integrated

TECHNOLOGY circuits (ICs) and connected electronic sensors that would be used in disposable applications could challenge current traditional semiconductor manufacturing capacity. Printed electronics technology offers the potential to address this gap in manufacturing capacity. The physical characteristics (flexibility, thickness, moisture/ environmental resistance) of printed electronics could enable manufacturers, technology vendors, suppliers, distributors, retailers, and consumers to find new ways to solve problems or gain information through distributed sensing and unique identifiers that capture small, but meaningful, pieces of data. With the market for printed electronics and smart systems in its infancy, the application of printed electronics will evolve from closed-loop (or semi-closedloop) systems to open-loop systems and additional innovative applications. Challenges for the printed electronics market Companies looking to invest in printed electronics and smart systems to create additional value for their goods will have to consider some of the challenges that still exist within this market before making an investment decision. The sections that follow detail some of these challenges. Cost The cost of conventional NFC tags can range from $0.20 to $0.50 and more per tag. Sensors can add even more to costs. This range is economically viable in some healthcare applications and certain consumer goods, but overall it is not scalable. In some industries, packaging is already a significant cost in a product’s overall product

price (sometimes 30% to 40% of list price), so adding significant costs, including sensors, is not feasible. After interviewing vendors and suppliers in a variety of markets, IDC believes that printed electronics must significantly reduce the cost of sensors to be viable in industries where sensors are economically infeasible today. If successful, the economics of adoption at the individual package level will become more appealing. B2C Opportunity IDC expects that the immediate opportunity for printed electronics resides within a B2B context rather than in B2C applications that directly engage consumers. Once NFC is ubiquitously available in smartphones, it is expected that rapid growth in printed electronics with NFC capability could occur. However, printed electronics and smart systems have an immediate opportunity within certain closedloop and semi-closed-loop labeling applications in specific markets such as healthcare (i.e., tracking medications to maintain constant temperature) and cold chain and temperature-controlled logistics. Authentication Applications Although NFC tags offer globally unique identification numbers to differentiate one tag from another, the ecosystem needs to develop complete endto-end solutions that combine printed electronicsbased NFC tags with server-side algorithms that verify the authenticity of products and assign sensor data

to the correct label’s data record. Limited Memory Storage The current memory capacity of printed electronics and related smart systems is limited. Without the use of a complementary identity management system, the functionality of this technology is limited. As printed electronics memory capacity increases, applications will be able to expand their functionality. More Innovation Required Many vendors in the printed electronics industry are currently in the technology or product development stages. Integration with sensors or other devices is still in the early stages of prototyping and testing, but some leading-edge printed electronics products are expected to enter production in 2015. Selling a Business Solution vs. a “Cool” Technology It’s often easy to hype a new technology rather than determine how that technology can provide a business solution to a specific problem. Companies looking to invest in a printed electronics or smart systems solution need to consider the intrinsic value of the technology and how it fits within their technology road map to solve a specific business problem.

June - July 2017 SCREENTEX |

ìskeÌveesuee@peer

cesjer ¢ef<ì cesjs ¢ef<ìkeÀesCe keÀes ÒeYeeefJele veneR keÀjleerÞeerkeÀeble yeesuee (yeesueebì Fb[mì^er]pe)

Hetjer lejn Deme#ece ¢ef<ìnerve GÐeceer ves SceDeeF&ìer keÀe jemlee yevee³ee Deewj Yeejle ceW HewkesÀefpebie kebÀHeveer keÀer mLeeHevee keÀer pees Deepe DeefMeef#ele Deewj efoJ³eebie ueesieeW keÀes He³ee&JejCe kesÀ DevegketÀue,ef[mHeespesyeue kebÀp³etcej HewkesÀefpebie meceeOeeveeW ceW keÀece osles nQ~ efkeÀmeeve HeefjJeej ceW pevceW ÞeerkeÀeble SkeÀ ÒesjCeeoe³eer keÀneveer nQ efpemes Òel³eskeÀ ueesie keÀes meePee keÀjvee ®eeefnS~ peye ¢ef<ìnerve ÞeerkeÀeble keÀe pevce ngDee lees DeebOe´ÒeosMe kesÀ meerleejeceHegjce ieebJe keÀs GvekesÀ Heæ[esefme³eeW ves GvekesÀ ceelee efHelee mes keÀne efkeÀ ³ee lees Gmemes Heeríe ígæ[e uees ³ee Gmes cejves oes keÌ³eeWefkeÀ ¢ef<ìnerve ueesieeW keÀe peerJeve yeskeÀej neslee nw~ neueebefkeÀ peye ÞeerkeÀeble DeHeveer keÀneveer yeleeles nQ lees ³en p³eeoe yeveeJeìer veneR ueielee~ GvekesÀ ceelee-efHelee keÀes Oev³eJeeo,efpevnW ³en efJeéeeme Lee efkeÀ GvekeÀe ueæ[keÀe Gve ueesieeW mes p³eeoe DeHeves YeefJe<³e keÀes GppeJeue keÀjsiee,

| SCREENTEX | June - July 2017

efpevekesÀ Heeme ¢ef<ìkeÀesCe keÀer keÀceer nw~ peye uesKekeÀ ÞeerkeÀeble mes SkeÀ FJeWì (keÀe³e&¬eÀce) ceW efceuee lees ve lees SkeÀ GÐeceer kesÀ leewj Hej GvekeÀer GHeueeqyOe ves DeekeÀef<e&le efkeÀ³ee Deewj ve ner Jen neefmeue GHeueeqyOe pees GvneWves keÀer Leer, pees DeewjeW kesÀ efueS yengle efJeMeeue keÀe³e& Lee~ GvekeÀe ¢ef<ìkeÀesCe Lee! cesjer ¢ef<ì cesjs ¢ef<ìkeÀesCe keÀes ÒeYeeefJele veneR keÀj mekeÀleer~ Ssmes kegÀí Meyo Les ÞeerkeÀeble kesÀ peye GvneWves Glmeener Deewj GlmegkeÀ oMe&keÀeW kesÀ meeceves mebyeesefOele efkeÀ³ee Lee~ efveefM®ele ©He mes GvekeÀe ¢ef<ìkeÀesCe mejenvee keÀjves ³eesi³e nw~ peye ³en GÐeceer DeHeveer Gce´ kesÀ yeerme kesÀ ceO³e Lee lees efJeée kesÀ keÀF& yeæ[s HeeqyuekesÀMeve pewmes HeÀesyme&,HeÀesj®³etve ceW Meeefceue nes ®egkeÀe Lee~ GvekeÀer ìs[ ìekeÀ megveves ³eesi³e jnleer nw~ nceves Hetíe keÌ³ee GÐeceer yeveves keÀer jen mejue Leer? efyevee ³en efoKee³es efkeÀ kewÀmes

GvekeÀer ¢ef<ìnervelee ves GvekesÀ jemles ceW efkeÀleveer keÀefþveeF&³eeb Keæ[er keÀjkesÀ GvekesÀ jemleeW keÀes Deewj keÀefþve yevee³ee, Jen keÀnles nQ, efkeÀmeer Yeer GÐeceer keÀer ³ee$ee mejue veneR nesleer,cesjer Yeer veneR Leer~ DeHeves Heæ[esefme³eeW keÀer yeele keÀes O³eeve ve osles ngS ÞeerkeÀeble kesÀ ceelee-efHelee ves ieeBJe mes otj mejkeÀejer efJeÐeeue³e ceW SkeÀ De®íe YeefJe<³e osves keÀer DeeMee mes oeefKeuee keÀjJee³ee~ Hej DeHeÀmeesme keÀer yeele ³en efkeÀ efJeÐeeue³e efpemes efMe#ee keÀe DeefOekeÀej osvee ®eeefnS Lee Jen yejeyejer keÀe DeefOekeÀej osves ceW DemeHeÀue jne~ mketÀue ceW otmejs ye®®es cegPes GHesef#ele keÀjles Les~ keÌ³eeWefkeÀ Jes mees®eles Les efkeÀ Jes cesjs meeLe veneR Kesue mekeÀles~ DeO³eeHekeÀ FmeefueS cegPe Hej O³eeve veneR osles Les efkeÀ GvnW ueielee Lee ceQ meerKe veneR mekeÀlee~ efHeíues keÀleej ceW efyevee DeHeveer GHeefmLeefle ope& efkeÀS ceQves yewþkeÀj oes meeue efyelee³es~

ìskeÌveesuee@peer peyeefkeÀ GvekeÀer ³en Debpeeve GHeefmLeefle kegÀí lees Leer, pees ®egveewleer kesÀ efueS ¢æ{efveM®e³eer Leer~ ÞeerkeÀeble ¢ef<ìnerveeW kesÀ efueS mketÀue osJeveej nwojeyeeo ceW ì^ebmeHeÀj uesves ceW meHeÀue jns~ keÌ³ee ®egveewefle³eeb meceeHle nes ieF& ³eneB? veneR,Jen kesÀJeue lesueiet peeveles Les Deewj Heæ{ves ceW DeHeves meeefLe³eeW mes Heerís Les~ ceelee-efHelee Üeje íe$eeJeeme ceW íesæ[s peeves kesÀ yeeo ceQ leerve efove lekeÀ jeslee jne,kegÀí Yeer veneR Kee³ee~ efkeÀmeer keÀes veneR mecePe jne Lee~ DeO³eeHekeÀeW ves cegPes Debûespeer Deewj J³eekeÀjCe efmeKeeves keÀer keÀesefMeMe keÀer~ uesefkeÀve ³en meerKeves ceW yengle keÀefþve Lee keÌ³eeW efkeÀ ceQ GvekeÀes veneR mecePe mekeÀe~ - ÞeerkeÀeble GvekesÀ Òe³eemees ves leye HeefjCeece efoKee³ee peye Jen keÀ#ee 10JeeR keÀ#ee ceW DeHeves mketÀue ceW ìeHe efkeÀ³ee~ uesefkeÀve GvekesÀ efJe%eeve Heæ{ves kesÀ meHeves keÀe leye Deble nes ie³ee peye DeebOe´ ÒeosMe SpegkesÀMeve yees[& ves efJe%eeve DeO³e³eve keÀjves kesÀ efueS ÒeJesMe osves mes cevee keÀj efo³ee~ ÞeerkeÀeble HeefjmLeefle³eeW mes ueæ[ves Jeeues nesves kesÀ keÀejCe GvneWves yees[& kesÀ efKeueeHeÀ kesÀme oe³ej efkeÀ³ee~ í: cenerves keÀs Deblejeue kesÀ yeeo Jen cegkeÀocee peerle ie³es~ GvneWves keÀ#ee 12 ceW 98 ÒeefleMele DebkeÀ HeekeÀj Meer<e& mLeeve keÀes ÒeeHle efkeÀ³ee~ GvneWves Gve OeejCeeDeeW keÀes Keeefjpe keÀj efo³ee efkeÀ ves$enerve nesves kesÀ keÀejCe efJe%eeve keÀe DeO³e³eve veneR efkeÀ³ee pee mekeÀlee~ GvekesÀ DeeF& DeeF& ìer kesÀ meHeveeW keÀes Yeer Fmeer lejn keÀer HeefjmLeefle³eeW keÀe meecevee keÀjvee Heæ[e~ Jen keÀnles nQ,De®íer jQkeÀ nesves kesÀ yeeJepeto DeeF& DeeF& ìer ves ³en keÀnkeÀj cegPes ÒeJesMe osves mes cevee keÀj efo³ee efkeÀ GvekesÀ Heeme cesjs jnves kesÀ efueS Gef®ele DeeOeejYetle mebj®evee veneR nw~ þerkeÀ Gmeer efove cegPes cewmee®egmesìme Fbmìerìîetì DeeHeÀ ìskeÌvee@ueepeer mes SkeÀ He$e ÒeeHle ngDee efkeÀ Jes cegPes efmeKeeves ceW mecceeefvele cenmetme keÀjWies~ peerJeve keÀe cepeekeÀ ³ee Yeei³e keÀe IegceeJe ceQ veneR peevelee~ uesefkeÀve ceQves SceDeeF&ìer keÀe ®egveeJe efkeÀ³ee~ ³en cesjs meYeer DevegYeJeeW ceW mes meyemes mJeleb$eHetCe& DevegYeJe jne~ SceDeeF&ìer ves cegPes meeFbme veneR efmeKee³ee,Fmeves efmeKee³ee efkeÀ kewÀmes GÐeceer yevee pee³e? kewÀmes efpe³ee pee³e Deewj kewÀmes meHeveeW kesÀ meeLe efpe³ee pee³e~ efkeÀmeer keÀes efmeKee³eW efkeÀ kewÀmes efkeÀ³ee pee³e? SceDeeF&ìer mes mveelekeÀ keÀjves kesÀ yeeo ÞeerkeÀeble ves osMe Yej ceW efJekeÀueebieeW kesÀ meeceves Deeves Jeeues YesoYeeJe kesÀ yeejs ceW kegÀí keÀjves

keÀe efveCe&³e efue³ee~ DecesefjkeÀe ceW keÀeHeexjsì DeJemej keÀes íesæ[les ngS Yeejle JeeHeme Dee ieS~ nwojeyeeo ceW SkeÀ iewj mejkeÀejer mebieþve mecevJe³e keÀer Meg©Jeele keÀer~ pees keÀF& lejn kesÀ efJekeÀueebie íe$eeW keÀes J³eeqkeÌleiele,pe©jle kesÀ Devegmeej ue#³e DeeOeeefjle mesJee³eW Meg© keÀer~ GvneWves ye´sue mee#ejlee ,SkeÀ ef[efpeìue ueeF&ye´sjer Deewj ye´sue efÒebefìbie Òesme/ueeF&ye´sjer ìîetìesefj³eue Üeje íe$eeW keÀes mesJee³eW Òeoeve keÀer~ mecevJe³e kesÀ Üeje 3000 mes DeefOekeÀ íe$eeW keÀes ceeie&oMe&ve Deewj mebj#eCe osves ceW keÀece³eeye jnW~ 2012 ceW ÞeerkeÀeble ves yeesueebì Fb[mì^erpe keÀer Meg©Jeele keÀer~ efpemeves DeefMeef#ele,MeejerefjkeÀ ©He mes Deme#ece ueesieeW kesÀ efueS He³ee&JejCe kesÀ DevegketÀue,ef[mHeespesyeue kebÀp³etcej HewkesÀefpebie meu³etMeve, efjmeeF&keÀue HesHej Deewj Òeeke=ÀeflekeÀ HeefÊe³eeW mes DeebOe´ ÒeosMe lesuebieevee Deewj keÀvee&ìkeÀ ceW cewv³egHewÀkeÌ®eefjbie ³etefveì ueiee³ee~ GvekesÀ Heeme HeeB®e F&keÀeF&³eeb nw pees leerve jep³eeW ceW keÀece keÀj jner nQ~ yeesueebì keÀe pevce leerve meeceeefpekeÀ ®egveewefle³eeW mes ngDee~ Henues 100 keÀjesæ[ Yeejleer³e DeHebie ueesie efpevekesÀ efueS

efMe#ee Deewj jespeieej Heevee cegefMkeÀue Lee~ otmeje,Yeejleer³e efkeÀmeeve efpevekesÀ Heeme ke=Àef<e DeHeefMe<ì keÀe GHe³eesie keÀjves kesÀ efueS meeOeve veneR nw~ Deewj Deble ceW leermeje HueeefmìkeÀ Deewj efJe<eekeÌle HeoeLeeX keÀer p³eeoe cee$ee, pees He³ee&JejCe keÀes DeHeefjJele&veer³e #eefle HengB®eeles nQ~ GvekesÀ efJe®eej keÀes cetle&©He osves kesÀ efueS Meg© ceW kegÀí ÒeejbefYekeÀ efveJesMekeÀ Sbpesue jefJe cebLee Dee³es, GvekesÀ yeeo ceW jleve ìeìe ves kebÀHeveer ceW efveJesMe efkeÀ³ee~ Gvemes HetefíS ,peye GÐeefce³eeW ves kegÀMeue mebmeeOeve kesÀ yeejs ceW jesves ueies,keÌ³ee Jes Yeer DeefMeef#ele Deewj MeejerefjkeÀ ©He mes keÀcepeesj ueesieeW keÀes efkeÀje³ee Hej uesves Hej cevee keÀj efo³ee~ GvneWves keÀne nceejs mebieþve keÀe SkeÀ ceb$e nw efkeÀ me#ece Mejerj JeeueeW keÀes ner jKeles nQ þerkeÀ nw, cepeekeÀ SkeÀ lejHeÀ~ efkeÀmeer keÀes ceíueer oeve osves keÀer DeHes#ee ceQ efkeÀmeer keÀes ceíueer kewÀmes HekeÀæ[les nQ ³en efmeKeelee ntB~ ceQ Gve KelejeW Deewj keÀefþveeF&³eeW keÀes peevelee ntB peye ceQ meerKeves ie³ee Lee~ ceQ Gve ueesieeW keÀes efmeKeevee ®eenlee ntB pees meceeve HeefjefmLele³eeW keÀe meecevee keÀjles nQ~ DeeìescesMeve keÀer Gce´ ceW ,cegPes veneR ueielee efkeÀ ³en keÀefþve nesiee~ efveefM®ele ©He mes veneR~ nce FmekeÀe peerefJele GoenjCe nQ~ GvekeÀe ¢ef<ìkeÀesCe 70 ÒeefleMele efJekeÀueebie keÀce&®eeefj³eeW kesÀ kesÀ meeLe mLee³eer June - July 2017 SCREENTEX |

ìskeÌveesuee@peer

uewefcevesMeve kesÀ efueS Deuìercesì ieeF[

efkeÀme lejn keÀer Deueie-Deueie ÒekeÀej kesÀ uewefcevesefìbie efHeÀuce GHeueyOe nQ Deewj Òel³eskeÀ kesÀ keÌ³ee HeÀe³eos Deewj vegkeÀmeeve nQ~ efJeefYeVe ÒekeÀej kesÀ uewefcevesefìbie efHeÀuce efJeefYeVe GÎsM³eeW keÀes Hetje keÀjves kesÀ efueS GHeueyOe nw, Òee³e: megj#ee keÀe efceÞeCe Deewj yeæ{er ngF& GHeefmLeefle kesÀ meeLe~ uewefcevesì efHeÀuce Hej meeceev³ele: ceesìeF& ueieYeie 24 Deewj 100ceeF¬eÀeve kesÀ yeer®e neslee nw~ SkeÀ þb[e efJekeÀuHe nw,nerì mene³ekeÀ Deewj uewefcevesì kesÀ efueS Lece&ue DeOesefmeJe~ keÀesu[ DeOesefmeJe oyeeJe mebJesoveMeerue nw Deewj Ssmes DeOesefmeJe Gme ceeref[³ee Hej Òe³egkeÌle nesles nQ pees nerì meWmeefìJe nesles nQ pewmes JesefnkeÀue jwHe efJevee³eue~ nerì mene³ekeÀ keÀce mes keÀce SkeÀ nerì jesuej ueieYeie 60 ef[ûeer mesequme³eme uewefcevesìj kesÀ meeLe ®eueleer nw~ FmekeÀe Òe³eesie SkeÀ meeceev³e keÀeiepe,yees[&,[eF&yees[& pewmes Dev³e Hej SkeÀ lejHeÀ uewefcevesMeve Hej neslee nw~ meeceev³ele: oyeeJe mesvmeefìJe uewcesvesì DeOesefmeJe nerì kesÀ meeLe Fmlesceeue efkeÀ³ee pee mekeÀlee nw,pees Fmes ceguee³ece yeveelee nw,Deewj efJe<ece melen Hej nJee kesÀ yegueyegueeW kesÀ keÀejCe ef®eHekeÀves ceW ceoo keÀjleer nw~ nJee kesÀ yegueyegues DekeÌmej

| SCREENTEX | June - July 2017

48 Iebìs ³ee Gmemes DeefOekeÀ ceW iee³eye nes pee³esiee Deewj Fme lejn nJee DeHeves lejerkesÀ mes uewefcevesì Hej keÀece keÀjleer nw~ Lece&ue Meyo keÀe keÀþesjlee mes DeLe& nw oesveeW lejHeÀ FvekewÀHmeguesMeve mes nw pees 130 ef[ûeer mesequme³eme Hej Hej ®euelee nw~ peyeefkeÀ DeefOekeÀlej ueesie Fmes nerìs[ uewefcevesì Lece&ue Òeef¬eÀ³ee keÀnles nQ~ Deepe DeefOekeÀlej uewefcevesMeve efHeÀuce HueeefmìkeÀ mes yevee neslee nw efpemes yeeF& SeqkeÌme³eueer Deesefj³eWìs[ Hee@ueerÒeesHeueerve (yeerDeesHeerHeer) keÀnles nQ~ JeemleJe ceW yeerDeesHeerHeer Hee@ueerÒeesHeueerve nw pees oes efoMeeDeeW ceW HewÀuelee nw,pees MeeqkeÌle,peue ÒeeflejesOekeÀlee Deewj keÀYeer-keÀYeer mHe<ìlee ceW megOeej keÀjlee nw~ HeerJeermeer (efyevee³eue) keÀe GHe³eesie meeceev³ele: mHe<ì efHeÀuceeW kesÀ meeLe-meeLe meeceev³ele: [erkeÀume kesÀ efueS efkeÀS peeves Jeeues meHesÀo ceeref[³ee kesÀ efueS Yeer efkeÀ³ee peelee nw~ ³en Òee³e: Jeenve jwHe kesÀ efueS meHesÀo efJevee³eue efÒebì Hej Fmlesceeue neslee nw - DeefleefjkeÌle mHe<ì Hejle DeefleefjkeÌle mLeeef³elJe Òeoeve keÀjles nQ Deewj efÒebì ³ee jbieerve ceeref[³ee Hej ³etJeer ÒekeÀeMe kesÀ uegHle

nesles ÒeYeeJe keÀe efJejesOe keÀjles nQ~ HeerJeermeer keÀes ceesveescesefjkeÀ Hee@ueercesefjkeÀ efJeveeF&ue kesÀ ©He ceW met®eerye× efkeÀ³ee pee mekeÀlee nw,HueeefmìmeeFpej Sef[ìerJe kesÀ ©He ceW FmekeÀes efue³ee pee mekeÀlee nw~ oesveeW ceW Leesæ[e Deueie iegCe nw~ efpemeceW ceesveescesefjkeÀ keÀce ue®eeruee neslee nw Deewj íesìe DeeTì[esj peerJeve neslee nw~ keÀYeer -keÀYeer Fmlesceeue keÀer peeves Jeeueer SkeÀ Dev³e meeceûeer Hee@efueSmìj ³ee (HeerF&ìer) nesleer nw~ pees Òee³e: FvkewÀHmeguesMeve kesÀ efueS Fmlesceeue nesleer nw,peneB Hej ceesìer efHeÀuce (Deeceleewj Hej 75 mes 250 ceeF¬eÀeve) G®®e mLeeef³elJe kesÀ efueS Meerì kesÀ oesveeW lejHeÀ GHe³eesie efkeÀ³ee peelee nw~ ³eefo mHe<ì efHeÀuce Gme DeeFìce mes yeæ[e nw pees Fmes keÀJej keÀjlee nw,leye efkeÀveejeW keÀes yebo Deewj Jeeìj ÒetHeÀ keÀj efo³ee peelee nw leeefkeÀ DeeGì[esj Òe³eesie veesefìme yees[& Deewj pewmes kesÀ efueS GHe³egkeÌle nw~ mebueive DeeF&ìce ceW efkeÀveejeW keÀes HeÌueMe efkeÀ³ee pee mekeÀlee nw~ uesefkeÀve Heeveer Deboj Dee mekeÀlee nw Deewj DeeFìce keÀes [eruewefcevesì keÀj mekeÀlee nw~ kegÀí efHeÀuce DeeGì[esj efìkeÀeT nesleer nQ,Fme ceeceues ceW ³etJeer ÒeeflejesOe cenlJe-

ìskeÌveesuee@peer HetCe& nw~ ³eneB lekeÀ efkeÀ Fve[esj GHe³eesie kesÀ efueS,KejeW®e ÒeeflejesOekeÀ keÀer DeeJeM³ekeÀlee nesleer nw~ HeÌueesj ûeeefHeÀkeÌme kesÀ efueS ceesìe HueeefmìkeÀ uewefcevesì efkeÀ³ee pee mekeÀlee nw~ nebueeefkeÀ FvnW ³etJeer FbkeÀpesì Üeje Deboj keÀer lejHeÀ efÒebì efkeÀ³ee pee mekeÀlee nw~ efkeÀleeyeeW kesÀ DeeJejCe Deewj Fmeer lejn kesÀ keÀF& pewmes DemHeleeue,mketÀue,jsmlejeb Deeefo kesÀ efueS SbìeryewkeÌìerefj³eue efHeÀuceW nQ~ ³eÐeefHe DeYeer lekeÀ FvekeÀe J³eeHekeÀ GHe³eesie veneR efkeÀ³ee pee jne nw~ mHesMeue FHesÀkeÌì uewefcevesMeve efHeÀuce keÀe DeLe& meYeer mHe<ì ®ecekeÀ veneR~ mHe<ì cewì Deewj efmeukeÀ efHeÀefveMe(efJeMes<e ©He mes efkeÀleeye kesÀ DeeJejCe kesÀ efueS) ueeskeÀefÒe³e nw~ ³eefo Deb[jueeF&ve efÒebì FmekesÀ ceeO³ece mes efoKeevee nw~ kegÀí efHeÀuce DeHeves mHeMe& Jeeues iegCe Deewj GHeefmLeefle kesÀ efueS nesles nQ~ Fcyeesme.mHe<ì efHeÀuce ìskeÌme®ej pewmes ueeF&vesve,meQ[,kewÀveJeeme Deewj ye´Me Su³egefceefve³ece efHeÀefveMe kesÀ meeLe nesles nQ~ ceguee³ece ì®e efHeÀuce ([sjÒeesmee Üeje DeûeCeer Deye kegÀí ÒeeflemHeOeea kebÀHeefve³eeW kesÀ meeLe) ceKeceueer Snmeeme kesÀ meeLe cewì keÀer GHeefmLeleer nw ³eefo Fmes DeeHe Fmes HekeÀæ[les nQ~ ³es yegkeÀ keÀJej, ye´esMej,cesvet,uekeÌpejer HewkesÀefpebie pewmeer ®eerpeeW kesÀ efueS lew³eej nw efpemes ueesie ®egveles nQ Deewj Gþeles nQ~ Jes mHe<ì efHeÀuce ceW GHeueyOe nw uesefkeÀve cesìefuekeÀ jbie Yeer nw~ [sjÒeesmee keÀe cesìefuekeÀ keÀer Demeceev³e efJeMes<elee nw efkeÀ ³eefo DeeHe FmekesÀ THej iueeme mHee@ì Jeeefve&Me efÒebì keÀjles nQ Jes vepeoerkeÀ efcejj efjHeÌueseqkeÌìJe efHeÀefveMe Gve #es$eeW ceW uesles nQ~ þesme efHeÀuce Hetjs jbie ³ee cesìefuekeÀ,®ecekeÀ ³ee nesueesûeeefHeÀkeÀ Hej ueie peelee nw,peneB nesueesûeeefHeÀkeÀ Hewìve& ueeiet neslee nw~ mHe<ì ÒeYeeJeer efHeÀuce Yeer nQ pees efJe®eueve,®ecekeÀ,³ee nesueesûeeefHeÀkeÀ ÒeYeeJe oslee nw~ kegÀí uewefcevesìj nerì Dee@³eue kesÀ efueS mecee³eesefpele nesves Jeeues HeÀer[j kesÀ meeLe DeeHetefle& keÀjles nQ~ pees HeejbHeefjkeÀ ©He mes jbie ³ee meceleue cesìefuekeÀ,megKes ìesvej Hej DeeOeeefjle ef[efpeìue (meeceev³ele: keÀeuee ,pees DeefOekeÀlej T<cee keÀes DeJeMeesef<ele keÀj ueslee nw) efÒebefìbie oslee nw~ leye DeeHe kesÀJeue efÒebì #es$e kesÀ GHej mHeeì HeÀe@³eue ÒeeHle keÀjles nQ~ ³eefo DeeHe HeÌ³ee@efuebie kesÀ meeLe HegÀue keÀuej efÒebì efceefÞele keÀjvee ®eenles nQ lees

Henues efÒebì Hej ìesvej ûenCe keÀjves Jeeuee uewefcevesì jKevee neslee nw,leye Meerì kesÀ THej ìesvej Òesme ®eueeles nQ keÀeuee Fcespe peesæ[ves kesÀ efueS Deewj Meer<e& Hej HeÌJee@³eue neslee nw~ oesveeW lejHeÀ ef®eHekeÀves Jeeuee DeOesefmeJe oesveeW lejHeÀ ef®eHekeÀves Jeeueer efHeÀuce keÀF& SHueerkesÀMeve keÀer ÞesCeer keÀes Keesuelee nw Deewj DeeHekeÀes efÒebìs[ ³ee Dev³e ceeref[³ee keÀe GHe³eesie keÀjves oslee nw ³ee otmejs ceeref[³ee pees mesuHeÀ DeOesefmeJe kesÀ meeLe veneR Meg© nesles~ Deeceleewj Hej ³en oes ®ejCe keÀer Òeef¬eÀ³ee nw~ ³eefo DeeHe efÒebì ³ee Dev³e ceeref[³ee keÀes keÀe[& kesÀ Meerì Hej ceeGbì keÀjvee ®eenles nQ,GoenjCe kesÀ efueS DeeHe Gme keÀe[& keÀe GHe³eesie keÀjves ceW me#ece nes mekeÀles nQ pees Henues mes ner ef®eHekeÀves Jeeuee melen nw ³eefo veneR, lees DeeHekeÀes oesveeW lejHeÀ ef®eHekeÀves Jeeuee DeOesefmeJe GHe³eesie ceW ueevee nesiee~ ³eneB DeeHe Henueer yeej meeos yees[& Hej mesuHeÀ DeOesefmeJe keÀes uewefcevesì keÀjW,efHeÀj Meer<e& efÒebì keÀes ef®ekeÀvee keÀjves kesÀ efueS uewefcevesìj keÀe Òe³eesie keÀjW~ DeeHe uekeÀæ[er ³ee Su³egefceefve³ece efceefÞele meeceûeer (³eeefve [eFyeeb[ ³ee Deewj ÒeefleÜboer) pewmes ceesìs þesme HeoeLe& kesÀ efueS Gmeer Òeef¬eÀ³ee keÀe GHe³eesie efkeÀ³ee pee mekeÀlee nw~ mHe<ì HejmHeskeÌme Meerì ³ee ceesìer S¬eÀerefuekeÀ kesÀ Heerís Fcespe keÀes ceeGbì keÀjvee Yeer ueeskeÀefÒe³e nw~ pees efkeÀ SkeÀ meceeve Òeef¬eÀ³ee nw efmeJee³e FmekesÀ efkeÀ DeeHekeÀes SkeÀ efJeMes<e mHe<ì Dee@eqHìkeÀueer oesveeW lejHeÀ ef®eHekeÀves Jeeuee nesvee ®eeefnS Deewj efÒebì yueekeÀ veer®es nes peelee nw~

MeyoeJeueer Deble ceW O³eeve osves ³eesi³e yeele ³en nw uewefcevesMeve Meyo Leesæ[e þerkeÀ veneR nes mekeÀlee~ nceves FmekeÀe ³eneB Hej Fmlesceeue meeFvespe,yegkeÀ keÀJej,Jeenve jwHe pewmes efJeJejCe kesÀ ©He ceW efkeÀ³ee nw~ peyeefkeÀ FmekeÀe Fmlesceeue HueeF&Jeg[ pewmes efceefÞele meeceefûe³eeW keÀer HejleeW keÀes yeveeves kesÀ efvecee&Ce kesÀ efueS Fmlesceeue efkeÀ³ee ie³ee Lee~ ³en Meyo ceBnieer uekeÀæ[er kesÀ Heleues mlej,³ee yeeo ceW HeÀveea®ej,HeÀMe&,jmeesF&,Deewj yeeLe©ce meleneW Deeefo kesÀ efueS Fmlesceeue efkeÀ³ee peelee nw~ lejue uewefcevesMeve Yeer nw~ pees efÒebìs[ HesHej ³ee Dev³e ceeref[³ee Hej megj#eelcekeÀ Hejle ueieeves nsleg jesuej keÀe GHe³eesie efkeÀ³ee peelee nw~ leye ³en mHe<ì cewì,®ecekeÀ ³ee efmeukeÀ efHeÀefveMe ceW metKe pee³esiee~ keÀesefìbie Gmeer ®eerpe kesÀ efueS cetue©He mes SkeÀ otmeje Meyo nw~ uewefcevesefìbie efHeÀuce keÀer DeHes#ee êJe memlee nw,uesefkeÀve Deeceleewj Hej efìkeÀeT veneR~

Hegve&®e¬eÀCe uewefcevesì HeoeLeeX kesÀ meeLe Hegve&®e¬eÀCe Leesæ[er SkeÀ mecem³ee nw~ efyevee GHe³eesie efkeÀ³ee ³ee DeHeefMe<ì yeerDeesHeerHeer keÀe Hegve&®e¬eÀCe efkeÀ³ee pee mekeÀlee nw,uesefkeÀve pewmes ner Fmes efÒebì[ ceeref[³ee Hej uewefcevesì efkeÀ³ee peelee nw,³en DeefOekeÀ peefìue nes peelee nw,pewmes efkeÀ DeOesefmeJe,FbkeÀ,FmekesÀ veer®es keÀe mlej meYeer keÀes Deueie lejerkesÀ mes J³eJenej efkeÀ³ee peelee nw~ HeerJeermeer Deemeeveer mes efjmeeFkeÀue veneR neslee~ HeerF&ìer Deemeeveer mes efjmeeFkeÀue nes peelee nw,uesefkeÀve efHeÀj Yeer FmekesÀ meeLe keÀF& cegÎs pegæ[s ngS nQ~ June - July 2017 SCREENTEX |

Duratech Automation Pvt. Ltd.

EVENTS CALENDAR

NATIONAL AUGUST 2017 03 -06 August 2017 CARTON TECH 2017 India’s Leading Show on Packaging Industry. At : Pragati Maidan, New Delhi. www.packplus.in 10 - 13 August 2017 GIFTS INDIA 2017 Leading Show on Gifts & Stationery. At : Bombay Exhibition Centre, NSE Complex,Goregaon (E), Mumbai

22 - 24 September 2017 MEDIA EXPO 2017 ( NEW DELHI ) Leading Exhibiton in Indoor & Outdoor Advertising. At : Pragati Maidan, New Delhi. www.themediaexpo.com

OCTOBER 2017 26 - 28 October 2017 PACPROCES INDIA 2017 India’s Leading Show on Processing & Packaging. At : Pragati Maidan, New Delhi.

www.indiabig7.com

www.pacprocess-india.com

11 - 13 August 2017 KNIT SHOW 2017

NOVEMBER 2017

Leading Show on Garment Industry.

01 - 04 November 2017 PAPEREX INDIA 2017

At : Velan Hotel Fair Ground, Tirupur, Tamilnadu.

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

www.knitshow.in

At : Pragati Maidan, New Delhi. www.paperex-expo.com

18 - 20 August 2017 PRINTEXPO 2017 South Indian’s Leading Show on Printing Industry.

03 - 05 November 2017 SIGN INDIA 2017 CHENNAI

At : Chennai Trade Centre, Chennai, Tamilnadu.

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

www.printexpo.in

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

18 - 20 August 2017 GTE 17 (AHEMDABAD) Leading Garment Technology Expo.

03 - 05 November 2017 GARKNIT X 2017

At : Ahemdabad, Gujarat.

Leading Show on Garment & Apparel Technology.

www.garmenttechnologyexpo.com

At : Science City, Kolkata. www.vardaanevents.in

SEPTEMBER 2017 13 - 15 September 2017 TECHTEXTIL INDIA 2017 International Expo for Technical Textiles and Nonwovens. At : Bombay Exhibition Centre, Goregaon (E), Mumbai. www.techtextil-india.co.in

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

DECEMBER 2017 14 - 16 September 2017 INDIA FOLDING CARTON 2017

01 - 02 December 2017 INSIDE 3D PRINTING EXPO 2017

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

Leading Expo on 3D Printing Industry.

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

At : Nehru Centre, Worli, Mumbai.

www.indiafoldingcarton.com

www.inside3dprinting.co.in

| SCREENTEX | June - July 2017

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

EVENTS CALENDAR

INTERNATIONAL AUGUST 2017 09 - 11 August 2017 CSGIA 2017 / ASGA 2017 China’s Leading Show on Screen, Textile & Digital Print Industry. At : Shanghai New International Expo Centre (SNIEC), Shanghai, China. www.csgia.org 09 - 12 August 2017 TEXTECH BANGLADESH 2017 Leading Expo on Garment & Apparel Industry. At : International Convention Centre, Basundhara, Dhaka, Bangladesh. www.textechonline.org 22 - 24 August 2017 PPP TANZANIA 2017 Leading Expo on Plastics & Printing Industry. At : Mlimani Conference Centre, Dar-es-Salaam, Tanzania.. www.expogr.com

SEPTEMBER 2017 31 Aug - 02 Sept 2017 ASEAN CERAMICS 2017 Leading International Expo on Ceramics Industry. At : BITEC, Bangkok, Thailand. www.aseanceramics.com 04 - 07 September 2017 IRANTEX 2017 Iran’s Leading Show on Textile Industry. At : Tehran International Permanent Fairgrounds, Tehran, Iran. 07 - 09 September 2017 ISS SHOW 2017 Leading Show on Decorated Apparel Business. At : Orange County Convention Centre, FL, USA. www.issshows.com 08 - 11 September 2017 TAIWAN SIGN & LED EXPO 2017 Taiwan’s Leadinh Show on Sign & LED Industry. At : Taipei World Trade Center, Taipei, Taiwan. www.taiwansignexpo.com

| SCREENTEX | June - July 2017

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

Arrow Multimedia

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

Mahedra M h d SSethia h - 92824 37480

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

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

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

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

AN ISO 9001:2008 CERTIFIED COMPANY

Speciality Products Pvt. Ltd. Advt. Agency.

August - September 2013 | SCREENTEX |

| SCREENTEX | June - July 2017

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

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

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

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

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

AD INDEX Advance Syntex (P) Ltd.

Kunal Enterprise

Aeon Commercial India (P) Ltd.

Mac Dermid Autotype Ltd.

Allied Sales Corporation

Meetesha Enterprises

And Global Sales Corporation

NBC Japan

Arrow Multimedia

Omkar Engineering

Astra Chemtech

Paper Ex 2017

Balaji Chemicals

Paper N Films International

Balaji Traders

PAMEX 2017

Beauty Flex

Ratan Industrial Engineering

Blue Coat India Pvt. Ltd.

SAi 29

Cheran Machines I Pvt. Ltd.

36,37

Sefar Switzerland

Duratech Automation (P) Ltd.

03,61

Shriram Enterprises

Dakota Chemicals India Pvt. Ltd

Shree Balaji Industries

Epta Inks India Pvt. Ltd.

Smilax International India

Febchem Pvt. Ltd

Sneha Enterprises

GTE 2017

Sparkle Foil N Film

Hari Impex

44,45 35

Spoorthi Technologies

Imprint Solutions

Sulfit Machines

J N Arora & Co. (P) Ltd.

SunShine Graphics

Kumar Textile Industries

Vee Jain Dyes and Chemicals

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 | June - July 2017

EASY SOLUTION FOR DARK COTTON AND POLYESTER GARMENT BY SUBLIMATION PROCESS.

Authorised Distributor / Agent for Water / Oil / Liquor Reppelent Heat Sealable Paper for Printing & Packaging Industry.

Mob : +91 98 33 99 77 72 Off : +91 98 33 99 77 76 Email : pb7772@gmail.com Mumbai, India

Mob +91 7400451521 arvind.singh@sefar.com