Chaired by FESPA’s Managing Director, Frazer Chesterman, and featuring a mix of leading European and Asian speakers and FESPA board members, this event will further elaborate on the themes laid down by the FESPA Directors Summit, held in Bangkok last March. Topics will include the environment, technology and marketing, with reference to real life case studies, research and new trends. Visitors will also be able to take part in debates, canvas expert opinion and participate in open forums on the future of screen, digital and textile printing.

To ensure FREE attendance, visitors must pre-register. For those who DO NOT pre-register there will be a one off charge of 1000 baht.Therefore, visitors should register for both the show and conference now, at www.fespaasia.com

Mark Simpson, Simpson Group

Andreas Skantze, Big Image Systems

Roland Niggemeyer, Niggemeyer Bildproduktion GmbH & CoKG.

The launch of the Lotus Flower Imaging Award, which will take place at FESPA Asia-Pacific, will present a unique challenge to all printers operating within the Asia-Pacific region.

FESPA is challenging all Asia’s printers to print the show advert in the most creative way possible. The winning entry will be the one that offers the most imaginative and inspirational printed image. Entries are invited from screen, digital and textile printers, who may use any of the three printing technologies and output on to the substrate of their choice.

The winner will receive a three-day trip to Amsterdam, which will include two nights accommodation and flights for one person and a visit to the FESPA Digital Printing Europe 2009 exhibition, which is being held at the RAI Exhibition Centre from 12-14th May 2009. The winner will be announced at the Lotus Flower VIP party at FESPA Asia-Pacific 2008.

1. Simply visit: www.fespaasia.com/pages/lotus.asp to download the 300 dpi advert file

2. Print the advert 3. Photograph your entry 4. Email the photo, together with

company name, contact details, and the technical details of the machine, inks and substrates used, to adhiwatra.chanapokakul@fespa.com

All entries must be submitted by 31st October 2008.

Working in close collaboration with TCEB (Thailand Exhibition and Convention Bureau) and key digital wide format specialists, Fujifilm Thailand, Halifax Vogel and Zünd, FESPA is attempting to create the world’s largest ever jigsaw puzzle. Fujifilm Thailand will be supervising the printing on to Imageboard, a specially developed composite graphic arts board, supplied by Halifax Vogel. Imageboard is manufactured using a process that permanently bonds a specially formulated synthetic liner to a

polypropylene, twin wall, hollow profile extruded sheet. Designed as an all-purpose, all weather substrate, it can be supplied in either single or double-sided versions and has a smooth surface, which eliminates any ribbing effect. As Imageboard is UV stable, waterproof and highly durable, it is ideal for use in all outdoor applications. Further, it can be used in conjunction with screen, digital and litho printing technologies to make all kinds of signs, POP displays, exhibition graphics and more.

Once the Imageboard has been printed, Zünd will undertake the cutting of the giant puzzle pieces. The jigsaw will be on display outside the exhibition hall and will also be visible from the air. ●

Paul Machin, the Director of Machin Consulting, a

company that specialises in the promotion of environmentally friendly business practices, comments: “There is a distinct need for the entire industry to understand that you can make a huge difference to your business’s profitability and carbon

footprint just by using some logical steps to reduce environmental damage. REACH is an absolutely vital piece of legislation that any printer who supplies print into Europe, must understand and adhere to. The Directors’ Summit, which was held in Bangkok last March, really reinforced this fact and I look forward to once again presenting the green facts and the legislative impact that Asia’s printers need to be aware of. I am excited about attending this great new launch event!” ●

The company plans to provide FESPA’s VIP visitors with a bird’s eye view of the area’s spectacular outdoor advertising by offering helicopter rides!

Bangkok’s outdoor advertising industry is thriving and boasts some of the most imaginative large format prints in the world. The use of a helicopter will provide the show’s VIP guests with the opportunity to gain a unique air-side perspective of the city, whilst also enabling them to appreciate the tremendous impact the country’s printing sector is making.

Xaar’s Mark Alexander explains how the idea came about. He says: “After visiting Thailand in March, it became clear to me how important outdoor advertising is to the Asian market place and, since Xaar occupies a totally unique place in the market, it seemed only natural to deliver a totally unique experience for some of the visitors and VIPs to FESPA Asia-Pacific. After all, what could be better than viewing Bangkok’s landscape and advertising from the comfort of the Xaar VIP helicopter?”

The names of all pre-registered visitors will go into a FREE prize draw to win a flight on the Xaar VIP helicopter, so register now at www.fespaasia.com! ●

FESPA Asia-Pacific promises to be an exciting show, especially for me. I’m planning to conduct mini seminars and demonstrations on the floor, and hopefully, to show printers techniques that they haven’t come across before.” ●

Charlie, who is based in Colorado, USA, will be showing visitors how they can achieve the best results when they screenprint garments. Charlie explains: “With so much going on in the Asian market, from production to manufacturing,

This inspirational company, which uses as its motif, “Innovation Beyond Printing”, practises this maxim in everything it does. What is also impressive is its continuing passion for, and dedication to screenprinting, despite the allure of the digital revolution. Pirach Thampipit, is a true screenprinting evangelist and one who also inspires his customers. Morio who produce

a diverse range of graphics, which are displayed all over the factory, also prides itself on its innovation. Examples of beautifully produced Thai art, which are screenprinted in a staggering 60 colours, jostle for space with the company’s new Visionnex product, which will be launched this year at London’s 100% Design Exhibition.

Also on display are numerous examples of industrial screenprinting, with applications ranging from automotive dashboards to glove “grip” printing.

If you plan to visit FESPA Asia-Pacific, a trip to Morio is a not to be missed excursion. ●

This wide format digital printer uses environmentally friendly UV ink to produce premium image quality on both rigid and flexible media. Widely acclaimed as a major innovation for the display graphics sector, the Océ Arizona 250 GT has won many international awards since its launch. These include the prestigious DPI Vision Award in 2006, the 2007 Viscom Innovation Award in September 2007 and the DPI Product of the Year Award in November 2007 at FESPA Asia-Pacific. ●

Some also use laser technology to provide decorative effects on substrates that are unsuitable for printing. The Graphixscan Laser from RAPOS (Thailand) Co. Ltd. is a new innovation, which can produce images, text, logos and textured effects on finished items or raw materials, including leather, wood and plastic, together with both man-made and natural fabrics. It can even be used to change the colour of some surfaces and to create dramatic edge-lit displays on acrylic, using a laser etched image or vector files. Graphixscan is controlled by an advanced software system which enables users to etch and cut to precise depths at lightening speeds, thus guaranteeing a perfect finish every time. ●

The new laminate quality has been developed to reduce and even eliminate the unwanted curl effect, which is commonly experienced with most standard PVC laminates when they are printed with digital solvent inks. In addition, PVC laminates often display a curl as a result of staying in a rolled condition during storage and transportation.

Heytex Non-Curl Laminates starts at a minimum weight of 480g and are available in both gloss and matt finishes. Blockout qualities start at a minimum weight of 510g. The laminates can be digitally printed and used as stand-alone or free hanging displays. ●

Alpha 8 incorporates a sophisticated servo-drive indexing system that combines extremely high speed with smooth operation and precise control. It also offers a multiple-indexing capability, facilitating virtually unlimited load/unload scenarios.

Alpha 8’s design enables users to start with as many, or as few, printheads as they need, and to add more as their needs change. Other than the end station, there are no restrictions on printhead placement, as all other stations can support printheads and any station can be left open. Alpha 8

The company has supplied its extensive portfolio of screenprinting products for the past 50 years and offers a wide range of feeders, cylinder presses, dryers and stackers, as well as both sheet and roll-to-roll materials. Its products can be used for the broad spectrum of industrial printing applications, including: IMD, membrane switch; RFID; FPC; Offset Finishing/Packaging Printing and Transfer Printing. ●

The company, who arguably offer the industry’s broadest product portfolio, will be using the occasion to showcase its wide range of solvent and UV-curable large-format and super-wide-format printers and will also be demonstrating how these printers can help print service providers to achieve greater business growth and provide their companies with a competitive edge. ●

even enables users to change the placement of load/unload stations for maximum efficiency and flexibility. ●

The company, who is based in Padova, Italy, and is ISO 9001 / UNI ENI ISO certified, aims to provide its customers with high quality products, printed on to cutting edge materials, to ensure maximum impact, whilst also offering a competitive pricing structure.

ISOLPROJECT intends to establish a factory in Bangkok in order to satisfy the requirements of the South-East Asian market. ●

Thailand has a tropical climate, with three seasons: summer, which is hot and dry and lasts from March through to May; the rainy season, the hot and wet period that lasts from June to October, and the cool, dry winter, which lasts from November through to February. The temperature in November is on average 26.9˚C.

The Thai language, which belongs to the Tai family, is the main language used in Thailand, although there are several regional dialects as well. Other languages spoken are Chinese, Lao, Malay and Mon-Khmer, while English is becoming more widely used in government and commerce circles.

The Thai Baht (THB) is the standard unit of currency and 1Baht =100 satangs. Money can be exchanged at Bangkok International Airport and other ports of entry, at some hotels, the foreign exchange booths operated by Thai commercial banks in tourist areas and the main branches of Thai commercial banks. ATMs are wide spread and therefore it is easy to access your money.

Tipping is not a usual practice in Thailand, but is becoming more common. Most hotels and restaurants add a 10 percent service charge to the bill. Taxi drivers do not require a tip, but the gesture is appreciated.

The local time is GMT +7 hours.

The “wai” is the traditional form of greeting, given by the person of lower status to the person of higher status. The usual format involves raising both hands, palms joined with the fingers pointing upwards, as if in prayer, before lightly touching the body, somewhere between the chest and the forehead.

Thais generally use first names rather than surnames, using the honorary title ‘Khun’, before the name. Khun is an all-purpose form of address that is appropriate for both men and women.

In general, the host and hostess should make the introductions. This enables everyone to understand your status, relative to their own, who should perform the wai and how low the head should be bowed.

Business cards are given out after the initial handshake and greeting. In theory, you should give your card to the most senior person first. It is advisable to have one side of your business card translated into Thai.

Using your right hand, offer your business card so that the Thai side is facing the recipient. Look at a business card for a few seconds before placing it on the table or in a business card case. As in most Asian countries, it is polite to make some comment about the card, even if it is only to acknowledge the address.

A fork and spoon are the usual eating utensils. However, noodles are often eaten with chopsticks. The spoon is held in the right hand and the fork in the left. The fork is used to guide food on to the spoon. Sticky rice, a northern Thai delicacy, is often eaten with the fingers of the right hand.

Business attire is conservative. Men should wear dark coloured

conservative business suits. Women should wear conservative

business suits, or dresses, but do not need to wear hosiery.

Since Thai's judge you on your clothing and accessories, ensure that your shoes are always highly polished. ●

ome weeks ago, two figures I came across purely by chance really shocked me. The first, which I

found whilst reading an article relating to cotton T-shirt production, revealed that each T-shirt uses more than 20,000 litres of water during its manufacturing process. The second figure appeared whilst I was researching the turnover of North American T-shirt manufacturers, when I discovered that the Canadian based market leading company apparently sells more than 25 million T-Shirts per month – more than one million, per working day!

As the promotional sector produces several million T-shirts each year, many of which are further embellished with the application of screen and digital inks, we, as an industry sector, have a duty to remain vigilant with regard to the social and environmental consequences. In order to better understand all of the issues involved, we should first of all consider the production of cotton and the water involved in its manufacturing process and T-shirt customisation. I’d like to begin by emphasising that some of the figures I’m using are ball-park, since it is very difficult to find accurate data on some of the companies operating within the production chain, especially those operating within the dye, pesticide and herbicide industries.

Cotton is the most widely produced natural fibre in the world: around 20 million metric tons are grown every year on just three percent of cultivable ground. The cotton industry is also one of the most contaminating industries in the world, since from sowing to harvest, cotton can receive up to 20 chemical treatments, with the annual quantity of pesticides used by cotton farms representing a fifth of the total world consumption. Moreover, cotton requires a massive use of fertiliser - around 230 g per 1 kg of fibre. The impact of these toxic substances on water, ground and air is really significant, which is why it is increasingly urgent that we find more environmentally friendly solutions.

Organic cotton offers a sustainable alternative from an environmental and social point of view and, in addition, it is also economically sustainable too. When produced without pesticides, cotton enables farmers to increase their income by 30 to 40 percent, due to lower production costs.

Consumer demand for organic cotton is rapidly increasing and currently accounts for the generation of more than one billion dollars. In fact, demand is now widely

exceeding supply, which is unfortunately leading to some deviations within the organic production process. Both public and private organisations that invest in cotton manufacturing should do all they can to help and encourage cotton farmers to convert to biological production methods. Conversion takes about three years, but many contractors, prompted by rising demand, don’t always wait until fields are totally biological.

In fact, what is happening is that genetically modified cotton is becoming increasingly popular. On average, about a third of cotton garments are made from fibres that are genetically modified. Some countries, including China and the USA, are producing considerable percentages of genetically modified fibres, some 66 and 80 percent respectively. On top of this, millions of government dollars are given to traditional cotton farmers each year, with 5.5 billion dollars, out of a total production cost of 8 billion dollars, coming via government subsidies. Almost half of these are generated by the USA. It is interesting to consider what would happen if even a small a portion of this expenditure was directed towards biological cotton cultivation.

Screen Printing! Brilliant and unique

www.thieme.eu

THIEME screen printing systems for an unlimited range of materials, formats and effects.

Screen printing is the king of printing technology. No other process offers such a diversity of options, both in terms of colour quality, material variation, and thicknesses of the materials that can be printed. It is capable of brilliant, non-fading colours, special effects decorative colours, as well as spot or scented coatings. And all of this is possible on large-format substrates, advertising billboards of polycarbonate, or back-lit images in acrylic glass.

The highly developed screen printing systems from THIEME make almost everything possible.

THIEME We make screen printing perfect!

THIEME GmbH & Co. KGRobert-Bosch-Str. 1D-79331 Teningen

Phone:+49 (0) 7641 583-0

Fax: +49 (0) 7641 583-110

E-Mail: info@thieme.eu

Visit us at

Visual Communication hall 3, stand B3413. – 15. November 2008in Milan

The production of a single T-shirt releases 5.2 kg of CO2 into the atmosphere, whilst washing it releases 13.5 kg more. For some time, many major brands have been keen to promote their ‘CO2 neutral’ policies, but what does this really mean? When a garment is declared to be ‘CO2 neutral’, this doesn’t mean that it doesn’t realise any CO2; rather, it indicates that its CO2 emission has been neutralised and then compensated. In the first instance, it is important to find out what can be done during the production process in order to neutralise greenhouse gas emissions. The main solution relates to the use of alternative energy sources, such as wind turbines and solar power. Product recycling and wastewater treatments also offer relevant solutions. It is often said that some dyeing companies’ wastewater is so contaminated, that anyone living within the area will know, just by turning on a tap, which colours will be in fashion the following season! Such companies often ‘compensate’ for their pollution by investing in such things as reforestation schemes

As far as the promotions sector is concerned, a non-printed T-shirt has no value, since its main purpose is to carry a message. Once manufacturers have done their best to produce a ‘clean’ T-shirt, they need to consider how it is printed. Once again, there are no miraculous solutions, but there is a code of conduct.

As far as screenprinting inks are concerned, nowadays there are two environment-friendly options. On the one hand, there is the new generation of phthalate-free and PVC-free plastisol ink, which every ink manufacturer is now producing. However, they cannot be used in conjunction with traditional plastisols. On the other hand, there are solvent-free water-based inks, which are less polluting and easier to dispose of. Spray adhesives can be completely eliminated and replaced by water-based adhesives, which are even cheaper. Films and flash curing, which are very contaminating, can also be eliminated, thanks to the development of CTS (Computer To Screen) technology.

Once the T-shirt has been printed, we should also consider the environmental cost of transport, packaging and even the carbon footprint of the wholesalers and retailers responsible for selling the finished product.

All these considerations really make your head spin! And when we reflect on the contamination traditional cotton cultivation causes and how much water and energy the manufacturing process consumes, we could be excused for thinking that it would be better if we simply threw our T-shirts away! However, when one considers the matter more seriously, it becomes obvious that there are no easy answers. Practically every action we take results in more or less harmful consequences for the environment, according to different points of view. Throwing out our T-shirts would probably result in them being incinerated and then, in time, we would no doubt buy a replacement, thus further fuelling polluting cotton production. So, unless we decide to live as hermits and wear just animal skins, we will have to live with the fact that our textile consumption has an inevitable impact. However, it is up to us ensure that this impact is as harmless as possible. ●

As far as fair trade is concerned, a brand’s claim to be producing ‘Fair Trade T-shirts’ is not really correct. No official body, neither the FLO (Fairtrade Labelling Organisation) standard nor Max Havelaar, has yet established the requirements of a ‘Fair Trade T-shirt”’ Only the cotton can be ‘Fair Trade’ meaning that it is commercialised according to a system that guarantees sustainable wages to workers and decent working conditions.

Everybody is aware that there is a shortage of water on our planet. Though it seems incredible, it takes more than 20,000 litres of water to produce just one T-shirt against just 2,000 litres for 1kg of rise and 500,000 litres for a car.

It is thus important that manufacturing is located in regions whose water comes, for the most part, from monsoon rain, since it reduces the need for large-scale irrigation, which drains lakes and rivers. The Aral Sea, in Central Asia, has lost 30.000 km, half of its original area, since the USSR decided to transform this region into a cotton manufacturing area.

When will we respect nature?

I really enjoy visiting printing companies operating outside Europe and the USA, because I always learn something new

and leave marvelling at their imagination and innovation. So, when I visited the Brazilian ‘Serigrafia Sign 2008’ exhibition during July, I was delighted to have the opportunity to visit three screenprinting companies and one digital printing company, all of whom are based around Sao-Paulo.

My friend, and our FESPA colleague in Brazil, Marco Marcelino, the Chief Editor of Empresário Serigráfico magazine, was both my guide and mentor on this excursion and the first company he took me to see was Sonia Stamp, who specialise in garment printing. The company, which was founded by Sonia Mendes, who now runs it with her sons, is located in three different factories, totaling 3,000m2, and employs between 100 and 150 people. Sonia Stamp does its screenprinting on long tables and

has 23 of them, ranging in size from 25 metres, through to 40 metres, to 50 metres long. Although hardly anyone uses long tables for printing in Europe any more, it is still common practice in India, Thailand

and Morocco, as well as Brazil, since in these areas, human labour costs much less than machines. However, Sonia Stamp also uses two carousels, with flashing between each colour.

The company makes its films in-house, uses indexed colours and mostly water based inks, without phthalates. In total, it prints some 15 million garments each year, many of which are home designed. I was interested to see that the garments are printed whist still half made. They are printed on the back and front separately, instead of, as is more usual, on the finished garment. The sewing and finishing is then out-sourced.

claims that four people produce 1,000 prints per hour, with a total print output of 200,000 sheets per day!

65 sheets are positioned on the long tables, and it takes 15 minutes to print them, which leaves sufficient time for the ink to dry between each application of colour. Due to the fact that all of the printing is done by hand, the quality is amazing, especially the four-colour

The second business that we visited, IZA Silk, is, once again, a family-run concern, this time one that is run

by women, Fatima Izailton and her two daughters. Operating from two plants, this company also uses long tables, but surprisingly, in this instance it uses solvent inks on PVC or polyester.

The long tables are especially shaped at an angle of less than 45°, in order to make it easier for the operator to see what he or she is doing. Once again, it is more economical to print this way, as even though the cost of living in Brazil is comparable to that in Europe, an average salary is only around 400/500 per month.

The company operates a two-shift system and employs 120 people. It subcontracts its film making, but makes its own screens – around 100 per day – in-house. It uses solvent inks to print halftones of around 85 lines/inch, and

process jobs in 120 and 133 lines/inch! Order sizes can range anywhere from 1,000 up to a staggering 500,000 and once again, finishing is outsourced. The company’s two factories both specialise in screenprinting only, since digital printing is not really a contender here yet. And of course, UV printing isn’t a contender either, due to the use of the long tables.

Our next stop was Petink Serigrafica, who occupies a brand new 2,500m2 factory, and who is very

much on a par with Euorpean printing companies, in terms of management style and technology. The company’s manager, Lourival Mariano Filho, explained that the new premises were constructed with a view to future expansion. Petink Serigrafica screenprint a lot of banners and other POP items, in sizes up to 160 x 300cm, for both indoor and outdoor use. All of the finishing, including die-cutting, digital cutting, folding, mounting and sewing, is done in-house and Lourival also often designs his own products too. The company, which operates a single shift system and employs 45 people, runs a profit share scheme, with employees receiving 50 percent of the profits.

As Petink Serigrafica print and manufacture a lot of plastic materials (styrene, PVC, PMMA, PET and so on), they all have to be cleaned before screenpinting, when mostly UV inks are used. The company operates several large ‘one-arm’ squeegee presses and several Brazilian semi-automatic and automatic

presses in its extremely clean factory. As is common in Brazil, the four one arm squeegee presses each print CMYK on banners and use a long band per UV unit.

It is planned that a new show-room and digital printing room, (which will be mostly used for extremely short runs and proofing), will soon be installed, as well as office accommodation. At the moment, priority is given to production.

There is a space for pre-press, but this too will be moved to a specially designated area in due course. I was most impressed by this company, which compares most favourably with many of the European facilities that I have visited.

no loss in production and factor of increasing profits

www.NOneedPAPER.com

Evolution?

Revolution!

Seoul, Korea +82 32 510 3500 Contact Mr. John Park

* New dealer inquiries welcome!

The last visit on our agenda, was to Tekmix a digital printing company, which is managed by

Fabio Cyriacope, It prints roll to roll, using digital solvent systems, and outputs on to both self adhesive and non-adhesive PVC, mainly serving the famous Brazilian

football market, with whom it has a semi exclusive contract.

Tekmix prints a lot of indoor POP items, plus displays and signs, often in large quantities and also mounts, glues and sews the banners. The company is well equipped, having presses from both EFI-VUTEk and HP. The HP Designjet 5000 and 9000 were both much in evidence when

we visited. Operating from a 2,000 m2 facility, the company used to specialise in the production of outdoor billboards, but when l8 months ago, the City of Sao-Paulo authorities decided to prohibit the use of posters or billboards within the city limits, the company had to quickly change track. Sao-Paulo is home to 20 million people and until the ban, it was the biggest consumer of outdoor posters in Brazil. Overnight,

Tekmix lost 70 percent of its business, an event that Fabio Cyriacope describes as ‘an awful and unpredictable catastrophe!’

Fabio continues: “We had to make immediate cutbacks and look for new business. Nowadays, the production of indoor advertising and displays accounts for around 80 percent of our turnover, but we are much more cautious now, as we learned the danger of being dependent on a single sector, the hard way!

And this, of course, is one of the dangers of specialising in a single area and being reliant on too small a pool of customers. Sudden changes within a company, or the whim of a local authority can close down a lucrative business channel overnight. And this is something that all printers, the world over, would do well to remember! ●

saving labor costs is a key for the print provider !

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Vivid eye-catching colors like rich red, deeper black as well as brilliant purple. High quality and excellent penetration, for great looking prints, front and back. Superb color-fastness and water-resistance outdoors. Remarkable productivity up to 37m2/h saving labor cost dramatically. No need of heat transfer and/or steaming process.

Digital textile printing makes you print directly on textile as easy as printing on paper.

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Milan, Italy +39-031-970125 Contact Mr. Andrea Negretti North America 818 260 9591 ext 131 Contact Mr. Dan Greenstein

The show, which took place from 21st to 23rd August 2008, attracted 30 percent

more visitors than its predecessor, the ImageWorld exhibition, which FESPA acquired from ST Media earlier this year. Visitors came from 42 different countries, with the majority emanating from the host nation, although there was also a strong representation from Central and South America as well as the United States. FESPA also succeeded in growing the event by 34 percent, and with all of the available floor space fully occupied the show was declared a sell-out.

Michael Ryan, Event Manager for FESPA Mexico World Expo, comments: “From the outset, FESPA was strongly committed to building on the success of the imageWorld show, but its growth exceeded even our own ambitious expectations;

we welcomed a record 150 screenprinting and digital exhibitors from around the world, and attracted an unprecedented number of visitors.”

He attributes part of the show’s popularity to the fact, that it included a first-rate conference programme, which featured sessions lead by a number of international experts, who delivered seminars on a wide range of relevant screen and digital topics.

Ryan continues: “All of our conference sessions were well attended and at many, there was standing-room-only, with Conlatingraf Vice President Juan Carlos Sacco’s market overview of Latin America being particularly well received. Bazar Grafico editorial director, Luis E. Reynoso Vilches also hosted an extremely popular session during which he discussed

the advantages of developing a strong business strategy, which focussed on branding and understanding customers, with a view to increasing profitability. The sessions proved so successful, that we are looking to expand the conference programme for next year’s event.”

With English and Spanish interpreters available during all the sessions, there was excellent interaction between speakers and audience members, who were able to gain valuable industry knowledge and professional advice specific to their respective companies.

Charlie Taublieb, who is world-renowned for his creative screenprinting techniques, ran live daily demonstrations, during which he showed visitors innovative ways to screenprint onto garments. “Charlie’s demos were always at

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maximum visitor capacity and were very popular among screen and digital printers, as well as students, eager to learn about his screenprinting techniques”, added Michael Ryan.

FESPA’s popular Showcase Theatre featured a number of popular sessions, covering topics such as digital textile and UV printing, wide format RIPS and colour management.

According to Frazer Chesterman, Managing Director of FESPA it was clear that there is a strong demand for a world class printing event in the region. He said: “The rapidly increasing Latin American market is buoyant and visitor feedback affirms that we delivered a top-notch show and provided attendees with a great experience, with all the trademark features of any world-class FESPA event.

I think the show had something for everyone; valuable information on the latest innovations and product developments for both screen and digital printing, networking opportunities and access to industry experts, all of which will help visitors take their businesses to the next level.”

He goes on: “We are delighted with the success of the show and I am extremely proud of our team, who achieved phenomenal results in just four months, following the acquisition of ImageWorld. We are firmly committed to expanding our event portfolio into strong emerging markets, such as Mexico and wider Latin America. The success of this show is proof that the market has the appetite for this type of exhibition experience and that FESPA’s brand, reputation and expertise add real value to shows.

Over the coming year, we’ll intensify our engagement with print service providers, suppliers, distributors and associations in the region and expect that FESPA Mexico World Expo will go from strength to strength.”

On the back of the success of this show, many exhibitors have already indicated their commitment to the next FESPA Mexico World Expo, which is confirmed to take place at Centro Banamex, Mexico City from 27th – 29th August 2009. ●

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6 color, True 400 dpi resolution giving ultra real images. 24 Spectra Heads for incredible print speeds. Specially In-house formulated, Waterbase Dye Dispersed Inks, fade and wash resistant and are environmentally friendly. 3 high temperature slitting units built in which slit and seal the fi nished fabric this achieves bright and vivid colors for your prints.

3.3m Print direct to fabric, slit & seal

To book a live demonstration of the AquaJet or any other Jeti printer please call:

Experience the innovation of digital printing. We will be at the following tradeshows coming up...

Leap into more Vibrant Colours!

Stander offer a wide range of services, ranging from marketing and advertising design, to printing on a variety of substrates, plus installation and its aim is to continuously improve its productivity and quality. Commenting on the Onset’s installation process, Carlos Arroyo, Stander’s Assistant Managing Director, said: “After installation, we wanted to output the first job immediately and we were surprised when it was completed in only a few hours. If we had been using our other digital equipment, it would have taken several days.”

The Inca Onset’s speed and quality is delivered by an astonishing array of 576 printheads addressing a total of 73,728 inkjet nozzles, in easy plug-in Inca print bars, supported by innovative camera alignment systems and a vacuum bed with accurate pin registration. Inkjet printer quality is determined by inkjet

nozzle performance and, while output from other printers can be affected by occasional nozzle failure, the Inca Onset has been designed with a high level of fault tolerance to ensure maximum print quality.

Easily run by a single operator, the Onset includes a fully automatic load/unload system as standard, but is designed to allow users to move to manual mode within seconds, for immediate fast proofing or production of single prints. Edge-to-edge printing allows images to be printed to bleed on substrates up to 10mm thick and up to 10kg at full speed, providing enormous flexibility in terms of what can be printed, as well as the ability to proof a job on the material on which it will finally be produced.

Arroyo concludes: “The Onset is the perfect resource for short and medium runs and to serve a market where delivery terms are growing increasingly shorter and the quality becomes more critical. We are delighted with the effect it has already had on our business.” ●

The company, who specialise in the production of backlit posters and other advertising material, are now one of the best-equipped businesses in South America, having previously also invested in a fully automated, four colour THIEME 5070XL line.

The 5000XL has a maximum print area of 1600 mm x 2600 mm and also features a rotary gripper system. It comprises four printing stations, three UV intermediate dryers, a freestanding end-dryer and a stacker. The printing process from the sheet feeder to the stacker is completely automated and is programmed and monitored from a central operating panel. The 5000XL prints 3000sq.m of four-colour output per hour, on material thicknesses of up to l0mm, which facilitates extraordinary productivity.

The new printing line offers a four-fold increase in productivity and a clear improvement in print quality. Jurgen Weischedel, Thieme’s Marketing Director said: “We took MPV7 to a print shop in Portugal, which also uses a 5000 XL, so that they could test its efficacy in a proper working environment. They were so impressed that they ordered their own machine immediately!” ●

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The Truepress Jet2500UV is a versatile, ultra high quality, hybrid roll-fed and flatbed inkjet system featuring grayscale printheads. It can print at a variety of resolutions, producing 70 sqm/hr at 300dpi and outstanding photo quality detail at 1500dpi.

SCA has developed a very special corrugated board, which is 100 percent recyclable and which also has a water resistant surface, so that it is suitable for outdoor advertising, as well as for in-store displays. Once the advertising promotion is completed, the display material is pulped and new board is manufactured, ready for printing. Another benefit is that it can be printed on both sides, thus making it fast and easy to change a display.

John-Äke Svensson, General Manager of SCA Packaging Display Division, said: “When we originally installed the Rhopac we did so in order to explore the opportunities offered by digital print and now it is constantly busy, working two shifts a day, five days a week and is very much part of our production process. Because it can easily print prototypes, it enables us to present customers with a full size model showing the quality of the final print, in the shortest possible time. Once approved, the final job will either be printed on the Rhopac or, if it is a high volume order, on one of the silkscreen presses. As a rule, we use the Rhopac for print runs up to about 100 units.

He adds: “We are very satisfied with its performance. In particular it has proven to be extremely reliable with very few stoppages. It’s a proper production machine and that is very important in our business.” ●

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Commenting on the choice, Rinaldo Fochetti, Managing Director of PlotFactory AG in Weisslingen said: “The Aquajet enables us to print, slit, and seal in just one process. This is a tremendous advantage for us, as we no longer need a separate sublimation machine. In the long run, this will save us time and resources and will also have a positive impact on the environment.”

An enhanced colour gamut, an eco-friendly ink formulation, a high print quality in terms of short distance displays, as well as a fast printing speed for improved reaction times, were just some of the strong arguments that convinced PlotFactory AG to opt for the Aquajet. The company currently prints on a variety of fabrics, ranging from backlit material, satin textiles, non-reflective block-out fabrics, canvas to transparent and light banner materials. Applications include event displays for flags and banners, indoor and outdoor advertising, exhibitions, backdrops for museums, and even home decoration, such as tablecloths and carpets.

The Jeti 3324 Aquajet Direct-to-Fabric digital printer, which is equipped with 24 printheads, uses specially formulated, water-based dye dispersed inks to print in six colours with a true 400 dpi resolution. With a printing width of 3.20 meters, the roll-to-roll printer allows direct printing to any polyester-based fabrics and achieves vibrant, brilliant and fade-resistant colours. A specifically built-in infrared heater allows the colours to pop out and requires no extra curing equipment. ●

“It was a natural progression for us,” says sales director Benn Davis. “We have full offset, digital and screen facilities and we needed a system that was capable of producing top quality POS material for our high-end clients, such as Christian Dior. We evaluated many systems, but it was the quality of the Truepress Jet2500UV that clinched the deal.”

The versatility of the Truepress Jet2500UV is ideally suited to POS work, since its flatbed capabilities facilitate printing on to substrates up to 2500mm wide and up to 50mm thick. Printing directly from reels of flexible material, a length of 50m can be achieved. Up to seven colours are available, including options for white ink, light cyan and light magenta and the T UV-curable inks make it possible to print on to a variety of substrates with consistent colour and quality. ●

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High Defi nition in Digital Printing

Often, the choices that different screenprinting

companies make regarding whether to use either flatbed or cylinder configurations of roll-to-roll screenprinting technology are largely a matter of habit. Those who are familiar with cylinder systems tend to stick to those designs, even though they generally involve more cost. However, there are now compelling reasons to revisit that choice and to examine whether flatbed or cylinder configurations are best match technology, and even more importantly, whether antiquated systems of either type are burdening your operation with inefficiencies and extra costs that newer systems can eliminate. Recently there have been considerable developments in both flatbed and cylinder screenprinting machines, especially with regard to their

far more advanced control software. If you are planning to streamline your screenprinting plant for greater efficiency here are some technology developments affecting choices between flatbed and cylinder roll-to-roll screenprinting machines that you should consider.

New demands for large format screenprinted materials first changed the dynamics of machine design for flatbed systems, and now also for cylinder systems. For many years, generic-style small roll-to-roll systems were just about all one could find in the marketplace. However, the need for larger machines just to

make some jobs workable, and to make other jobs more efficient, lead

manufacturers of screenprinting machines to employ better mechanical engineering and machine design. Now, large format work, even for jobs as large as 2.3 m x 4.2 m is possible with best-in-class custom configured roll-to-roll flatbed machines. Newer custom-configured cylinder screenprinting lines can also handle larger formats than earlier generation technology, for web widths of 1270+ mm, largely because the newer design machines do away with many gears and belts, replacing them with compact servo drives.

Custom-configured systems typically do involve a bit more upfront cost, but the return-on-investment that comes from using geometries better suited to maximising yields, erases the cost advantage of the standard generic machine designs, which is why they are gaining in popularity across the globe. When machine designs are adapted to job formats as opposed to encumbering screenprinters with the need to adapt artwork to restrictive pre-set machine dimensions, better yields are facilitated. Such custom design to optimise yields can sometimes dramatically increase throughput of small

parts.

Newer systems, both flatbed and cylinder, bring the advantages of state-of-the-art electronic controls to bear on throughput. These electronics are especially important for speeding job setup or for fixing fault conditions during operation with a few keystrokes that previously might have taken a good deal of fussing and manual adjustments. Most of the settings in these newer systems can be controlled electronically, such as adjustments for material thickness in cylinder systems and push button pneumatic controls for the screen clamp, squeegee and float bar in flatbed configurations. The best-in-class flatbed systems now also feature an automated and synchronized vacuum release on the printing table that is especially important to speeding the throughput of large format jobs.

Now screenprinting is no longer a laborious manual process. Electronic controls eliminate most of the manual adjustments that earlier generation technology required to balance screen clamp, squeegee and float bar pressures. This is now not only

done electronically in a few keystrokes, but is also far more reliable and repeatable than what is achieved by even the most skilled human operators making manual adjustments. As a rule of thumb, going from a manually loaded sheet process to an automated web process can speed throughput by 50 percent or more.

The ability to store job parameters, more than 2500 jobs in best-in-class models, also has great bearing on the operator skill level required to achieve dramatically improved throughputs, while maintaining and exceeding prior quality standards. Once a skilled operator has set up a job and stored settings, a new operator, far less skilled, can recall the exact job in a few keystrokes and begin work again.

It should be noted that the throughput gains made possible with state-of-the-art electronic controls have impacted both flatbed and cylinder screenprinting machines. A manual system with either flatbed or cylinder configuration cannot compete with today’s electronically controlled machines. Indeed, more than any other factor, the degree to which a machine’s software engineering is expert will define its overall ranking vis-à-vis other models of similarly configured machines.

In the past few years the quality standards that can be achieved with both flatbed and cylinder systems have dramatically

improved. Applications that were once thought to be strictly the domain of cylinder systems are now quite viable with flatbed technology and challenging applications, such as wet-on-wet skip printing, which were previously beyond the capabilities of cylinder machines, are now readily handled.

Here too, it is state-of-the-art electronic controls that have allowed roll-to-roll systems, both flatbed and cylinder, to become best-match technology for many demanding applications where high quality is an issue. For example, antiquated sheet fed flatbed designs required that pre-printed material be placed on a printing table with operators then making time-consuming manual adjustments to ensure all points were aligned. This is not only inefficient but also relatively inexact compared to the precise positioning capabilities of the newer generation electronically controlled roll-to-roll flatbed systems. These superior flatbed systems have advanced algorithms in the software controls that integrate camera input to precisely register the material positioning and also automatically compensate for screen stretch. All of the time that used to be required for operators to look at every single print is no longer required. This is not a small factor. Even some of the highest precision requirement products, such as security holographs, can now be made with roll-to-roll flatbed systems if they are equipped with the state-of-the-art electronic controls, integrated cameras, and the software engineering that characterise the best-in-class systems.

Sophisticated electronic controls have similarly raised the bar of quality standards that are now routinely possible with cylinder systems. The advanced electronics of the newer cylinder systems can dynamically position web material +/-0.1 mm. Both

shrinking and stretching can be compensated for electronically. This advance correction capability means, for example, that if your print is shrinking on the first run, you can compensate for it electronically ensuring maximum quality on subsequent runs. This means that today’s cylinder screenprint machines can reliably print on pre-printed materials from flexo, digital, or other printing processes. Similarly, wet on wet skip printing applications are now viable. The newer cylinder systems’ electronics also fine tune squeegee pressure and control it so that there is uniform ink thickness, even with fine-etch designs or thick UV inks. Here too a precisely controlled servo driver keeps the squeegee pressure constant. High precision electronically controlled vacuum is used to transport materials, relieving stress on the substrate, so you can run materials with significantly less web tension and with tighter control. This results in cylinder systems now being able to print reliably and with precise registration even with substrates as thin as 12 microns.

While it’s important to understand the new standards in throughput and quality achieved by later generation flatbed and cylinder screenprinting machines, it would be misleading to think that these new developments account for all of the throughput and quality improvements in the most efficient screenprinting operations. In many, if not most cases, it is actually the adoption of contact drying techniques that account for the most dramatic shifts in throughput and quality.

Contact drying systems use heated vacuum plates with a transport belt carrying the material being dried. Inks are

dried from the material surface to the top side, unlike other heating methods (heated air ovens, IR,) where the reverse occurs, i.e. drying from the ink’s top side down to the material surface. Temperatures and heating rates in contact dryers are tightly controlled by the electronics of the contact drying system. Today’s better contact drying systems are able to heat different sections of the drying plate independently bringing heat control to a new standard that is often now a requirement with innovative high-tech ink formulations.

Contact dryers dry in a fraction of the time required for heated air ovens, eliminating the production bottlenecks that are typical of many thicker ink applications when heated air dryers are used. In certain electronics applications, for example, solvent-rich inks that take two hours or so to dry in conventional drying ovens can be thoroughly dried in a state-of-the-art contact drying system in about 30 seconds. These much faster drying times also deliver higher quality when solvent sensitive substrates are used, such as many of the newer plastic materials.

Reinhard Zimmermann is General Manager of

Systec and a Director of the Spartanics/Systec partnership, which manufactures Spartanics-Systec Fineprint Screenprinting Systems. ●

One of the most enjoyable things about my occupation is that I get to travel around the world and see

all types of companies, in many different sectors, all of which are using screen, digital and lithographic printing with varying degrees of expertise. As well as seeing, I also get to learn facts that are contrary to the current popular opinion, which seems to be that screenprinting is dead as a production process for Point of Sale. However, if you visit SIGNUM Siebdruck in St Veit, Austria and talk with Dieter Jernej, the Managing Director, you will hear another story and see a very different picture.

Dieter employs 70 people, turns over 14.5 Million and enjoys a significant

after tax profit, something that most companies involved in PoS can only dream about. So how does he do it? Firstly, he a good businessman; secondly, he is fully involved in the day to day running of his business; thirdly, he has a highly skilled and loyal workforce and lastly, he carries out thorough research before upgrading his equipment at least every five years and sometimes bi-annually.

Dieter is a screenprinter and has been working in his family run business since the age of eight, when he spend his evenings and weekends making stencils. When he left school, he worked his way though all the various departments and learnt his business skills from his father, Josef Jernej, who founded the company.

The real key to SIGNUM’s success is that it is a family business, which employs family members and has a totally committed team, who know that the boss can do any job in the building and, when necessary, does so.

Dieter leaves nothing to chance. He is an experienced practitioner who believes in ‘test, test and test again’, before adopting new technologies or materials. His aim is to reduce the variables to an absolute minimum and thus ensure that there is very little variation over time.

His business ethos is obvious when you step on to the production floor. A brand new five colour SIAS Multiformula machine stands alongside two five colour SIAS machines, which between them offer frame sizes of 1.6 metre x 2.65 metre; 1.6 metre x 2.15 metres and 1.8 metre x 3.3 metre respectively. This is a very impressive array, with the latest 1.6 x 2.65 five-colour machine demonstrating state of the art screenprinting technology.

In a business sector where increasingly, ‘me to’, is the route that people take, bolstered by the promise of riches from digital printing and wide format litho. Dieter has taken the opposite road and believes that being different is what makes the difference. He has seen that digital printing is great for short runs and indeed, he has several large format machines. In the same way, wide format litho is good for long runs up to a certain size and on a limited range of materials. But it is the really large format market and printing onto PVC and other more expensive substrates that most attracts Dieter. It is not just the fact that economically speaking, he can screenprint larger runs than digital and larger sizes than litho, it is also that screenprinting provides better results.

Because screenprinted output is more vibrant, as it produces a much thicker ink film than the other two processes. Of course, printing illiterates will declare: ‘But you can see the dots!’ Of course you can, when you view the output from 300 mm, but these large format displays are often viewed from several metres away. The human eye can only resolve dots of a certain size when viewing work at a short distance. The insistence of misguided print buyers for smaller and smaller dots degrades the final appearance of the print when in use. When prints are viewed from shorter distances, Dieter can use stochastic screening techniques to disguise the dot.

The foundation of the screenprinting process is the stencil and this is an area where SIGNUM Siebdruck has invested heavily. It has two Signtronic direct to screen imaging devices. Using the DMD focussed UV systems, it achieves pin sharp images in the emulsion, which are developed on Zenith Auto Developers. As one of the first adopters of the Signtronic system, Dieter managed the move from film to direct imaging with his normal attention to detail and by using his ‘test, test and test again’ philosophy. The resulting stencils are consistent and any visual aberrations in the print can be isolated and cured. It is all well and good producing a top quality stencil, but if the printing machine is not capable of replicating the image, then it is a waste of time.

The SIASPrint Multiformula is right up to the mark, particularly in its most recent incarnation. The five-colour line is, quite simply, superb. At the in-feed, conventional squeegee damaging grippers have been replaced by a gripper bar that accommodates substrates between 120gsm

to 10mm thick from the loading table, before automatically side laying them, using fibre optic sensors. The squeegee friendly gripper bar then takes the sheet smoothly to the print station, where a vacuum, with selectable areas, holds it precisely in position. There is also a blow back function that reverses the vacuum and provides an aircushion for the substrate to leave the print station. This is particularly useful for difficult to handle substrates. The precision of the gripper bar is achieved, because instead of it being attached to a long heavy chain, stretching the length of the machine, it is carried to the locking point by a servo driven belt. Once positioned, the system clamps it firmly.

SIASPrint has recognised the importance of having an extremely robust squeegee and flood coater assembly to aid precision. To further assist this, pneumatic actuators are arrayed along the length of the squeegee, so that the pressure can be properly balanced. This overcomes a common problem associated with extra long squeegee assemblies, where an unbalanced squeegee can alter the printed dot along its length. All movements are servo driven and can be programmed and recorded at the touch of a button. If the

When printed, the sheet moves on to the curing station, which is the most innovative aspect of the machine. The UV curing unit runs cool and uses a minimum amount of energy. As with all other aspects of the machine, there is complete adjustability in the mechanism. The scanning mechanism only scans the area that is printed and reduces to 10 percent of its power when not scanning. The power is electronically controlled, providing stepless adjustment and eliminating the need for transformers. This means that the power

stencil has to be changed, the assembly moves up and out of the way and the stencil unlocks from its predetermined position before simply sliding out. The squeegee itself can be removed and replaced by one person.

If it is necessary to apply peel off, it is motorised and both the rate of peel and the start point are fully adjustable. All these fine adjustments are about consistency of set up and ease of use. I think you can see the influence of an expert screenprinter in the design.

usage is dramatically reduced and the ominous electrical spikes, which previously lifted the electrical peak demand, are a thing of the past.

This really is state of the art UV curing technology and a system that SIASPrint can be proud of, Dieter is certainly delighted with it. With a five-colour line, it is essential that accurate registration is easily achieved and accordingly, when the first sheet is run through the printer, it can be viewed at either each printhead, or, the end of the machine, before making any necessary adjustments by operating stepper motors on the X, Y and Z (skew) axes. These adjustments can also be made at each print station, as can changes to any other settings. Once the printer is happy with each setting, it can be stored and recalled when the job is run again.

When a job is finished and the next job has to be loaded, there is a “Tear Down” button that resets all operations to zero and removes the possibility of compromising any of the settings on the machine. All best set up procedures start from zero, even if you don’t have the sophistication of the SIAS machine.

Dieter says that a complete five-colour changeover of substrate and image will take no more than 30 minutes. A simple changeover of one print station takes a mere five minutes.

If you remove the panels of the Multiformula, you will see that each drying station and print station are discrete units, making them building blocks of a print system that can accommodate as many stations as you wish. The supporting structure is a fully welded construction and each section links up to the others with umbilical connections providing tremendous flexibility.

The reformed SIAS Company, who are in the process of moving to new premises outside Milan, have come up with a very fine machine, with which they intend to target the large format area where they have been so successful in the past.

Unlike most Point of Sale printers, Dieter buys his substrate on the roll, direct from the mills and converts it into sheets in his own premises. Some may say the investment in specialist equipment doesn’t justify this, but the material cost savings more than pay for the equipment needed. He also has much greater control with regard to quality. This is particularly

the case with pre-treated polypropylene and polyethylene, since he knows that it has not been lying around in merchants’ stores for extended periods. Even so, every batch is tested for the correct level of surface energy before it is processed, demonstrating yet again that In every area of his business, Dieter believes in ‘test, test and test again’ to ensure a superior finished product. SIGNUM Siebdruck is a model of screenprinting efficiency and an example of how the process can be harnessed successfully for the PoS sector.

As you drive into St Veit there are several timber processing plants and you can see huge piles of wood chips. Not wishing to miss an opportunity, Dieter uses these to fuel the heating system for the plant. Not only is this profitable company technically ahead of the field, it is also doing its bit for the environment too! ●

€

€

Why? Well, recently, during various technical exchanges with my peers, I have

discovered that not only is the same research being carried out simultaneously, it is also being carried out again and again!

What a terrible waste of time, money and effort!

This is often down to ego, with some companies simply assuming that they must know best. They ignore the suggestions of their customers, who are often in a much better position to advise on the feasibility of a new innovation and blithely disregard the possibility of adapting technologies that have been developed for other industries. Worse still, they ignore the work that others are doing in the same or similar areas.

For example, it seems that very few of the companies who manufacture screenprinting equipment and materials seem to feel it necessary to interact with each other, in order to produce a total solution. This is not always the case, but too often, it is.

Of course, it is a commonly held belief that second-hand experience is not as valuable as that gained first hand, but surely, when the worldwide web provides a fantastic and easily accessible source of information, together with the endless supply of books, CDs, technical articles, conference presentations and workshops now available, it isn’t difficult to accumulate all of the knowledge we need.

Of course, in order to make best use of these resources, we need to assimilate the information they provide and use it to complement our own ideas and opinions. We should also make a point of finding out what is happening in peripheral areas and request input from suppliers and customers too. And if useful information is published in another language, local trade associations can help with translation. It is vital that we keep abreast of all developments –

otherwise we will find that the brilliant new innovation that we are so proud of, was first invented 30 years ago!

It is also a good idea to be a little sceptical when it comes to theory. I wish I could remember the number of times people have told me that something was ‘impossible’. Things that come under this category include: Thyxotropy; 300 lines/inch halftone; 14μ stochastic; continuous variation of the power of UV lamps; adhesion of UV inks to some plastics or metals; supple and conductive UV inks; semi-calendered fabrics to reduce the ink coating; thin capillary film;, thin coat solar cell printing. All of these and more were once declared impossible, but viola, all have been successfully achieved!

In the same way, although, theoretically, we should consider EOM and the Rz value, in practice they are not very useful. UV printing requires only a feeble dot thickness, especially when using halftone dot lines. I really don’t care about the ‘nice shape’ of the dot. As printers, we sell colours or densities to our customers, not ‘dots’!

So rather than simply relying on theory, be practical and above all, be curious. Throughout my technical life I have always tried to make things work practically before defining the theory that underpinned them. That’s how, many years ago, I discovered the need for ICC profiles, which were specifically adapted to the requirements of first screenprinters and then later, digital printers. It is only through proofing, printing and measuring that we can create compensatory profiles, which ensure the best quality output.

When it comes to the lack of synergy between the technologies, I am reminded of a conference I participated in a couple of years ago. Arranged by a digital printer manufacturer, it focused on digital UV flatbed printing. The questions I was asked concerned ‘intercoat adhesion’, the problems relating to printing with white and the quality of the ink coat when

output was used for vehicle wrapping or similar applications, where folding and cutting are required. These were exactly the same questions that I was asked at a similar event in 1981 – some 27 years previously!

Solutions do exist; indeed they have been used in screenprinting for many years, so why not apply them to digital UV printing too? All screen specialists know about VPE, or the Variation of Emitted Power, which has been used in screenprinting since 1979. As I have often told the manufacturers of UV flat bed presses, printing is carried out in bands of 5cms. The lamps, including those mounted on the printhead block are 25 cm long, making them five times larger. As a result, some ‘bands’ of colour are cured up to four times. When the machine is running at maximum power, it is often impossible for the printer to avoid partial over-curing with all the probable bad consequences, such as colour breaking when cutting or folding, bad inter-coat adhesion when printing onto white and various other problems. And when it comes to ink, we should be looking at using formulations with supple molecular chains.

But even when companies are manufacturing inks and lamps for both screen and digital processes, it seems that their respective specialists never bother to communicate with each other!

So to conclude, on no account feel that you are the only person in the world to know something about the technology you use or manufacture. The expertise gained in adjacent technologies, or that of your own customers, who are using both the screen and digital processes is there to help you - please use it! ●

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©2008 EFI. All rights reserved.

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