majalah banconota

n2 Spring i Summer 2010

Super OrlOf IntaglIO IIDIgItal engravIng back tO the rOOtSaDDIng value wIth ctIp

IntaglIO SpecIal repOrt

The KBA-GIORI magazine about banknote design, production and circulation

SECURITY FEATURESMultIfluO

EVENTSInternatIOnal banknOteDeSIgnerS cOnference

KBA_issue2B.indd 1 29.4.2010 9:37:03 Uhr

4 pre-preSSDigital engraving back to the roots

A masterpiece not to be missed

Adding value with CTiP

Kazakhstan explores CTiP

12 prinTSuper Orlof Intaglio II

Inspecting infra-red with NotaSave III

Wiping: a deceptively simple process

16 caSh cycleA formidable barrier against soiling

cOnTenTS

Banconota, the magazine about banknote design, production and circulation, is published twice a

year, in spring and autumn, by KBA-GIORI SA for its clients and business partners.

For comments and suggestions, address changes, back issues, to stop your subscription or for any

other communication, please use the details below:

Graphic design: Emilie Fargues - vocables.com

Computer graphics design: Oreste di Cristino

Photography: Giulio Locatelli

Editorial support: Henry Ploudy

Printer: Courvoisier-Attinger Arts graphiques SA

2010 KBA-GIORI SA All rights reserved. Reproduction in whole or in part

without express permission of the publisher is prohibited.

18 cOmpany newS Introducing the Engineering Department

Introducing Fadi Saadallah

21 TechnOlOgyPolyWash III/D

22 SecuriTy feaTureS Fluorescence revisited

The power of core processes

24 caSh cycle Development of a new banknote

series with proven technology

26 general inTereSTWomen and money

The 74 million euro one hundred-

franc note

28 evenTSThe 1st International Banknote

Designers Conference

30 inDuSTry challengeS

KBA-GIORI SA

Banconota Magazine

PO BOX 347

CH-1000 Lausanne 22

Switzerland

[email protected]

Fax: +41 21 345 70 10

Phone: +41 21 345 70 00

Intaglio special


EditorialPierre Miranda, Editor

Dear Reader,It is a pleasure to present the second edition of Banconota! Thank you for the encouraging feedback about the (re)launching of the magazine. We are looking for-ward to continuing the exchange of ideas with you!For this issue, we decided to focus our attention on one of the core processes of banknote printing: intaglio.Anyone who attended the last Banknote Conference, in Washington, will have witnessed the vitality of intaglio. For instance, participants could not have missed noticing the Digital Engraving Studio at our exhibition booth, where live demonstrations of this new way of producing intaglio portraits and vignettes took place.There were also many presentations made by a variety of other actors in the industry, highlighting the key role played by intaglio as an essential first line authentication device, as a vector of state-of-the-art level 2 security features, and as an important identification tool for the visually-impaired, to name but a few. Several examples of innovative security features based on the combination of intaglio and other printing processes were also shown.In other words, intaglio is an exceptionally versatile printing process, in constant development, there-fore we think now is a good time to give you an overview of the current situation of this multifaceted process.Of course we still had space for more hot topics in this special edition, and hope you will enjoy our sequels to the series started in the first issue, such as security features based on Simultan offset, or the different strategies that can be considered when launching new banknote series. We trust that everyone will find something to their taste in this edition of Banconota!

Enjoy the magazine

ERRATUM

In the previous edition of Banconota, we mentioned that a Super Orlof Intaglio II (SOI II) in 5-colour version would be installed

in the showroom area of our new building. However, due to the commercial success of the SOI II, no machine is currently

available in this particular configuration. As a result, the machine on display will be a 4-colour Super Orlof Intaglio.

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banconota SPRING | SUMMER 2010

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Intaglio special

DIgItal engravIng back tO the rOOtSpre-preSS

One look at the size of a printing press explains why we rarely have the opportunity to exhibit our products during conferences However, we also supply smaller and lighter equipment, typi-cally in the pre-press sector. One such system is the new Digital Engraving Studio (DES), and we were rather excited to take it along to Washington in December 2009, to present it during the Banknote Conference.But what is the DES, and why was it worth the trip to Washington?Engraving is the process used to produce the intaglio portraits and vignettes, which are a central work of art within the overall de-sign of a banknote, and the DES is our new integrated engraving

solution, and part of our complete digital workflow concept. The DES is essentially the result of several years of listening to the feedback of engravers about digital technology, and the testing of various options to improve their digital engraving experience. The reason why we opted to show this new generation of digital engraving tools in Washington is because seeing, or even better feeling, is believing: what makes the DES truly different is the su-perior ergonomics. Our engraver Bruno Cerboni-Bajardi was also present in Washington, carrying out live demonstrations of the DES, and discussing it with various other experts in the field.

EARlY DIGITAl SOlUTIONSIn order to fully understand the DES, we need to have a look at its origins. Intaglio, which started as a form of art in the 15th century before evolving into a large scale reproduction technique, has relied for a very long time on hand engraving to produce intaglio plates. Todays engravers, such as Bruno, have generally been trained in the same ancient techniques, which require many years of practice to master.By the end of the 19th century, intaglio, having been total-ly supplanted by other printing methods (such as offset) for mainstream applications, only survived in very limited circles

including security printing, and nowadays only a handful of craftsmen in the world have these engraving skills. Alto-gether the scarcity of engravers, the unique quality of their work and the extremely limited availability of specialized security printing intaglio equipment, are what makes intaglio such a strong security feature.


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We focused on enabling the engraver to work naturally

Complete freedom of movement is provided. The table can be raised, lowered, and rotated, so it is adapted to the engravers technique, and

not the opposite.

With the advent of digital technology, however, the situation changed drastically. Computer-aided design and laser engraving of intaglio plates brought many improvements to the intaglio pre-press area, but were not compatible with the traditional method of engraving, using a metallic medium and a series of chisels. An alternative was needed, and thus the first generation of digital tools to produce portraits and vignettes was born.These first developments were based on a computer-generated portrait concept, with limited involvement of the engraver. But it soon became obvious that engravings produced with such tools had an artificial and generic feel to them.Rather than trying to fix a concept, which we considered a dead-end with the technology currently available, we decided to follow another direction and developed tools for what we call computer-assisted drawing of portraits, re-focusing on the engraver himself and essentially relying on a graphic tablet in terms of hardware. We found the results of this new avenue to be very encouraging, but still lacking in some areas. Using tools that were not originally designed for engraving, the en-graver lost his hand engraving feeling and, to some extent, lost control of his creation.

GETTING BACK TO ThE ESSENCE OF ENGRAVINGThere was still room for improvement and, learning from these observations, we started working on a new generation of digital engraving tools. It was now time to develop a tool specifically de-signed for the engraver, rather than force him to adapt to existing, generic tools.With the DES, we sought to get back to the essence of engraving, and therefore focused on enabling the engraver to work naturally, in order to express his art without limitations.

The main component of the DES is its power engraving table, which includes a large touch screen mounted on a rotating disc. The tables most striking feature is the complete freedom of movement it pro-vides the engraver. All positions, specific rotations and precise moves inherited from his craft can be replicated on the DES. The table is particularly stable and vibration-free, and the engraver can lean on it with all his weight. The level of comfort achieved is exceptional; a fact not to be underestimated for what remains a demanding physical activity. The graphic software has also been customized by carefully transposing the various physical chisels into specific virtual brushes.


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Intaglio special

The engraver can choose to automate or take command in a more handcrafted manner at any time, thus providing very refined control of

the portrait or vignette. The goal of the Digital engraving studio can be summarized as the combination

of the hand engraving feeling, with the power of digital technology.

We call it a studio because it is a

comprehensive solution

At the same time, the DES exploits all the benefits of digital technology and the engraver can choose to automate or take control in a more handcrafted manner at any time, switch-ing from one mode to the other depending on the task at hand, thus providing very refined control of the portrait or vignette. Other benefits of digital technology include the capability to use a reference picture as a background layer, as well as a handy voice command interface for the most frequently used shortcuts.

For the first end-to-end test of the DES, we chose Leonardo da Vincis Mona Lisa portrait, one generally regarded as very difficult to successfully render, and we were not disappointed: the DES achieved the same line and stroke quality as tradi-tional engraving.

We call the DES a studio because it is a comprehensive so-lution, featuring all the components required by the engraver. This includes a scanner to capture original artwork, a backlit table for sketch design, a high resolution, large format inkjet printer for proofing, and all the associated furniture.

The DES is software- and OS-independent, and available in different finishes. Visitors at our headquarters in Lausanne can see the DES in action in our pre-press department, where it is now operational. w


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Last December, our engraver Bruno Cerboni-Bajardi attended the Banknote Conference in Washington, D.C., to present our Dig-ital Engraving Studio to the participants. But before he could hop onto his return flight, there was one more thing he still had to do, otherwise his visit to the Federal capital of the United States would have been incomplete and that was a visit to the National Gallery of Art.

This gallery is indeed home to a spectacular Italian Renaissance col-lection, including one of the gallerys main highlights, the Ginevra de Benci portrait by Leonardo da Vinci. As a devoted admirer of the great Italian Master, Bruno could absolutely not leave without seeing this masterpiece. In fact, Bruno and Leonardo are old acquaintances, the engraver having just spent several months on the engraving of the Mona Lisa. He also worked on the self-portrait of the artist featured on our Leonardo specimen.

The oil-on-wood portrait of a young Florentine noblewoman is currently the only painting by Leonardo da Vinci in the Americas. Its unusual square shape is due to the fact that its lower part was cut off at some point, probably as a result of damage.

Bruno was also particularly happy to be able to admire several paintings of another major Italian master of the High Renaissance, a contemporary of Leonardo, the great Raphael. The painter was born in the same place as Bruno, in the town of Urbino. Bruno, who is also a gifted painter when he is not busy teaching engraving or working on a design for a banknote, is a member of the Accademia Raffaello, and has produced beautiful replicas of some of Raphaels original artwork. Bruno painted most of these replicas in Urbino, taking advantage of temporary exhibitions, in order to work under the best conditions. Four of his replicas are permanently displayed in the Casa Natale di Raffaello in Urbino.

Finally, another artist whom no engraver would want to miss see-ing is also displayed in the National Gallery: Albrecht Drer, one of the greatest engravers of all time.

This is just a glimpse into the Renaissance collection of the gal-lery, and there are many other sections which are just as interest-ing. It should be noted that the museum is open to the public and is free of charge, a rare and admirable fact in itself. So if you live in Washington D.C. or plan to travel to that city, there is really no excuse not to visit the National Gallery w

A mAsterpiece not to Be missed

Portrait of Ginevra de Benci, Leonardo da Vinci, c. 1474, National Gallery of Art, Washington, D.C.

Self portrait of Raffaello Sanzio da Urbino, better known as Raphael. Replica

by Bruno Cerboni-Bajardi of the original on display in the Uffizi Gallery in

Florence, Italy.

Pre-Press



8

Intaglio special

Adding vAlue with CtiP

Pre-Press

Banconota: When did you buy the CTiP system?Florian Demaimay: The installation in the pre-press department of our Chantepie plant took place in July 2005.

You were among the first to install a CTiP system. What was your main reason to invest in this new technology?Before the investment decision was made, our R&D team had already been evaluating the use of high resolution laser engraving technology to produce intaglio plates for a couple of years. So, when KBA-GIORI launched CTiP, we were confident that this techno-logy would answer our expectations. With this technology, our goal was to speed up our intaglio plate production process, and open the door to the development of new intaglio security features. We found CTiP to be a good industrial proposal, successfully implementing the potential of laser engraving technology.

How did CTiP affect your plate production process?Intaglio plate production has a long history in our pre-press department. It started with the traditional Cobex and chemical etching process, before we researched and then adopted the photopolymer process in the early 90s. The integration of the new laser process was only natural, then. CTiP was also an opportunity to start the development of a new, secured digital workflow in the department. Today, we use CTiP to produce the intaglio masters, whereas the galvanic process is used for nickel alto master and intaglio plate production.

With CTiP, there are almost no limits to what you can en-grave on a plate, but printing is another matter. How did you adapt to this situation in terms of design?The laser engraving technology of CTiP definitely provides a great degree of freedom, but one has to be careful, because everything that is engraved is not printable. I would say it took us about 18 months to start mastering the laser engrav-ing technology. During this period, we carried out intensive experimental and theoretical studies on the different engraving parameters. We tried and tested many plates on our different intaglio presses in order to find not only the optimal parameters to engrave existing designs, but also the limit parameters to explore new design possibilities for innovative intaglio security features.

How many plates have you produced so far with CTiP?Today we have done the origination of more than 300 intaglio master-plates with the CTiP process, and over 1,800 intaglio plates have been produced from these masters.

Can you give us a few examples?Each project is a different story, with its own challenges, and every time it has given us the opportunity to learn more about how to use CTiP in order to achieve a successful design. We can mention, for example, the current banknote series issued by the Cenral Bank of Peru. We worked on the 10, 20 and 100 Soles denominations and greatly improved the printing results on intaglio presses thanks to the CTiP process. Printing was much easier, compared to the challenges experienced during previous printing runs when using the earlier intaglio pre-press process. Testing helped us optimize the new laser intaglio master, and in addition productivity was greatly improved.

Today, 6 years after its introduction and with nearly 20 units sold, CTiP (Computer to Intaglio Plate) is a well-established technology. Yet, as with most innovations in the field of banknote printing, it takes some time before it can truly express its full potential. We asked Dr Florian Demaimay, Production Director at Oberthur Technologies, what drove the French high security printer to be one of the first to adopt CTiP, and how the company uses this technology today.

elise, from Oberthur Technologies: an example of feature taking advantage of the precision and control offered by CTip.

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We have already introduced the CTiP (Computer to Intaglio Plate) system on

the pages of our former publication (New Horizons Newsletter). However,

for those unfamiliar with CTiP, here is a brief reminder and update about this

technology, in the form of a datasheet, which truly marked a turning point in

the intaglio pre-press area.

Name: CTiP (Computer to Intaglio Plate)

Date of introduction: 2003

Number of units sold: 19

Process overview:

1. Generation of intaglio security patterns on the ONE security design system,

2. Import in ONE of the central intaglio portrait or vignette produced by the

engraver, for example with our Digital Engraving Studio,

3. Setting of engraving parameters (depths, profile, etc.),

4. Laser engraving of master polymer plate,

5. Plate reproduction.

Summary of benefits:

Vastly streamlined process

- much shorter lead times

- possibility of making corrections without starting from scratch

- less processing steps and equipment necessary

- superior reliability

Precision and control

- Total control over engraving parameters

- Master-based concept, for maximum repeatability between

printing plates

Unique security features

Easy on-press proofing using polymer master plate

Examples of applications:

Continuous intaglio backgrounds

Multi-tone intaglio designs

Multi-tone micro-text

High tactility features

Latest enhancements:

150 deep engraving

Maintenance monitoring and tracking system

CTiP DaTaShEET

Another example is the new banknote series issued by the Central Bank of Kirgizstan. We originated and printed the 50, 100 and 5000 Com denominations, which notably feature nu-meric portraits, latent images and blind embossing.Finally, I would like to mention the 50 Dinars note recent-ly issued by the Central Bank of Tunisia. This is the latest and highest denomination of the Tunisian currency. For this project, we designed and originated various features, such as a large intaglio portrait, microlines, dual tone areas, vignettes with complex secured screen, blind marks and latent images.

The value of CTiP is highly dependent on how it is used and combined with other tools. How does CTiP fit into your R&D program in terms of banknote design?After the initial phase dedicated to setting the production parameters for the new laser engraving technology, the R&D team started exploring the possibilities of creating new features offered by CTiP. The rapid engraving time of CTiP, combined with the possibility of using the master plate for proof printing, allowed us to carry out many trials and tests, mainly focusing on level 1 visual features. Observations with electronic microscopy also allowed us to have a better under-standing of the results of the engravings.

Can you give us examples of security features designed by Oberthur Technologies, exploiting the CTiP technology?Intaglio bleed off (Editors note: also known as continuous background) is a feature very easy to achieve with CTiP, and which we integrated into many designs. We have also developed a sophisticated dual-tone feature with a registered negative design in both dark and light areas. This feature, named Elise, has been successfully included in several banknotes. More recently, we have developed a complex helical engraving structure, which, after embossing on opti-cally variable inks, provides a striking dynamic effect. We thus called it Dynamic.

In your opinion, what is the most important feature of CTiP?Laser engraving technology offers full control of the engraving. The freedom in design in the XYZ axes is vastly superior, when compared to previous processes. Once the standard and limit parameters have been set, this freedom grants the possibility of developing new features with a high security value. In addition, the laser process is fast and smooth, allowing the intaglio masters to be produced with great accuracy and repeatability. CTiP will set a new quality standard in our industry.

Thank you, Mr. Demaimay. w


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Intaglio special

kazakhStan explOreS ctIppre-preSS

1. High-quality latent image

2. Multi-tone microtext, with variable letter density

3. High tactility lines

4. OVI colour-shift ink

5. Feel Secure feature

6. Multi-tone design

Inside front cover of e-passport specimen.

2

1

1

3

4 5



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Although the intaglio printing process is strongly identified with banknote printing, it is also used in security documents, including passports. One such project, which our company had the privilege to participate in, was initiated last year by the Banknote Factory of the Republic of Kazakhstan (BF of NBK). The e-passport specimen was produced in partnership with ArjoWiggins and has several of the companys exclusive technologies, including the high-contrast Pixel watermark, or Paperlam RFID inlay.

The document was printed in Kazakhstan using banknote printing equipment: Simultan offset, 4-colour intaglio and letterpress numbering. It was then processed on an automatic passport manufacturing line.The design and origination of the offset plates were made by BF of NBK, while the intaglio plates were entrusted to KBA-GIORI, using CTiP technology.The inside cover of the passport, printed in both offset and intaglio, is a good example of the superior quality which can be achieved also using CTiP for security documents.Commenting on the project, Mr Kazhmuratov, Director of the Banknote Factory of the Republic of Kazakhstan, said we appreciate the support of KBA-GIORI, and are looking forward to our continued partnership.

The same year BF of NBK, which currently sources its intaglio plates externally, also launched an interesting comparative study asking three companies, including ours, to supply intaglio plates based on different technologies, for the production of a banknote specimen on the same machines and with identical settings. The plates were produced respectively with CTiP, DLE direct la-ser engraving, and polynickel. Printed specimens are available upon request from BF of NBK for independent evaluation.

A REPUTATION FOR INNOVATIONKazakhstan has recently acquired a solid reputation for in-novation in banknote design and security features. In 2008, a commemorative note was issued to celebrate the 15th an-niversary of the nations currency, the Tenge, that included SPARK for the first time. At the beginning of this year, another remarkable banknote was produced by BF of NBK, commemorating the nations chairmanship of OSCE. The banknote includes various just launched security features, as well as a good example of PEAK, which is based on a com-bination of offset and intaglio. w

Inside back cover of e-passport specimen.

6



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Intaglio special

When the first generation of the Super Orlof Intaglio (SOI) was launched in 1990, it was a radical departure from earlier machines. Of most significance was the introduction of the indirect inking principle. This process, also known as Orlof after the name of its inventor, was first experimented on off-set machines, before being implemented on intaglio printing presses. Indirect inking applied to the intaglio printing proc-ess brought two major benefits: new design possibilities and reduced ink consumption.

Both benefits actually stem from the higher precision of in-direct inking. On the one hand, this translated into extremely precise inking and colour splits, opening the door to entirely new designs, which would have been otherwise unprintable. On the other hand, the precision gained also allowed a closer match of the chablon shape used for ink transfer with the actual engraving to be inked on the printing plate. The re-sulting reduction of the surface to be inked led to less ink loss during the wiping process, effectively reducing ink consumption.

The same process was also implemented on smaller format equipment, with the same benefits. This generated the Mini Or-lof Intaglio product range, which are compact 4 colour intaglio sheet-fed printing presses designed for small production runs and on-press proofing.

This highly innovative concept, along with several other im-provements, quickly generated much enthusiasm, and 11 SOI units were delivered within the next year, followed by a constant stream of orders to reach the more than 150 deliveries today.

2008 marked a new evolution of the highly successful Super Or-lof Intaglio concept, with the launch of the Super Orlof Intaglio II (SOI II). In addition to all the upgrades brought to the SOI over the years, such as extensive thermoregulation or an improved fleece-based wiping system, the new generation of super format intaglio press introduced three major changes:- 5-colour capability- 3-3-3 architecture- full indirect inking

PrintSuper OrlOf IntaglIO IIfIve cOlOurS and upgraded archItecture

The super Orlof intaglio ii has a new and characteristic camelback shape; the dimensions, however, remain the same as its predecessors.



13

In fact, five colour intaglio printing is not new for KBA-GIORI. The first machine featuring this capability had already been sold to Orell Fssli in the early 90s. The reason behind this particular development for the Swiss-based high security printer was the revolutionary design of the latest series of Swiss Francs. By adopting 5-colour intaglio, the Swiss National Bank acted as a precursor, setting new standards by getting maximal value out of the central printing process that is intaglio.

GRowING INtERESt IN 5-coloUR PRINtINGThis did not go unnoticed, and others soon realized the new design possibilities that 5-colour intaglio allowed. Therefore, it does not come as a surprise that several other printers followed suit when the time came to invest in new intaglio presses, starting with Note Printing Australia, and more recently Casa da Moeda do Brasil. Sales of 5-colour intaglio presses amount to 6 units at the time of writing, and the market trend is clearly strengthening, with several banknote printers already expressing their interest in this technology.In order to allow printers to follow a step-by-step technology migration approach, if needed, the SOI II is also available in a 4-colour variant, which can later be easily upgraded to a 5-colour configuration.

SyMMEtRIcal aRchItEctUREAnother new feature of the SOI II is its new generation printing unit based on a 3-3-3 architecture. With this configuration, the printing, plate and collecting cylinders of the SOI II all have the same number of segments. As a direct consequence, the same printing plates are always in contact with the same blankets. This improved architecture increases print stability and allows the operator to exert more control over print results.

Finally, in another major departure from its predecessor, the SOI II now features full indirect inking. Whereas the first gene-ration of SOI still included one direct inking unit in order to provide the flexibility to still print with direct inking if necessary, this precaution is no longer relevant today, and the SOI II could advantageously dispense with the direct inking unit, a legacy of the earlier model.

In addition to these three new features, the SOI II obviously takes advantage of all the latest refinements introduced to the main SOI product range since then. This makes it an innovative yet robust product, which benefits from the extensive experience accumulated during many years of continued operation. w

SuperOrlofIntaglioII.the main new features of the machine: 5-colour option * 3 segments on the printing, plate and collecting cylinders * full

indirect inking.

Five colour intaglio printing is not

new for KBa-GIoRI

SuperOrlofIntaglio.


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Intaglio special

prinTInSpectIng Infra-reD wIth nOtaSave III

Final inspection, which is the process used in banknote print works to sort out defective products, is essential to guarantee that banknotes meet the quality standards set by issuing authorities. However, it inevitably comes at a cost as it entails the elimination of products carrying their full added value. This is why modern quality management systems also rely on an additional process to keep costs under control, i.e. online process control.This process exploits the automated quality control systems mounted on the presses to constantly monitor every step of the production process, and therefore reduce waste. Final inspection is then used as a last control step to remove any remaining prod-ucts unsuitable for release into the cash cycle.

KBA-GIORI has largely invested in technologies for both quality process control and final inspection. One of the early process control solutions was the NotaSave, operating on the Super Orlof Intaglio presses. The NotaSave is now in its third generation and, today, practically every operating intaglio press is equipped with this sys-tem to inspect visible print.

In 2006 we introduced the IR (infra-red) option for the NotaSave III, to also inspect the IR signature of every banknote. With this option, features such as IR splits, where the same visible colour is printed with 2 inks having different IR properties, can be immedi-ately inspected when applied. The importance of IR features, which are widely used in cash processing machines, is unquestionable, and errors involving invisible ink properties, such as using the wrong chablons or wrong inks, run a greater risk of going undetected. For these reasons, we believe that online process control in this area is particularly useful, and upgrading a NotaSave system with the IR option makes just as much sense as initially installing a NotaSave.

A FUllY INTEGRATED SYSTEMThe IR system user interface is fully integrated into the NotaSave IIIs, and the operator can handle both visible and invisible inspec-tions in the same way, with the possibility of masking out areas and inspecting them with different tolerances. An extra monitor is in-stalled for the real-time display of the IR inspection, with an overlay indicating the type and location of errors.The NotaSave IR option benefits from the same core features as all our process control systems. This includes rapid make-ready, the ability of working at maximum production speed, and a sensitivity level adjustable during production.

This option is available for all NotaSave III systems, and up-grades are particularly simple, as the system can be integrated into the existing cabinet. w

An option of the NotaSave III inspection system allows online checking of the IR signature for each note, typically to detect the presence of

infra-red split features.

Intaglio is best known as a visible and tactile security feature, but, due to its unique

resistance, it is also the ideal vehicle for carrying level 2, or covert security features,

based on inks with special properties.

IR characteristics, for instance, are widely used by the sensors present in cash

processing equipment such as vending or ticketing machines, ATMs or the back-office

equipment of commercial banks.

The value of the intaglio printing process in the level 2 area is even greater now, with

the recent introduction of the SICPATALK ink, which has two unique characteristics:

it is available in clear and vivid colours, instead of being limited to the dark tones

previously used, and has a very specific signature across the IR range.

Covert features applicable with the intaglio process are not just limited to IR inks.

They also include luminescent inks, which are visible under UV light, or magnetic

inks, which are typically used to automatically sort denominations. It should be noted,

however, that both types of inks also exist for other printing processes, such as offset

for luminescent inks, and typography for magnetic inks. Depending on a banknotes

specific design, one or the other will be used.

Finally, the characteristic properties of the intaglio printing process itself may also

present opportunities to develop inexpensive yet fail-safe banknote authentication

sensors in the future.

ThE CovERT SiDE of iNTAgLio



15

prinTwIpIng: a DeceptIvely SIMple prOceSS

Wiping is a key step in the intaglio printing process, whereby the intaglio plate is wiped clean, leaving ink only in the recesses of the engraving before the plate comes into contact with the sheet to be printed. This is achieved with a wiping cylinder which must be cleaned with a special solution and then dried after each wiping cycle. To the layman, such an operation may look simple but it is actually far from being so.Part of the complexity of the wiping process lies in the printing press itself. However, wiping is a process which largely extends off-press too.For instance, there is hardly a machine as inconspicuous as a Plasti-Rota, yet this auxiliary plays an important role in the efficiency of the wiping process and thus on the print quality. The PlastiRota is used to apply a plastic coating (PVC) on wiping cylinders via a rotary process. It is also used to coat inking rollers.

The goal of the PlastiRota is to provide a perfectly uniform wiping cylinder surface for optimal wiping. For the PVC polymerization process to be fully under control, the temperature must be uniform along the cylinder axis. To achieve this, several sets of sensors and IR-emitters are used, allowing separate temperature adjustments in 8 different zones. The latest generation of this equipment, the PlastiRota III, has undergone extensive redesign, particularly in the critical area of health and safety. It is now equipped with a specially designed filtering station to prevent potentially toxic exhaust fumes from spreading into the working environment.

WIPING SOlUTION RECYClINGAnother easily overlooked aspect of intaglio printing is the recycling of the wiping solution. The wiping process constantly gener-ates waste water, composed of wiping solution mixed with ink wiped off the printing plate. Before the introduction of recycling systems, the wiping solution would simply enter the circuit at one end, and the waste water would simply be discharged at the other. This clearly had a negative impact on the environment, and it also induced unwanted water and chemicals consumption.For these reasons, we developed a closed-loop system which com-pletely changed the situation. This system, called AquaSave, is now in its second generation, and is capable today of achieving the stunn-ing recycling ratio of 95%. It is nearly maintenance free, and also exceptionally compact and scalable. The development of AquaSave continues, with the aim of further reducing chemicals consumption and making it even easier to use.

Wiping involves many different and complex technologies. As such, it is a good reflection of the overall complexity of intaglio printing. Only by grasping the interactions between all areas of intaglio print-ing, both in pre-press and print, can one hope to truly master this highly sophisticated printing process. w

The intaglio plate is wiped clean by the wiping cylinder, leaving ink only in the recesses of the engraving, before the plate gets in contact with

the sheet to be printed.

The wiping process also

extends off-press

Compared to its predecessor, the PlastiRota III wiping cylinder coating machine has been extensively improved in terms of working

environment.

1

23

4 1. printing cylinder2. plate cylinder

3. collecting cylinder

4. wiping cylinder


creo


16

Intaglio special

caSh cyclea fOrMIDable barrIer agaInSt SOIlIng

Banknote durability remains a very popular topic in the media and in the various conferences dedicated to our industry. With the recent introduction of several new hybrid substrates mix-ing paper and synthetic material, the debate about durability has even gained extra coverage. There are good reasons for this, as central banks are fully aware of the large cost reduc-tions that increased durability represents.

There are a number of options available to extend the lifetime of a banknote. Even though the spotlight is currently focused on the relative merits of the various long-life or durable substrates, two other factors play a decisive role in banknote durability, namely varnishing and intaglio.

If varnishing has been the subject of several studies and pres-entations, intaglio usually attracts less attention as an element of durability, being not so much regarded as an option, but as an inherent part of every banknote, due to its value as a key se-curity feature. Still, this should not eclipse the fact that intaglio is also essential in terms of banknote durability.Dr Stphane Bolognini, as the Product Manager of the Nota-Protector varnishing machine has, understandably, a particular interest in durability issues. The various studies he has compiled on the subject, together with his own analysis, clearly demonstrate two facts:

1. Varnishing increases banknote durability, irrespective of substrate type, which explains why the process is steadily gaining ground.

2. Double-sided intaglio is a very cost-effective method to protect a banknote.

Existing surveys about durability have been carried out in dif-ferent environments and with a variety of methodologies, he says, but there is a degree of convergence in the results con-cerning paper-based substrates, such as the fact that the number one reason banknotes need to be removed from circulation is, in most cases soiling. Humidity and dirt are indeed a banknotes worst enemies as they infiltrate its substrate, degrade its read-ability and eventually also compromise its mechanical resist-ance, leading for example - to tears or holes. And, for Stphane, double-sided intaglio is a formidable barrier against soiling: The huge pressure of the intaglio printing pro-cess quite simply changes the very structure of the banknotes substrate, considerably decreasing its porosity on both sides, and also its roughness. To some extent, the penetration of the ink into the fibre layer of the substrate in the printed areas also contributes to its durability. As a result of this combination of process and material, double-sided intaglio print makes it more difficult for soiling to stick to the paper.

REINFORCED EDGES WITh CTIPThe ability of the CTiP (Computer to Intaglio Plate) laser en-graving technology to print continuous backgrounds also brings additional value to intaglio in terms of durability. The applica-tion of intaglio features on the very edges of a banknote increases its mechanical resistance. This is particularly useful in highly automated cash cycle environments, where significant num-bers of banknotes are rejected by cash processing machines because of mechanical defects, such as cut or folded corners.

Nevertheless intaglio, however important for banknote durabil-ity, should not be considered on its own. A recent example of a combined approach is the initiative launched by Crane Curren-cy, supported by SICPA and KBA-GIORI, with its Endurance specimen. This specimen, which underwent rigorous durability tests in a special laboratory simulating various cash cycle en-vironments, shows that the right type of substrate, combined with the right type of varnish, brought together with the intaglio printing process, does achieve superior resistance in circulation: an encouraging sign that cooperation within our industry prob-ably shows the best prospects of improving durability for eve-ryones benefit. w

The huge pressure of the

process changes the very

structure of the substrate



17

The Endurance specimen, from Crane Currency, shows how intaglio,

varnishing and substrate all contribute to banknote durability.

Intaglio printing drives ink into the fibre layer of the substrate, and reduces its porosity and roughness.

DoUbLE-SiDED iNTAgLio ToDAy

The effect of double-sided intaglio print on durability, in addition to the added

security, is an important characteristic that speaks in favour of the process,

and today the validity of this reasoning is actually stronger than ever. Over the

last 30 years, even though process costs have decreased by ca. 30% due to

the productivity gains in banknote printing equipment (larger format, increased

speed and automation, etc.), it is generally accepted that the cost of comparable

banknotes has increased, essentially because of the need to develop more

sophisticated security features able to resist more sophisticated counterfeits.

Consequently, the relative part of the intaglio process within the overall cost

of a banknote is significantly lower today, even more so when considering the

progress made in intaglio printing, such as the waste reduction achieved by the

latest generation of Orlof machines equipped with process control systems.

For instance for a modern, medium denomination banknote including recent,

optically variable security features we estimate that the proportion of material

costs represented by intaglio may have dropped by as much as 50%, compared

to a similar design produced 20 years ago. This means that there is clearly

even less incentive today to abandon double-sided intaglio than before: why

compromise security and durability for minimal overall savings?



18

cOmpany newS

IntrODucIng the engIneerIng DepartMent

In the first issue of Banconota last autumn, we explained the role of our Customer Service Department. And now we would like to introduce our Contract Engineering Service Department who initially handle operations. It is made up of Ernest Molina and his team, and their responsibilities cover a wide range of activities, including projects of high strategic importance such as the creation of entire new banknote printing facilities.

Banconota: Ernest, first of all can you please tell us a little about yourself?Ernest Molina: I was born in 1954 in Tangiers, Morocco. My mother was Portuguese and my father Spanish, and we moved to Switzerland in 1960. I am married and the father of two chil-dren, Aldric and Elise.I have a degree in Mechanical Engineering, and for over 15 years was the head of contract engineering and construction for a company in the packaging industry, and more specifically, in the food sector. In 1977 I joined KBA-GIORI, taking over from Victor Mansour as Contract Engineering Service Manager.

How many people work in your department?There are now 15, including myself.

Who are the members of your team and what are their respec-tive areas of responsibility?The department is made up of two sections. The first includes five teams made of a Project Manager and an Assistant, who

work together. They are Boris Loetscher and Nadine Comte Loutre, Jean-Marie Panese and Katia Acebo, Hans Kruis and Grazia Tripodi, Ana Laura Aranda and Michle Homberger, and finally Doris Trachsel and I. Each team is responsible for about 15-20 projects at a time. Then there are four draughtsmen who handle all the detailed drawing activities for on-site installation and they are Patricia Henchoz, Christian Mast, Fabrice Pause and Michel Schup-bach. Finally, Jacqueline Henninger who is responsible for vari-ous administrative tasks concerning installation invoicing.

When and why was the department created?This department actually has quite a tradition, dating back from the 1960s and it has been considerably strengthened over the years, as projects have increased in complexity. One really can-not compare the methods used in the early days of the business with those in use today. Machines have become far more so-phisticated, there are more processes, and the requirements of modern quality systems are much stricter. The demands on the department have constantly increased, and the department had to follow suit.

From left to right, Boris, Nadine, Patricia, Jacqueline, Michelle, Ernest,

Grazia, Katia, Christian, Doris, Fabrice, Michel and hans, plus Jean-Marie

and Ana laura (inset).



19

Can you explain, in a nutshell, the activities of your department?To keep it simple, I would say that our activities can be split into four categories. The first can be described as logistical sales support, and what this means is that everything that happens before a contract is signed is handled here, some examples being preliminary fac-tory layouts and installation schedules, client visits and techni-cal clarifications.The second category includes all the project management ac-tivities that follow the signature of a contract i.e. installation plans, schedule activities, customer training, factory inspection tests and organisation of final acceptance tests, etc. We super-vise and coordinate the interventions of the various fitters and KBA-GIORI instructors, and are the main contact for our cli-ents for any questions that may arise about the project. Needless to say this entails a lot of travelling in order to oversee how each project progresses.The third category involves equipment upgrades. Depending on the circumstances, either the Customer Service or our depart-ment handles this. Last but not least, we also carry out feasibility studies, for coun-tries that consider producing their own banknotes. This involves the calculation of all the resources required in terms of build-ings, equipment, personnel and consumables amongst other things, in order to submit an estimated banknote production cost per thousand. If the project is accepted, we then provide all the necessary input for the architect, and closely follow each phase of the project, including production start-up, until the client has become truly autonomous.

When do you hand over the responsibility of the project to the Customer Service Department?After the client has signed the Customer Acceptance Test, there-by confirming that everything that has been installed is fully functional and that the warranty period can now start.

When you look back at the many projects you have been involved in over the years, what do you feel they have in common?Projects can range from single installations to building a whole new banknote printing factory from the ground up, but I must say they are all very satisfying experiences. I am always amazed at how warmly we are welcomed by our clients, sometimes even under difficult conditions. You really get the feeling of being part of a big family, where respect is mutual.

Have you ever experienced difficult situations?In some cases, our personnel had to be called back because of security risks. The world can be a dangerous place, but we take all the necessary precautions and incidents are, fortunately, ex-tremely rare. There is, however, a positive side: you cannot get bored with this kind of job and you discover the world and con-tinuously meet new people it is quite an adventure!

The project scope in the Contract Engineering Service Department ranges from the installation of single machines to the set up and

production start up of entirely new banknote printing facilities.

Can you mention particularly noteworthy projects you have been involved in?The biggest project carried out by the department was prob-ably at Perum Peruri, in Indonesia, in the mid 1990s, but that was before I joined the company. Later projects in Colombia, Venezuela and Bulgaria were also particularly ambitious, but many other projects were quite challenging too.

Nowadays, most countries seem to have their own banknote print-ing facilities. Does it mean the days of large projects are over?Certainly not! There are actually still a surprising number of countries which could benefit from producing their own ban-knotes. We roughly estimate that the break-even limit would be at about 20 million inhabitants, although this also depends on banknote complexity and possible export activities. As you can see, this means there is still room for growth. There are good reasons why a country, even a small one, might want to totally independently produce its currency. In addi-tion, various currency unions are foreseen in the future, and this could also result in the creation of new banknote printing facilities.

You were actively involved in the transition from banknote procurement to independent banknote production in various countries. What do you think is the most critical factor to successfully run a banknote printing works?Without any hesitation, I would say people. Top management should be fully committed to the project, personnel should be motivated, competent and well-trained, and a real quality cul-ture should be established. w



20

cOmpany newSIntrODucIng faDI SaaDallah

Fadi, first of all, which markets will you be responsible for?Fadi Saadallah: When the hand-over is complete, I shall basi-cally be responsible for the Middle East and North Africa.

What languages do you speak, and where did you learn them?I speak, read and write Arabic, English and French, and I have some knowledge of Italian. I am also considering learning German.I owe this to the fact that, as a child, I studied at a good French school in Cairo.

Can you tell us about your educational and professional background, in a few words?To me, education and profession go hand in hand, and I am still investing much time, even today, studying alongside my job. In 2000, I earned my Bachelor of Science in Mechanical Engineer-ing - major Automotive, from Ain Shams University, followed by a Higher Diploma in Service Centers Management, and then I earned a Master in Hybrid Vehicles. Later on, I earned an MBA at the German University in Cairo.In parallel, as a great fan of cars, I had a summer job in 1997 with Porsche and then opened a car workshop with a classmate.In 2000, I joined an Egyptian wholesaler distributing, in particular, specialized equipment for car workshops. I was the Department Director in Cairo, and also spent some time in Syria.I then moved on to Chrysler in 2004, as a Technical Specialist in the After Sales Department.To tell you the truth, I was lucky to have a wonderful manager, who offered me all the ways and means to develop my career. I later worked out that I spent more than 360 hours of training in Train The Trainer courses in Detroit, USA.Another important step in my career was when I joined Mer-cedes-Benz in 2007 as a Business Development Manager, in Cairo. Here, I could really put into practice the skills acquired during my MBA, and my days there were extremely intense. You know the rest of the story: in 2009, I joined KBA-GIORI.

When you joined the company last winter, what was your initial impression?Coming from the automotive industry, I thought printing machines would not be too different, but I was wrong! KBA-GIORI ma-chines are like Mercedes, but on a giant scale. I am still surprised, when asked by friends about the dimensions of our equipment, to answer some of them reach up to 18m and weigh 50 tons.

Last year, the decision was made to hire a new Sales Delegate to work in tandem with Mr Victor Mansour, who will be retiring in 2011, in order that Victor can help the new recruit to gradually take over his responsibilities. As it happens, the new member of our sales team, Fadi Saadallah, is also Egyptian. Before we ask Fadi to introduce himself to the readers of Banconota, let us first ask Victor how they met: When the time came to hire an Arabic-speaking engineer, I oriented my research towards Egypt after several unsuccessful attempts to find someone through European agencies. Eventually, Fadis resume reached me through an old friend from University, Victor explains. I was impressed by his technical and commercial education level, as well as by his professional experience with multinational companies, in and outside Egypt, he continues, and I also liked his excellent interpersonal skills, something which should not be overlooked.Where does Fadi come from exactly, and how does he envision his new career in the banknote printing industry? To find out, read on!

Fadi Saadallah, 32, the youngest and newest Regional Sales Director, and Victor Mansour, Business Development Director.


TechnOlOgypOlywaSh III/DDeSIgneD fOr DIgItal plateS

The production of dry offset plates and polychablons relies on photopolymer, a material which characteristic is to be sensitive to UV light: initially soft, it hardens when exposed using equip-ment such as the PolyExpo. The exposed plate then undergoes a washout process. This is where the PolyWash comes into play, removing the soft photopolymer by the mechanical action of a set of oscillating brushes and water, leaving only the hardened material as a relief on the plate. Finally, the plate is then dried and exposed again to UV, in order to finalize the polymerization process and further increase its hardness and lifetime.When the PolyWash was first introduced, plates were still ana-log. This type of plate, which was exposed through a film, simply consisted of photopolymer material and a metallic layer. This filmbased process, however, is on its way to becoming obsolete, and many pre-press departments are now using computer to plate systems, such as CToP (Computer to Offset Plate), and digital plates. The photopolymer on these plates is covered by a thin black layer, which essentially plays the same role as the film ear-lier did. This black layer is selectively ablated by a laser, so that only the exposed photopolymer will react when exposed.The washout of these digital plates, however, presented its own special challenges, because of the carbon-based nature of this black layer. The new PolyWash III/D addresses this by having, as the first station in the washout process, a separate unit to re-move the black layer. This way, the next stations (photopolymer removal and rinsing), are not contaminated with carbon, resulting in much reduced cleaning requirements. An automated cleaning cycle is also launched each time the machine is powered off. Oth-er improvements in the PolyWash III/D include easily accessible and independent brushes, the relocation of all drives in the dry area, and a lower frame, significantly improving ergonomics. w

The new PolyWash is easier to clean, and its lower silhouette makes it more user-friendly.

Mr Victor Mansour is quite a character, who notably worked very closely with the founder of the company, Gualtiero Giori. What is it like working with him?I consider myself very lucky to work with Victor. It is simple, he just knows about everything: machines, installation, engineering, the history of each print works on the planet and above all, he has a deep understanding of our clients, after working with them for over 35 years. The transition is proceeding very smoothly and pro-fessionally. Knowledge transfer is critical, especially so when one considers the wealth of experience accumulated by Victor, and I am glad that it has been taken very seriously by all involved parties.

You have a very outgoing personality, with a great sense of hu-mour. Where does this positive attitude come from?I like the French expression voir la vie en rose. I think having a positive attitude is a gift, which helps us move on, without anxiety, under all circumstances.

How do you like your new home, Switzerland?I like it very much. Everything is so gorgeous, including the skiing, even though I had to walk with crutches for 3 weeks after a ski ac-cident shortly after arriving in the country!

Do you still find time between all your business trips for your hobbies?Not much to be honest, but whenever I can I practice my new hobby, learning how to fly. We have an airfield right next door to our headquarters building, and our Technical Director is a certified private pilot. Therefore, the conditions to learn to pilot a plane could not be better, and this also perfectly matches my passion for mechanical engineering. w

Before joining KBA-GIORI, Fadi worked for Mercedes-Benz as a Business Development Manager, in Cairo.

21SPRING | SUMMER 2010 banconota



22

The Simultan offset printing process is a cornerstone of banknote security, providing a wide spectrum of overt, covert and machine-readable security features.In this article, the second in a series about security features based on the Super Simultan IV platform, we would like to introduce a level 2a (covert) feature called MultiFluoTM.

Ultraviolet lamps are some of the most widespread banknote au-thentication devices used in the retail industry, and level 2a security features based on fluorescence are very well-known, even by the general public. Luminescent features are also commonly used for machine recognition purposes.As a result of their popularity, these features inevitably attracted the attention of counterfeiters. In 2006, for example, 80% of seized Euro counterfeits showed that an attempt had been made to imitate the image of the banknote under UV light.1 Today, counterfeiting of fluorescent features has become a real con-cern, with increasingly convincing counterfeits regularly appearing as the required materials become always easier to obtain.In answer to this growing threat, we have developed MultiFluoTM, an offset-based level 2a security feature available on Super Simultan IV presses equipped with a 9th and 10th colour imprinter module.

What makes MultiFluoTM different from traditional fluorescent features is the fact that it combines two different fluorescent inks by superimposing them. The result, under UV light, is a 3-colour image, where the third colour appears in the area where both inks are superimposed.The printing of the MultiFluoTM feature is done in two steps. The first: background fluorescent colour is printed with one of the units of the 9th and 10th colour imprinter module, and then immediately dried with an intermediate UV dryer. The second: fluorescent colour is printed, in partial superimposition with the main unit.MultiFluoTM considerably raises the barrier for counterfeiters. Achieving the right combination of colours, both in the visible and UV ranges, is a true challenge, as confirmed by our counter-feit resistance laboratory.

Another additional complexity lies in the precise register between all the colours achieved by one-pass Simultan printing.The feature has already been selected for several banknote de-signs, and the first banknotes featuring MultiFluoTM should be issued within the next few months.

MultiFluoTM currently takes advantage of only one of the units of the 9th and 10th colour imprinter module. There is definitely still much untapped potential in this area, and research is continuing on new designs exploiting this technology and, in general, the versatility of the Super Simultan IV platform. w

1Source: 1st International Conference on the Protection of the Euro against Counter-

feiting, Trends in Euro Banknote Counterfeiting, Martin Mnd, ECB, May 2007.

Security featureSFluorescence revisited

multiFluoTm, as implemented here, uses two types of fluorescent inks. The ink on the bottom layer is invisible under normal light, while the ink on the top layer is visible. Both inks, however, are visible under uV light with different colours, and a third colour appears in the area where both inks are superimposed.

An example of multiFluoTm.



23

Over the last few years we have witnessed the launch of quite a number of new and striking level 1 security features, some of them printed and many others substrate-embedded. There is no doubt that features, such as micro-optics and colour-shifting threads, highly sophisticated OVDs and DOVIDs, and various types of windows in synthetic substrates, are attractive and eye-catching. And seeing so many innovations vying for attention is also a sign of our industrys good health. However, these highly advertised security features come with a correspondingly high-per-unit cost, and lack of hindsight makes it difficult to truly estimate their real value.

In the new level 1 security landscape taking shape today, what role does print have to play, and what is the added value brought by banknote printers?This was the main question we asked ourselves and wanted to share with the public during the presentation entitled Creating cost-effective level 1 security through intelligent design, given last December, during the Banknote Conference in Washington, D.C., by Jean-Franois Foresti, Director Press and Pre-press of KBA-GIORI. We chose to adopt a thought-provoking, back to basics perspective, going against the dominant current, to see what can be achieved when using a healthy dose of imagination and design skills, combined with clever implementation of the core printing processes available to all print works, represented by Simultan offset and Orlof intaglio.

What we actually found was a wealth of level 1 security features, proving that effective security does not necessarily incur high costs. MVC (GOZNAK), MCLI (OeBS) and PEAK (Giesecke & Devrient), to name but a few, were amongst the generally less publicized, yet highly interesting and innovative features made possible by exploiting the core processes.

REINFORCING SECURITY ThROUGh FEATURE INTEGRATIONFinally, during the second part of the presentation, Jean-Franois bridged the apparent gap between the latest level 1 security features and the core processes, by showing how both could play hand-in-hand to reinforce overall security, with examples such as MVI (Multi Variable Image), which uses intaglio or dry embossing to in-crease the impact of features based on colour-shift ink, recto-verso Simultan offset printing of transparent windows, or integration of foils and threads by high-precision application coupled with over-printing and / or underprinting.

Is the role of print works bound to be limited in the future to just decorating substrate already carrying all the added security value?Fortunately, this scenario seems very improbable in the short term and we believe that there is strong evidence that true security does not rely on any single feature, but remains a combination of spe-cific design, process and material. However, periodically asking ourselves the question should help us all to stay focused, and to keep providing maximum value to banknotes through print. w

Clever implementation of core processes, such as intaglio and offset, can result in striking level 1 printed security features, as illustrated by the recently issued 1000 Tenge OSCE commemorative note in Kazakhstan.

SecuriTy feaTureSthe pOwer Of cOre prOceSSeS



24

caSh cycleDevelOpMent Of a new banknOte SerIeS wIth prOven technOlOgyBy Roland Tornare, Senior Advisor Banknote Services

As explained in the first issue of Banconota, one of the main tasks of central banks is to ensure that payment systems ad-here to the security requirements, in order to increase the efficiency of the traffic of payments for all users (the public, businesses and financial institutions).

New series have two major objectives: to be easily identified by the public and to provide a high resistance to counterfeiting. Furthermore, due to the rapid evolution of the reproduction technologies, the time span between two series tends to be shorter. Nowadays, many countries expect their series to be replaced after 8 to 12 years only, in order to keep counterfeiters at bay. According to the risk assessment of a central bank, the prepara-tory work for a new series should, therefore, be considered as a preventive measure and in an ideal case as an ongoing process, without any stops. In any case, attack being the best form of defence, it is preferable to take action in time rather than reacting under stressful situations.The time needed for the development from design to issuance - of a new series with proven technology is estimated as being between two to four years. In principle, in order to balance the work load of the central bank, the printing works and any other parties involved, it is advisable that the new series of denomi-nations be issued one after the other. The way in which the different central banks manage projects of new series can differ; however, we believe that good plan-ning and efficient decision processes can significantly improve the end result.By using only proven technology, the central banks can sig-nificantly reduce the risks and complexity of new banknote series projects.

DUTIES AND RESPONSIBIlITIES Due to their duties and responsibilities, it is usually the issuing department or the department in charge of the New Banknote Series that initiates the project, and proposes the policy, strat-egy, as well as the schedule and project objectives to the board of the central bank. Based on this information, the board can accept, adapt, postpone or refuse the proposition. At the very least, the board should clearly define the mission of the depart-ment in charge of the project.

ThE MISSIONThe mission should contain:

the boards intention the strategy the schedule any limitations or constraints the responsibilities and the structure of the project team.

INFORMATION AND ENDORSEMENT OF ThE AUThORITYS CONClUSIONS It will be the responsibility of the department in charge of the project to regularly and systematically inform the board of each of the projects main milestone developments, and of the results of the analysis. This regular information should insure that the board endorses the conclusions of the different analy-ses, and confirms the way forward.

ThE CONTExT ANAlYSISBased on the mission, it is advisable to start with a context analysis that covers the various aspects relating to the existing series, such as the publics awareness, the extent of counter-feiting, the cash handling sorting equipment in place, etc. This analysis should take all actors into consideration.All theses tasks can easily take one full year.

SUBSTRATE AND SECURITY FEATURES SYSTEM SElECTION These context analysis activities will serve as a basis for the selection and justification of the substrate and security features system, as well as for the technical specifications. This selection should address the countrys specific needs and help to build a security system carefully balanced between the different tech-nologies available. After the substrate and the security features have been selected, the technical functional layout of the new series can be prepared, indicating the position of each feature, keeping in mind how these will be communicated in the future to the users.

Roland Tornare has a long and rich

experience in the field of banknote design,

and a deep knowledge of the cash-cycle. As

Director of the Issue Department at the Swiss

National Bank (1985-2007), he was one

of the main architects of the current Swiss

banknote series, and is heavily involved in the

new one under preparation. he has acted as

an advisor for similar projects in various other

countries, and continues to do so to this day.



25

ThE ThEMEIn parallel with the selection of security features, the choice of the main theme and the corresponding documentation research can be done. The choice of the theme should take into account the countrys culture and history, and can refer to the past, the present or the future. It should also reflect a national identity and represent a common thread throughout the family of banknotes. The theme should be broad enough to cover the various topics which are allotted to each denomination. The design on the back of the notes can either be systematically associated with the topic on the front, or can be dissociated.

ARTWORKOn the basis of the technical functional layout, design guidelines, theme and documentation the designer can then draw the sketches of the new series. To keep the system of security features attractive, this has to be integrated into the design in such a way that it will make the communication campaign easier later on. At this stage, the aesthetic approach is of primary importance to make the banknotes attractive to the public.

PRODUCTION AND ISSUANCEThe existing means of production are an important point to consider. For instance, it would be counterproductive to choose a banknote size that is incompatible with the sheet size of the printing machines, because it would increase the costs, whereas a size - perhaps just a little smaller - would be ideal. Depending on the selection of the security system, it may be necessary to adapt the means of production.The issuing date is strongly influenced by the production ca-pacity of the printing works and the volume necessary for the first issue.

QUAlITY INSURANCETo ensure a very high quality of the final product, central banks should manage the project with a high level of technical knowl-edge. A quality plan must, therefore, be drawn up.

SERVICES OFFERED BY KBA-GIORIAs the leading technology supplier to the banknote industry, KBA-GIORI, Banknote Services, offers both expertise and an ap-propriate methodology to assist and give advice to central banks and security printing works for the management, development, design and production of new banknote series while adopting a neutral approach. w

Only after the technical functional layout has been set, can the designer start

to draw the sketches of the new series, based on the selected theme and

observing clear design guidelines.

After selecting security

features, the functional layout

can be prepared



26

general inTereSTwOMen anD MOneyare banknOteS feMale?

Money talks. But is it in a mans, or a womans voice? The Guten-berg Museum for graphic arts and communication in Fribourg, Switzerland, has built a fascinating temporary exhibition centred on the question, taking over a centurys production of Swiss banknotes to try to answer the question. And, contrary to popular belief, the Swiss Franc is largely influenced by women.

It all begins in 1850 with Helvetia, the allegoric womans repre-sentation that has symbolised Switzerland for Confederates since the 17th century. Interpreted under various guises, the figure first appears on coins, before being featured in 1881 on the first uni-fied banknotes of the country. These early banknotes, produced by foreign manufacturers, still bore the name of the 36 different regional banks allowed to issue banknotes at the time, but were otherwise identical. This difference would disappear when the Swiss National Bank (BNS) is founded in 1906, with the exclu-sive rights to issue banknotes. Helvetia still adorns Swiss coins, but the most important woman for Swiss bankers is probably Vreneli: a typical Swiss-German name, Vreneli is the work of Fritz Ulysse Landry, and was created in 1895 to appear on a famous 20 Franc gold coin. Again, coins influenced banknotes, and Vreneli lived on to appear in 1914 on the first 20 Franc note, a technical marvel that required 16 offset passages. This was the first note to be produced by Orell Fssli, in Zurich.Vreneli was never formally identified, and it is thought that her model was either Rosa Tnnler from Haslital, a remote valley in the Canton of Bern, or the daughter of the artists tenant. It is interesting to note that years later, at the beginning of World War II, another woman from Haslital was chosen to be on the 100 Franc note. A dead-end valley located roughly in the centre of the country, Haslital was believed to be only one of a few places were the population had been untouched by foreign influence. The model, therefore, bore an undisputable Swiss made label!

A FAMOUS ARTIST AND hIS ThREE WOMENIn 1905, the Swiss painter Ferdinand Hodler is commissioned to create a new series of banknotes. Hodlers creations, albeit heavily modified for printing purposes, appear on the 50 and 100 Franc de-nominations. On a study, the artists Helvetia has the features of his wife Berthe on the left, and one of his lovers on the right: needless to say the project is rejected without a word of explanation. Morals are better respected by Eugne Burnand on the 500 and 1,000 Franc denominations which were emitted at the same time. The only series which does not feature any woman at all is the sixth one, issued in 1976 and in circulation until the year 2000. It is only in 1995 that Sophie Taeuber-Arp, an artist, is featured on the 50 Franc note and therefore signals the return of a woman on a Swiss banknote. However, critics of the series argue that the portrait cho-sen with her wearing a hat does not plead in favour of women.The future Swiss notes, due to be issued in 2012, will not feature a woman or a man, but the designs created on the theme Switzer-land open to the world are the work of a woman, artist Manuela Pfrunder. It is the first time in the century-long history of Swiss ban-knotes that a woman takes on the creation of an entire series.If Swiss paper money has been influenced by women to various degrees during its history, it is interesting to note that the next se-ries will not have any gender at all. Therefore, the answer to the exhibitions question may well be that (Swiss) money, after all, has no gender. Perhaps it is a solution to reassert the countrys long-standing tradition of neutrality. w h.P.

Early banknote designs were heavily influenced by coins.

This study, where the features of the helvetia allegoric character are inspired by the artists wife, on one hand, and lover, on the other, was

unsurprisingly dismissed.



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LHomme qui marche I, a sculpture by the Swiss artist Alberto Giacometti featured on the current 100 Franc Swiss note (covered in issue 1 of Banconota), reaches an all-time high at an auction.

One million seventy-five thousand and nine hundred. Thats the amount of 100 Swiss Franc banknotes needed to acquire edi-tion two of LHomme qui marche I, a bronze life-size sculp-ture created in 1961. Formerly the property of the German bank Commerzbank, the sculpture came up for auction on 3 February 2010 at Sothebys in London and broke all records held by a work of art sold at a public auction. The sale lasted eight minutes.

The funny thing is that this work of art can be owned through any 100 Swiss Franc note, albeit not in life-size formatAccording to Guy Maradan of the Swiss National Bank in Bern, the 100 Franc note is the most widely circulated, and therefore a target of choice for counterfeiters. For this reason, it was also the last note to be issued when launching the last series, in order for it to include the most up to date security features. w h.P.

general inTereSTthe 74 MIllIOn eurO One hunDreD franc nOte

In order to buy this sculpture, more than one million of the corresponding notes would be required!



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ThE CONFERENCEThe International Banknote Designers Conference is a dedicated industry event addressing banknote design and its impact on print-ing, security and functionality. In recognition of the role played by the international designer community, KBA-GIORI is acting as the official conference partner. The conference agenda and format will provide a private forum for the exchange of information, experi-ences and ideas concerning banknote design and how design can influence banknote performance in the cash-cycle.

The conference will take place in Geneva, Switzerland from 05-08 September 2010 and is limited to professionals active in the domain of banknote design, issuing and forensic evaluation. The three-day event will consist of a series of presentations, panel discussions and workshops. The conference will conclude with a unique demonstra-tion following the evolution of an artistic design right through to the final printing process on the latest security printing equipment.

ThE OBJECTIVEMark Stevenson, the conference organiser, says that; the confer-ence aims to clarify the link that exists between banknote design and all other steps in the banknote chain, from production to issuing, re-cycling, and destruction. Our principal objective is to facilitate the sharing of core information on the above subjects and to provide designers with a wider perspective on how their work has a direct impact on banknote security, functionality and longevity. Ultimate-ly this will enable designers and issuers to make more informed and objective choices on banknote design and content.

evenTS

05-08 SepteMber 2010, geneva SwItzerlanDBy Mark Stevenson, Conference organiser

During the conference the International Banknote Designers Asso-ciation will be launched. The objective is to ensure prolonged and enhanced levels of communication and information exchange after the first conference, and to promote stronger ties and relationships within the banknote designer community.

ThE CONFERENCE COMMITTEEThe International Banknote Designers Conference has been cre-ated for banknote designers by banknote designers. The conference committee consists of six well-known personalities from different cultures and parts of the world. Their role is to ensure that the con-ference meets the highest expectations of the banknote designer community and that you get the maximum return for the time you invest in attending the conference.

The conference agenda, presentations and workshops are structured around the following themes:

Banknote design and printing Banknote design and the cash-cycle Banknote design and the public Banknote design and the counterfeiter Banknote design and durability

Within these categories a host of subjects will be addressed includ-ing recent counterfeiting threats, machine-readability, design and origination technology, public perception, production challenges and central bank issuing and recycling strategies.

The International Banknote Designers Conference has been created for banknote designers by banknote designers. The conference committee consists of six well-known

personalities involved in banknote design, coming from different cultures and parts of the world.

From left to right: Jorge Peral (CAN), Roger Pfund (Ch), Jennings Ku (hK), Renato Manfredi (IT), Andrew Ward (CAN), Karin Mrck hamilton (SWE).



2929SPRING | SUMMER 2010 banconota

ShOrT newS

KBA-GIORI showroom The installation of a brand new print-ing line in our showroom in our new headquarters is proceeding as planned (see Banconota N 1). The machines are equipped with the latest options and fully operational. The latest generation of pre-press equipment can also be seen in a production environment for interested parties.

KBA-Mdling A flexible production programme is being imple-mented in our production facilities. Pre-assembly of standard modules and various other measures are expected to speed up manufacturing time of most machines by ca. 15 to 20%, and to allow configuration changes up to four months before delivery.

Quality and Security Mr Sbastien Mongenot has been hired as our new Quality & Security Manager.

Brazil The decision has been made to upgrade the two recently ordered NumeroPak III to Super Check NumeroPak III machines, for even greater process integration.

Egypt An order has been placed for a Super Simultan IV, in 10 colour configuration, with 2D-Iris module and the latest type of ColorSave recto-verso online inspection unit.

Italy A contract has been signed for the supply of a Super Simul-tan IV press equipped with the latest type of ColorSave recto-verso online inspection unit.

Kazakhstan A NotaScreen II with the SPARK module and a CToP II system have been ordered. Both are scheduled for delivery this year.

Mexico A NotaProtector protective varnishing application machine has been ordered. This is the second NotaProtector to be installed in this country, where the NotaProtector is used to varnish polymer notes.

Morocco Varnishing will be introduced on Moroccan ban-knotes, leading to a NotaProtector order. In addition, the print works will completely upgrade its pre-press department by adopting the CToP and CTiP technologies. Corresponding aux-iliaries have also been ordered.

Sweden A SPARK module has been purchased for the NotaScreen II already installed in the print works.

Venezuela A complete new printing line has been ordered, in ad-dition to the finishing line delivered last year. This line comprises the offset, screen, intaglio and varnishing processes.

2D-Iris The first note to feature 2D-Iris was put into circulation in November last year by the Central Bank of Yemen. The mid-denomination 250 Rial was designed and produced by GOZNAK.

FoilCheck II A new version of the FoilCheck online OVD in-spection system has been released. Enhancements notably include the support for the OPTI-Windows window cut module.

LabQMD UEFO A new version of our portable statistical pro-cess control QMD family of products has been released. LabQMD UEFO can check fluorescent security features and was presented during the Optical Document Security conference in San Fran-cisco, USA.

PliFora III A new version of the PliFora, which is used to perforate and bend intaglio plates for backside grinding, and for installation on press, has been released. Cameras have replaced microscopes, and the new system features a higher degree of automation.

SPARK Sales of SPARK modules for the NotaScreen are un-interrupted, illustrating the popularity of this security feature. A to-tal of 26 modules have been installed or are being delivered. Latest orders include Kazakhstan, Poland, Russia, Sweden and Ukraine.

Conference speakers will be invited from a broad spectrum within our industry. The content of their presentations will always be linked to banknote design. While the official conference language is English, real-time transla-tion of all presentations in the following languages will be provided during the conference:

Spanish French Arabic Russian

The conference registration fee of CHF 1,500 covers all conference and related expenses including social events, lunches, dinners and refreshments. A special discounted hotel rate of CHF 350 per night

has been negotiated at the Grand Kempinski Hotel Geneva which is also the conference venue. In addition to the registration fee and hotel costs you should also budget for your travel costs to and from Geneva which is well served by its international airport and train station.

If you are interested in participating in the 1st International Ban-knote Designers Conference, you can visit the conference website at www.banknotedesignersconference.com or simply send an email expressing your interest in attending the conference to [email protected]. If you have any questions or re-quire further information you can call the conference hotline on +41 79 915 63 47 and you will be welcomed by one of the conference staff who will be able to answer any queries you may have. w



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inDuSTry challengeS

Banconota asked three experts in the field to explain their views on:

ARE SECURITY FEATURES BECOMING TOO COMPLEX?

For authorities in charge of deciding which security features should be included in a banknote, the task is becoming increasingly difficult: there have never been so many features to choose from, and these tend to become more complex every day. If security features should, by definition, be very complex to imitate from a technical perspective, are they not also sometimes becoming too complex to authenticate, to produce, or even to evaluate?Do we not overestimate the capacity of the general public of keeping pace with new developments in se-curity features? Can we accurately assess their impact on production waste levels? Do we have enough hindsight to check their relative effectiveness?

Welcome back to the Industry Challenges column! In this section, personalities from various backgrounds in our field have the opportunity to express a personal opinion about one of our industrys

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