Acimac Handbooks - Edition 2015/2016

E D I T I O N

2016

HANDBOOK

ACIMAC

Digital Glazing

Decoration

and of ceramic tiles

E D I T I O N

2016

HANDBOOK

ACIMAC

Images from the conference "Digital Glazing and Decoration of Ceramic Tiles", 2015 edition

© Copyright ACIMAC, Associazione Costruttori Italiani Macchine Attrezzature per Ceramica Via Fossa Buracchione 84 • 41126 Baggiovara (MO) • Italy • Tel. +39 059 510 336 • www.acimac.it Edito da S.A.L.A. srl • Via Fossa Buracchione 84 • 41126 Baggiovara (MO) • Italy • Tel. +39 059 510 108

In collaboration with:

Introduction

The series of Acimac Handbooks devoted to digital decoration technologies is being expanded this year with the sicth publication which focuses on the latest technological innovations introduced in this specific segment.

Produced in cooperation with the magazine Ceramic World Review, this edition of the handbook will be available at all the leading tradeshows for the sector in 2016 and can also be downloaded free of charge from the page devoted to Acimac technical manuals on the website www.tiledizioni.it.

The aim of the Acimac handbooks is to promote knowledge of technological and process aspects of the ceramic industry through publications that are straightforward and easy to read but at the same time offer exhaustive and detailed coverage of key issues.

The ceramic technology supplier companies have supported us in these efforts by making their expertise

Fabio Tarozzi

available and providing the texts.

Given the enormous interest in the theme of “Digital Decoration”, and today in the new field of Digital Glazing, right from the very first edition of the handbook in 2009 it was clear that we would have to provide an update at least every two years.

In the end, the reality of the situation has prompted us to make annual updates.

There are two main reasons for this: firstly, ceramic digital technology is evolving at a rapid pace and has seen the emergence of new market players (machinery manufacturers, ink and service suppliers); secondly, the already large-scale use of ceramic digital printing systems in much of the world is forcing tile producers to broaden their knowledge of available technologies and of the potential for further optimising digital ceramic production.

The enormous interest in these issues was much in evidence at the 7th Annual Meeting on Digital Decoration organised by Acimac on 25

November 2015, which was attended by some 450 technicians and professionals from the italian ceramic industry.

This new Acimac Handbook contains several of the contributions presented at the conference as well as fresh material provided directly by sector companies operating in the fields of colour management, digital glaze and ink supply and inkjet printing machine construction.

We feel certain that it will make an important contribution to the knowledge of industry professionals in Italy and abroad.

We are also convinced that research in this field will continue steadily and will bring further advances in the near future.

Fabio Tarozzi Acimac Chairman

Contents Colorobbia Digital Space: a step towards the future of ceramics ........................... page 2

Esmalglass-Itaca: developments in digitalisation of the ceramic tile production process..... page 6 Inco Quick Stain............................................................................................... page 12

State of the art of System’s full digital process

............................................................... page 14

Ceramic tiles: a strategic sector for Durst and the state of the art.......................... page 18 Innovative line for decorating large sizes

............................................................................. page 24

On-demand digital printing: everything you need, nothing you don’t.............................. page 26

Art for creation, technology for reproduction...................................................................... page 28

Fabio Tarozzi

Colorobbia Digital Space: a step towards the future of ceramics

by Angelo Onorato

Throughout its 90-year history, Gruppo Colorobbia has played a leading international role in the technological evolution of ceramic tiles: from double and single fired

tiles through to monoporosa and porcelain, followed more recently by the advent of digital decoration.

Colorobbia offers its customers

integrated solutions that combine outstanding aesthetics with a unique capacity to manage both materials and the industrial process.

COLOROBBIA DIGITAL SPACE

In step with the constant development of digital technology, Colorobbia has developed and steadily expanded its range of products for digital decoration and glazing in collaboration with various players in the ceramic industry.

Some of the highlights of Colorobbia’s research in recent months include: • High-productivity printers with multiple bars; • New types of higher performance printheads capable of achieving discharge rates of up to 200 g/ sq.m and handling inks with larger particle sizes; • New printers and valve type prin-

theads for digital glazing; • New printers and printheads for dry digital applications.

The result is Colorobbia Digital Space, a complete and well-balanced range made up of five different families: • EHP (Extended Hydrophilic Properties) Series - Pigmented inks and effects • ETR (Extended Temperature Range) Series - Pigmented inks and effects • SPS (Special Particle Size) Series - Special-effect inks with special particle sizes • HQ (High Discharge) Series - En-

gobes and glazes for digital glazing • DDA (Digital Dry Application) Series - Materials for dry digital application.

Colorobbia’s fully integrated solution includes Digital Space series products based on meticulous aesthetic research along with glazes, grits and all other materials that make up a tile.

It devotes the utmost attention not just to individual products but to all aspects of tile production.

It is the perfect combination of all these factors that brings the best aesthetic results at competitive costs.

SERIE ETR E SPS: COLOURS AND EFFECTS

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The ETR and SPS series include a wide range of pigmented inks and special-effect inks that combine high stability with excellent colour

strength. In particular, the special-effect inks can produce tones, textures and surfaces with unique and exclusive effects.

The ETR series of pigmented inks comes in a wide range of colours, including 3 different blues, a reddish brown, a yellow, a black, a beige, a

reddish beige, a pink and a green. To meet the different needs of the market, Colorobbia recently introduced three new inks which expand the colour space that can be produced using the EHP series.

These new additions are Honey,

Mango Yellow and Carbon Black.

Within the ETR and SPS series, Colorobbia has also developed an extensive array of effects that can be used either individually or in combinations to produce a gre-

at variety of innovative surfaces.

This “multilayer” concept patented by Colorobbia opens up a wide range of possibilities and functions, allowing tile producers to attain a high degree of customisation.

A few examples of effects

In addition to traditional effects (glossy, matt, white and sinking), Colorobbia has also developed a series of inks capable of creating highly unusual effects.

One example is the Hydroactive ink which can be applied over a glaze to create a splendid relief effect based on the well-known characteristic of

water repellency.

Another innovative ink that fits in very well with the “multilayer” concept is the Multifunction ink, which not only serves as a support and interphase but can also create a high-gloss surface and considerably increase the colour intensity of certain pigmented inks.

By applying a sequence such as “Glaze - Pigmented inks - Multifunction inks - Silver/Golden”, it is possible to create a very wide range of metallic tones, from metal, silver and copper through to bronze.

The current range of effects is constantly being expanded and developed by the Colorobbia R&D department.

APPLICATION OF DIGITAL EXPERTISE: THE “MULTILAYER” CONCEPT

One of Colorobbia’s key goals is to study all aspects of the ceramic production process in order to integrate products for digital application with conventionally applied products.

This goal can be achieved by developing a model that allows for complete integration of the different product

ranges.

During the various development steps of the “multilayer” concept, Colorobbia has used its expertise to develop a number of functional proposals.

We can look briefly at two of these proposals in particular and discuss

their advantages and disadvantages: • Option A: an application line with multiple printers • Option B: an application line with a single multi-bar printer. »» Acimac handbooks - 2016 Edition . 3

A) In example A, the central printer with the colours is of the same type that is currently used on the line. However, additional machines with a smaller number of bars have been installed before and after this printer.

These have been positioned at a certain distance to enable the applications to dry, a precaution that can become very important in certain situations.

The conventional guides used on glazing lines are insufficient to ensure perfect alignment of a given graphic design or effect, so it is necessary to install a device between the second and third printer that is capable of recognising both the

design and the incoming angle of the tile and sending information to the printer within just a few seconds so that the printing process can be adapted.

This enables the maximum discharge capacity of the individual bars to be exploited and allows printers to be fitted with different types of printheads capable of creating specific effects..

B) In example B, the multi-bar printer offers the advantage of perfect alignment, although in the case of overlapping inks care will need to be taken with the drying times of the various applications. Another potential problem with the use of a

single printer is that infrequently used bars may degrade as hot tiles pass through.

In both option A and option B, the decision was taken to use just 4 colours in view of the tendency amongst many producers to reduce the number of colours (to 4-5 at the most) so as to free up bars and enable effects to be inserted.

In both situations, Colorobbia is performing industrial tests in real-life production scenarios so as to anticipate potential problems and provide targeted solutions.

The multilayer concept reflects Colorobbia’s approach to digital

Examples of products created using the “multilayer� concept

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technology, which involves developing products that will be capable of combining effectively with glazes.

In the pilot plant installed at the Colorobbia Technology Laboratory, plotters and industrial printers made by various manufacturers are

used to test products with the various printheads available on the market.

The Colorobbia research and customer support department also uses the best profiling software and analysis instruments, from a classic

Eye One through to a spectral scanner. This enables Colorobbia to offer a highly professional service that not only studies the products to be delivered to tile manufacturers but also verifies their limitations and advantages in industrial conditions.

SUSTAINABILITY

Colorobbia has always sought to understand, control and minimise the environmental and health impact of its products, taking account of all steps in its processes

and the ways in which its products are used in industrial conditions.

This philosophy is transferred to all subsidiaries worldwide. Based on the results of the analyses and the

characteristics of the ink components, Colorobbia Digital Space products are not subject to hazard labelling provided the safety sheet instructions are followed.

HOW TO MANAGE THE EFFECTS

As mentioned at the beginning of this presentation, with the new higher discharge types of printheads some of the effects will reach their saturation point at a low percentage while in some kinds of glazes the effect will not be visible at lower percentages.

We now have a very good knowledge of the use of linearization and profiling systems for colour con-

trol, although these cannot be used for determining the way that these effects change on surfaces.

Over the past few months Colorobbia has been developing practical solutions to a number of issues by experimenting with new tools for digital technology and testing them in industrial conditions.

In recent years there has been a considerable increase in the num-

bers of graphic designers and Photoshop specialists working in the laboratories of ceramic tile producers and glaze and colour companies.

Now, though, there is once again a need for ceramic experts capable of mastering textural and material effects and exploiting the creativity that has always been a trademark of the ceramic industry.

COLOROBBIA AND THE NEW CERAMIC SCENARIO

Due to the introduction of large size tiles with surfaces that combine functional and aesthetic qualities, multiple digital applications are taking on an increasingly important role.

The expected rapid growth of this technology will enable ceramic companies to innovate in terms of

technology, logistics, management systems and competitiveness.

Price is always a factor but must be combined with other important aspects.

In particular, Colorobbia’s multilayer concept will play an increasingly important role in responding to the technological and aesthetic

challenge. For this purpose, all our materials undergo constant development to optimise the results achieved to date.

Although this is a big challenge with many unknown factors, Colorobbia is already working on a solution.

Acimac handbooks - 2016 Edition . 5

Esmalglass-Itaca: New developments in digitalisation of the ceramic tile production process

by Alessandro Ferrari

The introduction of digital inkjet technology has prompted one of the biggest changes in the history of industrial ceramic tile production, helping floor and wall tile producers create more diversified products and improve their position in the global market.

In terms of the production process,

inkjet technology has brought greater flexibility and improved warehouse management, allowing producers to satisfy requests for increasingly small and differentiated batches of materials.

Digital technology has grown enormously since 2008.

It is estimated that out of approxi-

mately 9,000 glazing lines in operation all over the world, the conversion rate from traditional to digital technology stands at about 72% (Table 1).

This does not mean that all these lines operate entirely with digital technology but simply that they include a digital decorating machine.

Table 1. The diffusion of digital printers worldwide

Digital printers installed during the year

2010

2011

2012

2013

2014

2015

-

397

951

2,049

1,537

1,216

Total number of digital printers in operation

333

730

1,681

3,730

5,267

6,483

Conversion rate

5%

9%

21%

45%

60%

72%

-

-

8,000

8,400

8.800

9,000

Total number of glazing lines worldwide

Fig. 1. Decoration line conversion rate from traditional to digital in different countries

In some countries such as Spain and Italy the conversion rate now stands at more than 90%.

This trend indicates that digital technology has in effect become the dominant decoration method in the ceramic tile sector and is the technological segment benefiting from the greatest investments in terms of research and development.

Compared to the early years of digital technology when there was still very limited awareness of its potential (there was a lot of discussion about

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printheads, resolution, the quality of inks and machines, and so on), manufacturers who today choose to adopt inkjet technology are in a much better position to decide which decorating machine and which colours are most suited to their needs.

With today’s knowledge it is possible to optimise all digital technology parameters to achieve maximum performance.

It is hardly a surprise that the ceramic tile producers who have benefited the most from digital technology are

the ones that have succeeded in successfully integrating all components of the digital process (optimisation of glazes, use of colour management software, choice of correct colour configuration according to production requirements, etc.).

However, this progress in terms of technology and products prompts a new question: What can be done to further diversify finished products and make them more competitive in the global marketplace?

Esmalglass-Itaca has attempted to answer this question by using digital techniques to apply material with the ultimate goal of digitalising the entire glazing line.

This fully digital process has numerous advantages, including improvements to the finished product, the production process and cost management.

From an aesthetic standpoint, it is possible to obtain new finishes and textures and to synchronise graphic designs so as to achieve unique and very natural effects.

Production and management advantages include the possibility of: • reducing or eliminating the defects that typically occur with conventional applications, which have limited control over the physical properties (density, viscosity, surface tension, particle size, etc.) of the materials currently in use; • increasing the flexibility and speed of change of models; • reducing prototype development times; • reducing numbers of tones and consequently increasing production yields; • reducing warehouse stock and consequently increasing the company’s working capital.

After years of research and testing, Esmalglass-Itaca has developed two new families of products called Digital Effects and Digital Materials which create digitally applied material effects.

These two families complete the Digital Inks range which for years has

been a point of reference in the digital ceramic world.

Products in the Digital Effects series are oil-based submicronic materials (based on the same medium as the Digital Inks) and can be used with existing printheads.

Due to their strictly controlled particle size, these products maintain a very high level of stability in both the printing circuit and the printheads.

This category includes materials that can be combined with conventional decoration techniques to create special effects.

Products in the Digital Materials series are micronic water-based materials that can be used exclusively in new-generation printheads with high application weights (from 50 g/ m2 to 800 g/m2). These products are

water-based and have a particle size of more than 3 µm.

Thanks to this large particle size compared with submicronic products, these materials create an authentic ceramic effect and can be applied digitally in the same quantities as with conventional techniques such as bell applicators, flat screen printing machines, rollers and other devices.

They are also significantly cheaper than submicronic materials, a critical factor for industrial use with high application weights.

The Digital Materials range also includes the Digital Powders family, which consists of spray-dried powders, grits, grains, etc. with particle size and flow properties suitable for application with dedicated dry inkjet printheads.

DIGITAL EFFECTS

Table 2 shows the current range of products, which can be used with most printheads on the market.

Tab. 2. Digital Effects range White

Reactive

Glossy

Matt

Lustre

Glue

Metallised

Acimac handbooks - 2016 Edition . 7

The application weights that can be obtained with current printheads vary but are not normally higher than 50 g/m2.

This means that when deciding to use Digital Effects to create a product, it is important to make the right choice of glazes

these effects will be used with (i.e. conventional glazes or Digital Materials).

Raw materials / Frits

Pigment

Composition

High interaction

Low interaction

Glaze

High interaction

Colour

Firing

The graph in figure 2 shows the behaviour of the digital effect Cik-

GL1205 (effect used to produce high-gloss surfaces) according to the

type of glaze applied to the ceramic substrate.

Fig. 2 Behaviour of the digital effect Cik-GL1205 according to the type of applied glaze

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Acimac handbooks - 2016 Edition

From the graph it can be seen that the Gloss level (expressed in GU) correlates closely with application weight and above all with the type of ceramic glaze that the effect comes into contact with.

By using an appropriate glaze it is

possible to duplicate the ceramic effect.

Correct use of materials that can be combined chemically allows for the creation of unique effects while at the same time reducing specific consumption of the material.

This is an advantage not just in terms of consumption and aesthetics, but also from the standpoint of production as the printheads can operate in low stress conditions and will therefore require less maintenance.

1

1 - White 2 - Metallised 3 - Lustre 4 - Glue + Dry 5 - Reactive

2

5

3

4

DIGITAL MATERIALS

As previously noted, Digital Materials are micronic materials designed for use in new-generation printheads capable of applying large quantities of material (wet or dry).

They can be applied full-field either before or after decoration, and the design can be synchronised with the rest of the process to create effects reminiscent of those obtained with screen printing machines or rollers or to generate the kind of relief that would normally be obtained with a press mould.

In short, it is possible to create any surface that can be obtained with existing methods while enjoying all

the production benefits of digital technology.

The Digital Materials family includes

a range of options: matt, glossy white, clear matt, satin matt, crystalline, metallised and lustre.

Tab. 3 – Characteristics of Digital Materials Dispersing medium Water

Water

Dry material

Acimac handbooks - 2016 Edition . 9

6

7

8

9

6 - Crystalline 7 - Clear matt 8 - Application of a grit with Dry Inkjet 9 - Matt

DIGITALISATION OF THE CERAMIC PROCESS

Integration of these diversified families of products (Digital Effects and Digital Materials) on the glazing line increases the potential for creating a fully digital ceramic production process.

The various types of materials (micro, sub-micron and powders) have been developed for application on any kind of product, including monoporosa, porcelain, double fired tiles, etc.

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All compositions are optimised to improve technical and aesthetic characteristics in keeping with today’s requirements while at the same time guaranteeing the maximum colour intensity of Esmalglass-Itaca pigmented inks for combined use.

Some examples of different setups for digitalising the glazing line are shown in figure 3 to give an idea of what can be achieved by combining

the various digital technologies.

To conclude, the Digital Solutions family from Esmalglass-Itaca not only performs digital decoration with pigmented inks but also applies layers of material digitally, giving ceramic manufacturers and designers the opportunity to create highly differentiated products using a fully digital process.

Fig. 3 – Examples of digitalisation of the glazing line

Digital powders

tile GLAZING LINE

DIRECTION OF TILE MOVEMENT

tile GLAZING LINE

DIRECTION OF TILE MOVEMENT

Digital powders

tile GLAZING LINE

DIRECTION OF TILE MOVEMENT

Digital powders

tile GLAZING LINE

DIRECTION OF TILE MOVEMENT

Acimac handbooks - 2016 Edition . 11

Inco Quick Stain INCO Industria Colori has developed a specific range of ceramic pigments for the production of excellent quality inks in a short time and with considerable savings.

The Quick Stain range is aimed at ceramic glaze and colour producers and ceramic tile manufacturers interested in starting up their own independent production of pigmented inks.

The technical characteristics are a result of complete pigment reformulation, meticulous selection of the raw materials and a thorough review of the production process.

Exploiting its more than 25 years of experience in the field of inorganic pigments, INCO has conducted a study aimed at developing a new series of pigments with significantly improved particle size and morphological properties compared to those produced in a conventional Jet Mill.

The Quick Stain pigments have a particle size distribution with an average value of 0.7-0.9 Âľm and a real d100 of below 3 micron measured from images made with a scanning electron microscope, as well as particles of more uniform shape and size.

Photos 1 and 2 compare pigments obtained with Jet Mill grinding technology (left) with Quick pigments (right).

As can clearly be seen, the Quick se-

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12

ries pigment particles are considerably finer and more uniform.

These properties of Quick pigments result in an ink with a narrower particle size distribution than a pigment deriving from a Jet Mill process.

The image for Quick Yellow ICQ 10/ Q110 appears to show a fused, spongy, almost sintered mass.

In reality, it is an aggregation of primary particles created by electrostatic attraction between very fine particles, with average particle size values of around 600-700 nm.

Due to their finer size and narrower particle size distribution, Quick technology pigments are most suited for the production of high-quality ceramic inks and provide the following advantages: 1) More intense colour. Narrowing the Gaussian grinding curve reduces the quantities of the finest and coarsest particles, automatically increasing colour intensity.

2) Lower sedimentation and creaming. A more uniform particle size results in a reduction in sedimentation and creaming. The product remains rheologically stable for a longer period of time.

3) Greater colour stability. More uniform particles result in production batches with more consistent colour while maintaining

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the same fire resistance.

4) Improved filterability. Quick pigments have a more regular shape, which is maintained even after Ink Mill grinding. The particles therefore always have the same size at the filter.

5) Energy saving during grinding.

Due to the very fine particle size, the narrow Gaussian curve and the controlled shape of the particles, it is possible to reduce the grinding times by 30-40%.

6) Reduction in wear of the grinding media and the mill. The grinding media (spheres) and the mill lining (both of which are expensive) are used for less time.

7) Smaller plant investment.

All the above-mentioned savings lead to a reduction in investments in milling machinery as a result of the considerable increase in production capacity. This brings savings of at least 30% for ink producers.

The Quick Stain range consists of 14 high-saturation pigments with a particle size below 3 microns.

They cover a wide gamut and enable ink manufacturers to supply a wide range of colours.

Naturally, specific colours can be developed on request using Quick technology.

I NCO I NDUSTRI A CO L O RI SPA V i a M o n t eb o n el l o 1 9 / 2 1 - 4 1 0 2 6 Pav u l l o (M O ) T. + 3 9 0 5 3 6 5 1 0 2 1 - www.i n co co l o u r s . i t

State of the art of System’s full digital process The Creadigit digital decoration machine produced by System now sets the standard in the ceramic digital decoration sector in terms of reliability, print quality and versatility.

More than 300 machines were sold in 2015, bringing total sales to 600 in the 27 months since the machine was first launched.

by Rita Cagnoli

Creadigit owes its success to a robust and functional initial design that has been adapted to customers’ needs over the years while maintaining its unique identity. Creadigit has evolved with respect to the basic prototype, becoming longer and wider and incorporating improved software and electronics. Its

potential has been steadily enhanced without sacrificing its characteristics of extremely high productivity (in terms of both output and top quality yield), absence of banding due to clogged nozzles, and robustness of the hardware and software solutions. Creadigit comes in 7 different models:

Creadigit Print width (mm):

Max. number of colours

Max. number of printheads

Max. speed at 400x400 dpi (m/min.)

STD

710

6

11

40

E

710

8

11

40

XL

1161

6

18

35

XLE

1032

8

16

48

XXL

1355

8

21

25

XXL HS

1355

8

21

40

BS

1806

6

28

25

Creadigit

Following investments in human resources, System has formed working groups with expertise in the field of inkjet technology and all components of digital machines.

This ensures that Creadigit is kept at the cutting edge of technology with in-depth design of all components including mechanics, electronics, software, hydraulics, graphic design, inks, RIP and printheads.

Creadigit is recognised by the market as an extremely high-quality machine thanks to the following key characteristics:

Printheads Printhead Model

Native drop size (pL)

Use

SG 1024-SC

10

Inks

SG 1024-MC

30

Inks/Materials

SG 1024-LC

80

Materials

SG 1024-SC

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. Acimac handbooks - 2016 Edition

1. Optical alignment of the printheads: System has a class 7 clean room where it assembles and aligns the print bars, allowing for rapid and extremely precise printhead changing in the field without the need for realignment.

2.

The optimised hydraulic circuit (System patent): it has three recirculation loops and ensures a good level of homogenisation of the ink throughout the machine; the ink is kept in constant movement to ensure that its chemical and physical parameters remain unchanged. The very high efficiency of the circuit makes washing the colour bars quick and easy.

3. The attention to construction details ensures that the machine is easy to service.

SG 1024-MC

4. The fact that there are no unused nozzles minimises machine stoppages.

5. The high degree of efficiency and professionalism of System technical support.

6. Constant attention to the needs, advice and requests of customers.

Creadigit’s design is evolving constantly, and modifications and upgrades are always available. The result is an extremely reliable digital printer which functions with 100% of nozzles in operation.

Creadigit’s success owes much to the longstanding use of the SG1024 printhead from Fujifilm Dimatix.

The printhead is available in three different versions according to the na-

SG 1024-LC

tive drop size.

It has a resolution of 400 dpi, an internal recirculation loop and a highresistance metal plate, and can be completely reconditioned.

The SG 1024-SC type printhead with native drop size of 10 pL is de-

signed for high definition and shading, and consequently exclusively for use with the colouring inks. The SG 1024-MC printhead, which has a native drop size of 30 pL, is the most versatile and is widely used for applying both inks and materials due to its discharge potential of up to 50g/

m2. The SG 1024-LC printhead is suitable for materials for which the deposit limits of the M version are insufficient. To achieve this, it is used with only 25% coverage of the design, and in these conditions can discharge around 30% more than an SG 1024-MC printhead.

Quantities of ink/material deposited by various models of printheads

System has established a leadership position in the field of large size tile printing with the two versions XXL and BS, which have printing widths of 1355 mm and 1806 mm respecti-

vely. Demand in the large-format tile market is moving towards increasingly large sizes, so to be successful a printer must be designed specifically for these applications.

The two key requirements of high stability and excellent print quality have been maintained on these models of Creadigit, which are fitted with 21 and 28 inline printheads respectively.

Digital decoration of large-format tiles and panels is capable of creating stone-imitation effects and other kinds of designs with a maximum extension of 200 square metres, so each tile is effectively unique.

Creadigit BS

Acimac handbooks - 2016 Edition . 15

FULL DIGITAL LINES

Along with the two models of Creadigit for large sizes, System has also developed full digital lines in which all stages in ceramic tile decoration are performed digitally, from glazing to final protection with two or more digital machines.

Synchronisation between the designs of the different machines is currently performed mechanically, but in the future System intends to launch a new high-precision centring system.

To date a total of 7 lines with the

Creadigit XLE

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MultiCreadigit have been installed worldwide, most of them on largeformat lines.

System is in constant search of innovations and new machine functions, including the ability to discharge greater quantities of material.

For this purpose, it has developed: 1. a new printhead with superior performance to that of the SG1024-LC, 2. a new “quantity� software function which allows printhead di-

scharge to be regulated with considerable ease directly in the machine, without having to either increase the print resolution or change the working waveform.

These are just two of the many new features that are continuously tested and implemented in the System laboratories.

And just like Creadigit, System itself is constantly evolving with the aim of becoming more competitive, innovative and unique in the market.

NOTE

Acimac handbooks - 2016 Edition . 17

Ceramic tiles: a strategic sector for Durst and the state of the art

by Norbert von Aufschnaiter

The ceramic industry remains a strategic sector for Durst, which in 2015 has strengthened its leadership role in the international digital tile decoration market with numerous installations of new Gamma XD systems worldwide.

High image quality, sharp and well defined details, full, uniform colours and complete absence of banding are just a few of the factors that have

contributed to the success of these revolutionary 8-colour modular systems, which in the space of just a few months have helped set new standards in the industry.

As Norbert von Aufschnaiter, Segment Manager Ceramics Printing of Durst Phototechnik, pointed out at the 7th Annual Acimac Meeting held in Fiorano on 25 November, Durst Gamma XD is not just the most in-

novative ceramic printer on the market but also the one with the highest approval ratings amongst customers the world over.

The latest-generation technology developed by Durst’s R&D department and implemented on the Gamma XD series sets these machines apart from all other printing systems on the market and marks a step forward compared to the company’s previous models.

Durst Gamma XD

QUALITY

Durst Gamma XD customers have been particularly impressed with the system’s quality.

It delivers better performance than any competitor and ensures defectfree print results even with difficult designs and decorations.

This is due to the maximum colour uniformity over the entire printing

width, the delicate colour transitions and the natural, well-contrasted details assured by the new geometry of the printing modules.

Furthermore, the adaptive drop positioning system is able to compensate electronically for colour differences in patterns with solid backgrounds by creating drops of

different sizes directly on the nozzle bar.

Quality is also assured by the high-precision tile conveying and centring system together with the new hydraulic and ink filtering system with volumetric filters that do not require continuous replacement of filters or pumps.

PRODUCTIVITY

18

The high level of quality is matched by equally high production efficiency.

The Gamma XD series printers are immediately ready for production and . Acimac handbooks - 2016 Edition

guarantee total stability of the nozzles, even after long periods of inactivity. The exclusive thickness scanner with anticrash sensor allows

for automatic printhead adaptation, avoiding line stoppages and minimising the need for adjustments.

This unique characteristic means

the printer can operate with a very small distance between the prin-

thead assembly and the tile (1 mm), allowing it to reproduce details with

an exceptional degree of sharpness (photo 3).

Fig. 3. Durst Gamma XD Auto Thickness Scanner

RELIABILITY

The Gamma XD series is operated and maintained entirely by the machine operator, a task that is facilitated by the minimal need for intervention during 24 hours of production. Ma-

nual intervention is not required to guarantee nozzle stability thanks to the new type of head cleaning operation which is performed at long intervals (more than 3 hours) without ink

wastage, eliminating annoying leakage of colour onto the conveyor belt.

Added to this, the new and efficient ink hydraulic system does not require frequent filter and pump replacement.

PRICE/PERFORMANCE

One outstanding feature of the system is its excellent price to performance ratio, including extremely low support and maintenance costs (Total Cost of Ownership).

The new self-calibrating printheads have a much longer lifetime and can be replaced directly by the operator in just 11 minutes, optimising production efficiency and minimising machine downtime.

On restarting, the print quality remains the same without the need for further mechanical adjustments. The new printing module geometry has also enabled the printhead selling price to be lowered significantly (photo 4).

Fig. 4. Durst Gamma XD Rapid Head Change

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BEST PRACTICES

Fig. 5. Durst Gamma 98 XD installed at a Brazilian ceramic company

One practical example of a Gamma 98 XD printing system in operation is the one installed in Brazil on 10 April 2015.

It has produced more than 2 million sq.m of tiles in just over 6 months, during which time support and maintenance costs totalled just 483 euros without the need to replace nozzles, filters or printheads.

FLEXIBILITY

Durst Gamma XD is also a market leader in terms of flexibility thanks to the innovative DM – Digital Material Printing Technology option, which allows effects to be printed using special materials with a discharge of more than 100 g/m² per bar.

This is an essential function for the purposes of creativity and deve-

lopment of highly innovative designs.

The innovative conveyor and centring system allows for double-row printing and high productivity even on very small surfaces, assuring excellent results on any kind of tile.. a) Right and left handed versions produce perfectly identical re-

Fig. 6 .Durst Gamma XD Left Right hand Operation

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sults in terms of both colour and definition, even when changing operation on site.

The fact that the sequence of bars and the entire transport system remains unchanged guarantees very rapid inversion times without affecting printing results (photos 6-7).

b) Double row printing with rapid system for centring and switching from double to single row operation without the need to make further settings. Double row operation allows for completely independent printing with either different or identical designs (in terms of both size and image) on both rows. This makes it possible to operate two machines in one (photos 8-9). c) Job preparation and the print queue can be handled directly on the machine or in the laboratory by means of the Durst Gamma PrepStation, which is able to manage one or more printers simultaneously and perform status monitoring (photo 10).

Fig. 7. Durst Gamma XD Left Right hand Installation Line2

Fig. 8/9 . Double row printing

Fig. 10 . Durst Gamma PrepStation

RAPID AND COMPLETE SOFTWARE

The simple and intuitive software offers numerous opportunities for selecting operating functions quickly and without wasting time.

Examples include colour correction, multiple random functions, remote control of printing and machine parameters during printing phases, ex-

trapolation of printing and statistical data, rapid file loading and image storage on 3 disks in a RAID array.

TOTAL SYNCHRONISATION

All Durst Gamma XD systems can be perfectly synchronised amongst themselves and with printers from

the previous Gamma series, ensuring maximum print quality by separating decorations and special effect

printing. Gamma XD systems are also equipped with software for synchronisation with Durst Gamma DG

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(Digital Glaze) for centralised control of the entire glazing and decoration

process. This innovation revolutionises tile production by optimising the pro-

Fig. 11. Durst Gamma XD Synchronization

Fig. 12. Durst Synchronization Gamma HD-Gamma XD

NOTE

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duction process, increasing efficiency and minimising waste (photos 11-12).

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Innovative line for decorating large sizes

by Dante Biserni

The recent introduction of Continua+ marked a major step forward in the industrial production of extremely large size ceramic tiles and panels and laid the foundations for new plant engineering solutions.

Unveiled in a standard configuration at Tecnargilla 2014, numerous lines have now been installed and are giving excellent results in terms of sizes, thicknesses and textures, combining perfectly with the outstanding potential of Italian ceramic design.

In particular, the Continua+ line offers exceptional opportunities for full integration between the various digital decoration techniques, including those that can be performed dry prior to pressing and subsequent inkjet applications of inks and glazes.

This simple, compact and flexible solution combines low energy consumption with the ability to create large sizes with outstanding technical and aesthetic qualities.

The Continua+ line performs the following steps in the production of

fashionable large-format tiles and panels: • use of one or more DDD (Digital Dry Decoration) machines for dry decoration with spray-dried powders of coloured bodies and glazes; • tile forming by means of the PCR2000 compactor using steel belts which are either smooth or surfaced with the desired texture; • high-definition inkjet decoration using the wide range of available DHD printers.

Continua+

To achieve full integration between the graphic designs and textures, the starting point is a source image, usually acquired in high definition using various acquisition techniques.

From this image, three types of files are produced: • 100 dpi (medium definition) .tif or

.psd graphic files for each colour bar on the DDD dry decorating machine; • 360 dpi (high definition) greyscale .tif files for creating the texture on the belt by means of a patented digital resin-coating process; • 360 dpi (high definition) RGB .psb or .psd files for the DHD inkjet de-

corating machine.

The really new aspect here is that an initial image can be used as the starting point for all stages in decoration, resulting in a fully digital line.

The following devices use digital graphic information on the Continua+ line.

DDD DDD

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The DDD is the only digital powder deposition machine available on the market.

The use of this decorating machine in the large-format tile forming stage creates a uniquely rich body that enhances the sense of depth of the finished product.

Each machine can apply up to 4 colours in multichannel mode.

Depending on the degree of coverage of the graphic design, each bar can deposit up to 1200 g of powder, granules, flakes and/or their mixtures.

The materials are suitable for a wide range of uses in terms of flow rate, particle size and moisture content.

The maximum useful dimensions

of the designs are a length of 200

metres and a width of 1900 mm.

PCR2000

The continuous compactor, which represents the heart of the forming process, can be fitted with smooth and textured belts with a length of 7500 mm and useful widths from 1000 to 1900 mm.

The belt change operation takes just half an hour.

Furthermore, the thickness of use of the compactor can be adjusted very easily between 3 mm and 20 mm.

The resultant ceramic panels have excellent quality characteristics.

For situations in which a texture is required, Sacmi has patented a belt preparation system with good surface quality. In this step the greyscale design described above is used.

The texture file is transferred to the belt directly without the need for a die, so it is very faithful to the original.

DHD DHD

The following digital inkjet decorating machines can be used for large-format panels: • DHD1408 with max. decoration width of 1390 mm, for a fired size of width 1200 mm; • DHD1808 with max. decoration width of 1882 mm, for a fired size of width 1600 mm;

Each model can be fitted with up to a maximum of 8 colour bars for the application of inks and/or glossy/ matt glazes, complete with proprietary electronics. Image loading can be performed in streaming, with rapid print job launching and ease of integration with different printing technologies.

CONCLUSIONS

Large-format tiles and panels have outstanding aesthetic and technical quality and can be sold at a higher average price while opening up new markets.

This aspect has revolutionised the ceramic sector.

From a purely aesthetic standpoint, the combination of different dry and wet digital decoration tech-

niques allows for the creation of products with a very natural look and feel.

This makes it possible to go beyond a purely photographic reproduction and achieve greater differentiation of ceramic tiles in the market.

Continua+ technology today allows for fully digital production

of large-format ceramic panels, making it possible to programme every aspect of the process from shaping to decoration, diversification of sizes and management of finished products.

This kind of approach is likely to become increasingly widespread in the ceramic sector over the next few years.

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On-demand digital printing: everything you need, nothing you don’t

by Vincenzo Palumbo e Angelo Montalti

Since taking its first tentative steps in the ceramic industry, the new industrial process of digital decoration, which has revolutionised the production system, has become a universally acclaimed and established technology among entrepreneurs.

All diffidence is now in the past, and the stage is set for a period of fervent research into the new possibilities that digital printing has opened up, both in terms of streamlining and optimising processes, and enhancing freedom of expression and stylistic research.

Since introducing its first digital printing units in 2006, Projecta Engineering has played an active part in this evolution, and stood out for its vision and its ability to keep developing new solutions to serve the day-to-day needs of ceramic manufacturers.

It has also continuously pushed back the boundaries of what’s possible, to create what we now know as the “digital decoration chain”.

This ability to generate digital decoration solutions integrated into a single production chain is one of Projecta’s core strengths, because the company has always had a clear focus on minimising the dispersion of resources and technologies, for the specific purpose of increasing productivity.

For many years, Projecta Engineering has been equipping the ceramic industry’s leading glazing lines with digital machines that synchronise the various stages of the decoration process on the basis of a unique graphic project (the Syncro 3D, unveiled at Tecnargilla 2012), using commercially available printing technology (Seiko, Xaar and Toshiba heads). This makes it possible to achieve ever higher performance in the delivery of inks, textural effects and even graniglia (the Dry-Fix machine for digital graniglia application

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presented at Tecnargilla 2014).

The definitive uptake of these concepts by ceramic manufacturers has now prompted Projecta to do some more thinking.

What they’ve come up with probably runs counter to current trends, but it’s highly likely to generate a new conceptual and technological leap forward: “Are we totally convinced that production lines need all the individual printing solutions they have, and if so do they need them all at once?”

This question and the resulting research has spawned G5, or Generazione Cinque as its manufacturer calls it.

This is not only a new machine, it’s an entirely new approach to decoration, which marks a milestone in the development of the concept of an “integrated digital decoration chain”.

G5 is the first (and at present only) fully modular system that’s genuinely tailored to the specific needs of each user, and capable of condensing the entire glazing process and all the digital technologies developed to date, into a single unit measuring just a few metres in length.

The most innovative aspect of G5 is its total flexibility: this is an entirely “open” digital decoration system, which allows you to install only what you need at the time of commissioning, while leaving almost unlimited scope for implementing additional features according to evolving production requirements or the emergence of new technological developments, such as heads, inks, etc.

This total flexibility is a huge benefit for ceramic industry entrepreneurs, because it enables them to decide what to use, when to use it and how to use it, and thus to meter their economic investments according to their real needs.

The most obvious analogy is that of the painter and his palette: from

countless different shades, the artist actually chooses only the most suitable colours for the work he’s doing. In the same way, G5 enables ceramic manufacturers to decide which technology to use at any given time and how to use it.

This flexibility has two practical advantages: firstly, it enables manufacturers to make targeted, calibrated investments in what they need in the here and now; and secondly, it enables them to upgrade their machines over time, according to their needs, their creative inspirations or technological progress.

G5’s modularity therefore overturns the traditional concept of digital decoration, and puts the “Project” at the centre of everything, thus enabling manufacturers to stand out in the marketplace by creating entirely original effects.

The design of the machine is refined, right down to the last detail, and its composition, comprising a 1900 mm printing width and a 3.5 to 5.5 metre belt, is extremely simple and intuitive.

G5 can operate with different types of heads, which determine both drop size and print resolution, and its printing speed reaches over 50 m/ min. It can accommodate 8, 10, 12 or 14 colours thanks to the use of a series of fully independent modules that can be easily removed and repositioned to match your requirements.

Each module therefore operates as a self-contained printing unit that goes into standby automatically if left unused, thereby eliminating all possibility of wear, including passive wear.

G5’s only fixed module is the master module, at the base of the belt.

Equipped with an integrated monitor, it offers a full range of functions for interacting with the individual elements, and includes a single or double-row centring guide.

Below the master module, you can fit the innovative GScanner system for laser-operated automatic texture recognition, which enables you to synchronise the graphic printing with the punch, thus ensuring high performance.

At the end of the belt, you can add the optional GVision module for continuous in-line control of print quality, which is capable of detecting production defects even on unfired product.

Thanks to its Intelligent Vision system, GVision doesn’t simply flag up a warning, it enters into a dialogue with the machine, which can thus run an automatic cleaning cycle and then print a test: if the problem does not recur, the machine resumes work with full autonomy; if it does recur, various alarm systems are triggered until operator is alerted.

The overall aim of Projecta’s Research & Development work is to develop product technologies geared towards the continuity of the machines themselves; and the development of G5 is no exception. Not only is it based on a combination of the highly successful features of the Evolve series printers, but it also brings various advantages to existing lines, which thus benefit from the improvements introduced on the G5, while integrating with it to deliver even better results.

The entire Evo series can be upgraded with the new, higher-performance user interfaces, and enhanced with the GVision and GScanner modules. Alternatively, as in the case of the Hybrids, they can mount the many different models of heads offered by the various manufacturers.

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Art for creation, technology for reproduction

by Antonio Maccari

Art, taste, aesthetics and experience are all aspects of the creative process adopted by the Italian ceramic industry in its efforts to keep a step ahead of the international com-

petition. However, creativity must backed up by technology in order proceed rapidly from a prototype an industrial model and then on production.

be to to to

This presentation will therefore discuss art and technology during the various phases of a product’s lifecycle from conception through to production.

ART FOR CREATION CREATING FOR INNOVATION AND PRODUCTION Natural stone, wood, metal, geometric shapes… anything can be used to create new aesthetic solutions.

It takes taste, imagination and a creative spirit to stand apart from low-cost competitors and to maintain high added value.

But creativity must go hand in

hand with technology, so the various design assumptions must be measured and verified in an effective and reliable way.

The concept of measurement is important because measuring a phenomenon is essential for being able to control it.

Without attempting to provide

solutions for the creative process, Macs Tech supplies simple and effective instruments to ceramic laboratories solely for measuring the production process, determining the feasibility of production and evaluating costs before producing a single physical piece.

TECHNOLOGY FOR REPRODUCTION REPRODUCTION: A COMMON PROBLEM

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The problem of reproduction - whether at a later time, on different printing platforms or following a change in operating conditions - is common to many industrial sectors, including publishing, artistic printing, textiles and consumer product packaging.

Back in 1993 a group of companies in the graphics and printing industry formed the International Color Consortium (ICC) with the aim of creating, promoting and encouraging the use of a standardised colour management system independently of the specific acquisition, display or printing devices used. The first result was the definition of a profile (now ISO 15076), followed over time by a series of de facto international standards which for example made it possible to produce an identical copy of an original document after acquiring it with an RGB scanner and printing it on a CMYK printer. The standards cover the print substrates, the illuminants, the observer’s position, CMYK inks and colour targets. These standards served as a springboard for developing the hardware and software which along with real-time

production control are needed to maintain the necessary stability or to rapidly modify the operating parameters if this stability is lost.

Reproduction in the ceramic industry Although terms such as ICC, profiles, CMYK and rendering intents have become familiar in the ceramic industry in recent years, they are often used incorrectly because the principles on which ICC standardisation is based do not adapt well to the ceramic production process. The following are a few examples of the difficulties involved: • CMYK ceramic inks do not exist.

The leading glaze and colour producers offer between 8 and 10 or 12 different colours in order to obtain a reasonable gamut, which nonetheless remains very distant from the CMYK gamut on a paper medium.

• The printer manufacturers started out with just 4 colour bars thinking that they would be able to use exclusively CMYK colours, but

they ended up offering 8 colour bars or more.

• There are no standardised substrates and in fact coloured glazes are often used to integrate the gamut of available inks.

• When using more than 4 colours and consequently more than 4 colour planes, the colours are not displayed correctly on the monitor.

This makes it impossible to make visually verifiable corrections.

Added to this are the limitations of the manual or motorised target acquisition instruments. Motorised instruments are more reliable and faster, although they are only able to acquire samples up to a maximum thickness of 10 mm and maximum width of 300 mm. A solution was found thanks to the pragmatism and adaptability typical of the sector, but involved considerable time, effort and cost. The most widely used method can be described as “try and try again”. The procedure involves performing a series of test runs, conducting visual checks and then modifying the graphic files according

to the graphic designers expertise.

After this, new test runs are performed and so on, although the outcome

is often only an approximation to the target. If the production line, printer, inks, sizes or nominal firing parame-

ters have changed, the operation will be even more complex and the final result may not even be achievable.

REPRODUCTION: APPROPRIATE TECHNOLOGY IS NOW AVAILABLE

An awareness that the standards and tools used in other sectors cannot be applied to the ceramic industry led Macs Tech to develop a set of specific tools for this sector, including high-density colour charts, spectral scanners for the acquisition of originals and colour charts, instruments for scanning colour charts, and software for modelling production processes, performing virtual test runs and automatically adapting printing equipment. These systems are suitable for suitable for both the research and production departments, the forming for verifying the feasibility of prototypes and the

latter for the operations involved in returning products to production.

Reproduction: KeraOne® KeraOne® was created to adapt spectral acquisition systems to the specific needs of the ceramic industry and to automate the colour target reading process. KeraOne® is based on one of the most widely used colour chart reading systems in the world (i1iO with i1Pro 2 spectrophotometer), integrated with proprietary mechanical, vision and processing solutions. As can be seen in figure 1, KeraOne® rests directly on the tile

without the need to cut it and without thickness limitations. Positioning is guided by the vision system, which identifies the reference points and guides the operator in finding the ideal position. Thanks to the new software drivers developed by Macs Tech, KeraOne® can read standard targets, ECI 2002 and high-density proprietary colour charts. In this case the colour charts include control information (barcodes) so as to automatically analyse and memorise the colour chart colorimetric data.

KeraOne® is also portable and fits in a case compatible in size with hand luggage limits set by airlines.

1 - KeraOne® 2 - Tavolozze 1

Reproduction: preparing data Data preparation is the first step in the process of automatically adapting the graphic designs and involves creating conversion data. This step is in turn divided into three phases: PHASE 1: This is performed at the moment when a given product (A) is produced on a specific produc-

2

tion line with the correct tones (fig. 3).

The files for the equipment (B) are read and analysed to produce a specific colour chart, called DiPS (C).

The DiPS image is superimposed on one of the faces of the product to be chosen by the operator and is printed and fired on the line during normal production.

The DiPS therefore serves as the

“digital signature” of the production batch.

PHASE 2: the DiPS is read and measured using KeraOne®.

PHASE 3: the measured DiPS is able to convert the files for the original printing equipment into a standard representation of the product.

By its nature the standard is in-

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dependent from the production line and will be used when resuming production in order to automatically

adapt the printing equipment to the new operating conditions.

Fig. 3 - Preparing data: Pahse 1

A

B Reproduction: the use of data The standard generated in phase 3 (data preparation) is used when resuming production to automatically adapt the print files.

The mathematical model for the current process adapts the print files in accordance with the standard.

Companies adopting the Macs Tech system produce a colour chart and measure it on each production line at established intervals (for example every 4 hours).

The colour chart has the following functions: • measuring colorimetric data; • creating a database of measurements that will help determine the state of progress of the process; • maintaining a constantly updated mathematical model of the production lines.

NOTE

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C When the production plan requires a new batch of products with an existing code, the operations are extremely quick and simple: 1. The mathematical model of the proposed line is loaded 2. The product standard is loaded 3. Adaptation is performed.

The entire procedure is performed using a very simple user interface and results in new print files being created and saved.

Three kinds of results are produced in this phase: 1. Informative: for each face the system provides an evaluation of similarity expressed as a percentage of the image that can be precisely reproduced by the target process and of coverage expressed as a percentage of use of the inks. The evaluation is expressed

both analogically, using colourer icons (green=ok, red= not producible, yellow=to be verified), and digitally, with an indication of the percentages of similarity and coverage. The parameters of acceptability that determine the thresholds and consequently the colour of the icons can be preset and modified by the operator.

2. Operative: binary files with the correct number of colour planes, with the correct resolution and a size that takes account of shrinkage.

3. Control: with an additional face for the DiPS, which therefore acts as a digital signature for the outcome of adaptation.

The generated files are in TIF or PSD format depending on the number of colour planes and can be subsequently processed by means of widely used graphics programs.

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