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The Magazine for Digital & Screen Printers

MARCH 2004 VOL.14 / NO.35 €15

Fespa World incorporating European Screen Printer & Digital Imager

The Presidents of Fespa and ESMA face to face A match made in heaven?

Plus The big story – Durst’s printer launch Focus on signs and graphics – defining the sign

Translations available at

Fespa World






Editor’s letter Sharp eyed readers will immediately notice that this first FESPA magazine of 2004 has undergone a total transformation and reappears with a new look, new features and, most radical of all, a new title – FESPA World. The revamp is the culmination of endless discussions, much research and the fervent conviction that in today's fast paced world, magazines have to be interesting, informative and entertaining if they are to command attention. To that end, I hope that this issue will score highly on all three counts, whilst also remaining representative of the original FESPA ethos, that is, to produce a magazine whose primary objective is to cover the interests of its members. Over the next fifty odd pages you'll be able to learn all about the latest developments in screen and digital printing which include a resume of Oce's recent Open Day, information about Durst's new, affordable, flatbed printer, and a Face to Face interview with the FESPA and ESMA presidents. In addition, there is a thought provoking opinion piece and a pensive And finally…, together with a Focus on Signs and Graphics, the Lowdown on Digital Materials and a sneak preview of some of the companies who will be exhibiting at Drupa this May. A lot to read and enjoy then and whatever your verdict I hope that you'll feel able to share it with me!


Mean machines

The latest supplier news including appointments and installations.

Durst is enjoying the culmination of six heady months, during which period it has launched a new, affordable inkjet flatbed printer and upgraded its hugely successful Rho 160.




ASSOCIATION NEWS The latest association news including FESPA diary dates.



FESPA 2005: The voice of the industry



A match made in heaven?

Anyone who is serious about screen, digital or industrial printing has to visit FESPA 2005!

Ricardo Rodriguez Delgado and Rudi Röller discuss their hopes for a new closer collaboration between FESPA and ESMA.



It seems to me… Bryan Stringer questions the viability of UV curable inkjet printers.


SHOWCASE Our regular review of some of the latest screen and digital applications.


46 Exposure and exposure control in screen process stencil making Perfect stencils every time.

Val Hirst Editor

48 The low down on… digital materials

Fespa World The membership magazine of the Federation of European Screenprinting Associations Vol.14 / No.35 March 2004 Published by FESPA Ltd Editorial office FESPA Association House 7a West Street Reigate, Surrey RH2 9BL Tel: +44 1737 24 07 88 Fax: +44 1737 24 07 70 E-mail: Web: Publisher Frazer Chesterman – Director Tel: +44 1737 24 07 88

We provide a small insight into the vast array of consumable options available.

Advertising Michael Ryan – Sales Manager Tel: +44 1737 22 97 27 Fax: +44 1737 24 07 70 Editor Val Hirst Tel: +44 1623 88 23 98 E-mail: Graphic Design Bate Brand Communications 8 St Leonard Square, Wallingford Oxfordshire OX10 0AR Tel: 01491 835835 Printing The MANSON Group Ltd Reynolds House, 8 Porters Wood Valley Road Industrial Estate St Albans, AL3 6PZ Tel: 01727 848 440



Signs and graphics – defining the sign

56 FESPA ‘contact list’ Magazine coupon



Before we were, now we are From screenprinting to image making!


DRUPA PREVIEW Acknowledged as the world's biggest printing show, Drupa 2004 attracts nearly half a million visitors from all over the globe.

Fespa World. Designed by Bate Brand Communications. Printed by The Manson Group Ltd. Editorial photographs supplied courtesy of the companies they feature. The publishers accept no responsibility for any statement made in signed contributions or those reproduced from any other source, nor for claims made in any advertisement. Fespa World is available to individuals who qualify within the terms of a controlled circulation and by subscription.



Agfa and Thieme to jointly develop inkjet digital press for screen printing

Starflex Europe launches in full swing Kangwoo Co. Ltd., the South Korean manufacturer of the Starflex brand of PVC flexible films, has recently opened a European Sales and Distribution centre in Belgium, in order to develop the European market for its products. The Starflex range includes Back-lit, Front-lit, and Blockout, Mesh, together with 5m wide materials suitable for using in conjunction with superwide format digital printers. First established in 1985, the company now supplies customers in Asia, the US, Europe, the Middle East, and the Pacific. Jihye HONG, Managing Director of Starflex Europe s.a. comments: "Since the whole digital printing market is now growing so rapidly we believe that it is an ideal time for us to strengthen our sales network in Europe."


develop and market this new system jointly. "We are confident that Agfa's overall imaging and inkjet expertise, as well as our solutions approach to prepress, are an ideal complement to Thieme's market and technology leadership on the screen printing market," said Agfa's Vice-President of Imaging Solutions, Jan Van Daele. "The new system will resolve the quality and productivity issues that to date are inherent to inkjet presses for screen printing applications."

"The screen printing market is evolving at a rapid pace but imaging technology to date has failed to offer real-life solutions that will generate additional revenue streams for screen printers," added Konrad Vosteen, Thieme's Product Manager for Digital Printing Systems. "Our agreement with Agfa holds great promise for the screen printing industry." The companies plan to first show this new technology at Fespa 2005 in Munich, Germany. Agfa reached an agreement with

Barco last month to acquire Dotrix NV, a Belgian based company which develops, manufactures and sells digital colour printing solutions for industrial applications. Both this acquisition and the co-operation with Thieme are demonstrations of Agfa's commitment to the printing industry, especially with high-end inkjet systems. These add to Agfa's own strong market position on the digital colour proofing and largeformat digital printing markets with its Sherpa systems.

Gary Thompson (left) with Tony Hall outside the new KPMF Direct sales and distribution centre in Lichfield.

In an exciting development, which they believe will enable screenprinters to stay ahead of the game, Agfa and Thieme have announced that they are working together to create a flatbed digital press for screen printing applications. The new system will offer quality and speed advantages currently unattainable. The flatbed press is to use next generation inkjet technology and the two companies have agreed to combine their strengths, expertise and proprietary technology to

New UK distributor for KPMF KPMF Direct Ltd is the name chosen for a new start-up distribution company launched to market KPMF brand signmaking, printing and digital imaging films throughout the UK. First established in 1991, Kay Premium Marking Films Ltd, the UK's sole vinyl manufacturer with the capability to both cast and coat. has willingly used its familiar initials and logo for the new venture to help quickly establish an unequivocal position in the market place and focus maximum attention on the KPMF brand.

"From our point of view there could not be a better name than KPMF Direct for our exclusive UK distributor," says Gary Thompson, Managing Director of Kay Premium Marking Films. "It underlines the singular commitment of the new enterprise to promote our products and sends the clearest signal that KPMF will soon be a major player in the British sign, display and vehicle graphics markets." Heading up KPMF Direct is Tony Hall, who brings to the new venture a wealth of technical knowledge of both the industrial

and signmaking applications for self-adhesive films. He says: KPMF films have always been held in high respect by users all over the world, but to date there has been no specific outlet in the UK dedicated to their promotion and distribution. With the inception of KPMF Direct, signmakers and other users throughout the UK can rely on materials being available from stock for overnight delivery." KPMF Direct will operate from a new 6,000 sq. ft sales and distribution centre at Lichfield, in the heart of England.

Thieme KPX give new impetus to Proka cameras Proditec of Germany, manufacturers of Proka direct projection cameras and associated screen coating and processing equipment has kicked off the New Year with a new proactive distributor for the UK and Ireland. delighted to be invited to take on its representation," says Bill Kippax. He continues: "Direct projection is particularly wellsuited to the production of screens for large format POP and poster printing, so the Proka cameras provide the perfect complement to our Thieme 5000 multi-colour lines."

Autotype invest in manufacturing facility

The Lusher JETscreen forms part of an integrated line-up.

Autotype has increased its investment in its UK manufacturing facilities with the installation of new and innovative web measurement technology.

Fully automated in-line stencil making process According to L端scher AG, the Swiss based manufacturer of computer to screen imaging systems, big investments are not only being made in large format four or five multicolour screenprinting presses; increasingly more and more leading screenprinters are investing in their screen making departments too, in acknowledgement of the fact that a perfect stencil is the key to producing excellent quality prints. In fact, Luscher has recently installed the 28 metres long automated stencil making production

line pictured here which was specially constructed to accommodate the customer's existing printing frame measuring 2600mm high and 2500mm wide. The beauty of this Swiss-made CTS JetScreen system is that it can be used in conjunction with washing, developing, stripping, and coating machines supplied by other leading manufacturers of screenprinting equipment. Further, all of these different processes can be carried out under the scrutiny of a single operator.

Fitted to the company's recently installed commissioned coating lines for industrial films used in the electronics, instrumentation and automotive sectors, The new measurement system will enable Autotype to reach levels of manufacturing control that are significantly greater than has previously been possible in high volume manufacturing operations of this kind. The innovative system uses the latest laser technology to determine the precise thickness of single and multi-layer coatings on a wide range of polymer substrates. One of the key benefits is that the web can be scanned across at speeds of up to 3m/sec enabling Autotype to monitor and control the thickness of coatings at high output performance.

Autotype increases investment in UK manufacturing facility.

Thieme KPX has grasped the opportunity to promote the market-leading camera systems with enthusiasm. It will also provide a spare parts service for existing users throughout the two countries. "Proka is acknowledged worldwide as the Rolls-Royce of direct projection equipment, so we were

Bill Kippax with the Proka direct projection camera at Kuhnel Graphics, Wakefield.




Appointments Matan Digital Printers (2001) Ltd., a leading developer and supplier of Inkjet and thermal transfer printing systems, has announced the appointment of Mr. Hanan Yosefi as President and CEO, replacing Rami Einav. A veteran of the printing and digital printing industries, Hanan Yosefi, who holds a B.Sc. in computer Science and an Executive MBA from Tel Aviv University, brings 20 years of management experience to Matan. He previously worked for Objet Geometries, a leading innovator in three-dimensional printers, and also served as CEO of another Israeli high-tech company. Earlier, during his 14 years at Scitex Corp, Mr.Yosefi served as General Manager of the company's largest and most profitable division. Scitex Vision has announced the appointment of David Watson as Sales Director UK, Ireland and Scandinavia for Scitex Vision Europe. Previously UK Northern Sales Manager at Scitex, his promotion will strengthen the organisation in UK, Ireland and Scandinavia as well as the company's relations with its customers across Europe. David Watson will be responsible for all-direct sales and reseller channel business in the respective regions. In addition, he is pivotal to the Key Account Management for Scitex Vision Europe. VUTEk Inc. has appointed Glyn Evans as European Director of Services and Support. Based at VUTEk's European headquarters in Belgium, he is responsible for developing service and support programs for VUTEk's European customers. With over 23 years experience in the graphic arts industry, Glyn Evans joins VUTEk from Hewlett Packard's Indigo division where he was Director of


Service and Support in Europe. Prior to this he held a number of technical support and service management roles at Scitex. Glyn has already helped strengthen VUTEk's infrastructure in Belgium, by appointing a European Customer Installation Coordinator, responsible for the delivery, planning and installation of VUTEk products and will also oversee the the launch of a new European customer call center and training facility.

Installations Encad installs l00th printer Encad has recently installed the l00th unit of its VinylJet 36 printer, which enables fullcolour aqueous printing on to uncoated vinyl, at Atelier Davion, Near Auxerre in France. The company, which specialises in producing graphics for billboard advertising and vehicle livery, has been impressed with the rapid return its investment in the machine has delivered.

CORjet proves to be an environmental success

Avery Dennison Corporation has appointed Don Stoebe to the position of Vice President and General Manager, Roll Materials Europe, with a brief to provide overall leadership for the Corporation's European roll materials businesses. Don Stoebe brings 20m years' experience and expertise gained in the Avery Dennison organisation. A graduate in Chemical Engineering and French and with an Executive MBA from Georgia State University, he originally joined Avery Dennison's Fasson Roll North America organisation in 1983.

Australian based Visy Displays, a division of Visy Industries, one of the world's largest packaging and paper recycling companies, has installed a Scitex Vision CORjet industrial inkjet press at its facility in Reservoir, a suburb of Melbourne, Victoria, Australia. The Scitex Vision CORjet machine, which will boost Visy Displays' product offering, has already enabled the company to expand into new markets, while offering new services to existing clients. Maintaining high environmental standards is something that is extremely important to Visy. Sybil Clyne, General Manager of Visy Displays says, "Our aim is to supply our customers with environmentally sound, leading edge, packaging and display solutions. Choosing the Scitex Vision CORjet to meet these needs was the natural choice. Trials on our 100% recycled clay coated corrugated board proved the best fit to our existing business, and importantly, the machine uses water-based inks, which correspond well with our high profile environmental policies. Further, its ability to carry out cost effective short runs was a big draw for us, with its automatic feed system proving to be a real benefit". The CORjet is the first digital inkjet press developed for the corrugated market. It can print

sheet sizes up to 160cm x 320cm (63" x 126") at a rate of up to 150m2/hour (1614 sq ft/hr) delivering up to 29 full format sheets per hour in high quality 600dpi "two-pass mode." The printing process is completely automatic from the high-capacity automatic loader that feeds the print unit, to the dryer and finally to the automatic unloader. The CORjet has 3.8 litre (one gallon) ink reservoirs and so can be run with minimal supervision. Sybil Clyne concludes: "It is perfect for POP, packaging prototypes and print on demand solutions where time is of the essence, it has given us the edge in the area of new product development."

Exposure heads.

KIWO ScreenSetter®.


Computer-to-screen, imaging with digital direct exposure


cil, thus hardening the emulsion or to divert the light away from the stencil, leaving it unexposed. During the exposure of the image, the entire imaging head, including UV Light source, DLP chip and lens system moves stepwise over the stencil in X and Y directions. The number of imaging steps are a function of the total number of micro mirrors on the DMD surface (i.e. the DMD's surface area) and the total area to be exposed. All of this is completed rapidly and with an image placement precision of 2µm. The segments of the design that transfer ink can't be exposed, thus no light is directed toward the stencil in these instances. Therefore, the total exposure time for one separation is dependent not only on the mesh, the emulsion and the resolution, but also on the design. The KIWO ScreenSetter file format is a standard TIFF G4, which is the most common output file format used by RIPs. This makes it very easy to integrate it into existing workgroups and networks. A KIWO ScreenSetter 4030 f2 recently installed at Johnson Matthey, Precision Studios in the UK was successfully integrated

Quality control.

full flexibility of the CTS System. By using the advanced CTS system, the KIWO ScreenSetter takes imaging quality to a higher level, even exceeding the quality of 2500dpi film. There are improvements in tonal range, dimensional stability, ink release and registration between colours. Furthermore, it is possible to print finer detail than ever before. The key to all this is the extremely short and focused light path for each pixel combined with image placement accuracy within 2µm throughout the ScreenSetter's work area. The ultraviolet light source is modulated according to the DSI Process and exposes only the areas of the screen that do not need to be printed. Development of the stencil proceeds as normal. No wax, ink, or inkjet systems are necessary. Perfect stencil making with the ScreenSetter requires no costly consumables! The KIWO ScreenSetter utilizes Texas Instruments' patented DLP technology. In this process, UV light is directed onto a DMD, a component with a grid of 1,3 million tetragonal mirrors. Each of the mirrors represents a single pixel and functions individually to either direct light towards the sten-

Screen developing.

The advantages of producing screens without films goes far beyond the obvious material cost savings: CTS users experience a tremendous improvement in both production and print quality as work and production processes run more smoothly, reliably and controllably. The improvements begin at design stage with more detailed images as any necessary enhancements can be resolved on the screen. CTS also facilitates shorter press set-up times and better registration. Some advantages are difficult to quantify in mere monetary terms, but the elimination of the ten processing steps common to analog stencil making certainly has a beneficial impact on costs. The KIWO ScreenSetter comes in various sizes and configurations to meet the quality and throughput requirements of most screenprinters. Whether the task is fourcolor process printing on CD/DVD's, the production of ceramic decals, high resolution PCBs or pharmaceutical applications, the ScreenSetter is capable of fulfilling the rigorous quality and workflow requirements of the most demanding screenprinting applications. At the same time, the user maintains the advantages and

Screen loading.

The KIWO ScreenSetter takes imaging quality to a higher level.

into the company's workflow and has already significantly reduced costs in both terms of time and materials and the company has pronounced itself 'delighted' with its new acquisition. FW For further information Tel: +49 (0) 6222-578-0, e-mail: or visit


Heavy duty Kleen-Screen revolutionizes reclaiming process Screen printers can now greatly reduce the man-hours spent on reclaiming screens, while saving money on solvent usage and disposal, thanks to the new Kleen-Screen Automatic Emulsion Removal System from A.W.T. World Trade, Inc. Unlike many screen-reclaiming systems, the Kleen-Screen fully automates both solvent application and high-pressure washing, combining the two processes efficiently within a fully enclosed stainless-steel unit. Rather than applying solvent by hand and wiping it off with rags, the opera-

tor simply places the screens into the front-loading Kleen-Screen, closes the tempered-glass safety doors, and specifies the frame size on the control panel. With the press of the "start" button, the Kleen-Screen goes to work, freeing the operator to handle other jobs. Inside the Kleen-Screen cabinet, a unique electro/pneumatic nozzle system, consisting of four traveling spray heads, provides simultaneous two-sided coverage that coordinates precisely with the frame's dimensions, a method that reduces application time and maximises solvent usage. An

adjustable timer allows for variable dwell times to accommodate different degrees of emulsion thickness. When the dwell time is complete, the spray heads go back to work, delivering a high-pressure water rinse, at 2,000psi, that efficiently removes dissolved emulsion particles. A translucent fibre glass back panel allows for inspection of the screen using natural or artificial light. If some residue remains, the operator can add a water-only cycle with the flip of a switch. The Kleen-Screen's automated cleaning system is complemented

by a closed loop re-circulating system for cost-saving solvent recovery and comes in a choice of sizes. For further information on Kleen-Screen Tel: 773.777.7100, Fax 773.777.0909, or email

Plug & Coat courtesy of Grünig Grünig has launched a new affordably priced coating machine, which also offers ease of use and an elegant design without compromising the coating quality.

New KemiGraph liner from Norboard Norboard, the specialist graphical board division of Smurfit Sheetfeeding, is launching a new clay coated liner which delivers outstanding results for screen printers. The new 185gsm KemiGraph liner, which has been developed by leading supplier M-Real and can be used with most Norboard flute grades, has a brighter, whiter finish with higher gloss, allowing the use of finer screens, which saves on ink and waste whilst improving graphic reproduction. With the KemiGraph liner, high quality four colour process print and half tones need no longer be 10 FESPA WORLD 03/04

a daunting prospect for screen printers. It can be used on most Norboard flute grades, including FE, B, E and EB, and will deliver a reduction in flute shadow, particularly on coarser flutes such as B and EB. For further information and a free sample pack Tel: 01603 253553 or email gary.cattell@

The G-404 coating machine, which is called simply Plug & Coat offers the following features: one uniform size for maximum screen formats of B1250 x H1250mm; an extremely attractive price; a net weight of 60kg and a unique single column, coating carriage. Further the patented G-401 coating trough has an exchangeable edge. Plug & Coat requires the minimum of maintenance and can also be assembled by the operator himself without outside technical help. However, probably its most winning characteristic is the fact that when the G-404 is operated under the same conditions as the more conventional G-405 and G411 coating machines, it delivers the same excellent results. It is therefore ideal for screenprinters who require good screen quality at a budget price.

For further information on the G-405 Plug & Coat and all Grünig products visit:


Océ steams ahead At a recent Open Day at its Headquarters in Poing, Germany, Océ provided a very comprehensive overview of its current position in the many market segments it serves and indicated that it is determined to become the leading player, bar none, within the graphic display sector. Val Hirst reports

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Originally best known for its dominance in the professional document management sector, the Océ group, which employs over 22,000 people worldwide and achieved total sale revenues of 2.8 billion Euros in 2003, used the occasion of its Open Day to spell out its commitment to the Display Graphics sector. Michel Frequin, Executive Vice President Océ Wide Format Printing Systems, described the sector as: "An extremely attractive market place worth over 1.7 billion Euros today and expanding by 6% every year." He added that it also offers fantastic growth potential for Océ and its customers. It was no surprise then, when Frequin announced that the company intend to unleash the biggest-ever wide format sales and service organisation into the Display Graphics market, which he went on to describe as an "applications driven market". He continued: "To achieve our aim we must not only be prepared to help commercial printers produce applications as varied as billboards, fleet graphics, signs and point of purchase material – we also have to facilitate better,

faster and more cost effective production by replacing old manual processes with new digital printing technologies." Many would agree that Océ has already earned itself a head start since the Arizona was arguably the first consistently reliable and reasonably priced solvent inkjet printer on the market. In fact many companies operating in the sign and display sectors have built their businesses around the acquisition of an Arizona with more than 1,500 Arizona 90/l80s having been sold over the past six years. Although the original machine has been somewhat overtaken with the advent of a new crop of cheaper, easy to use and effective, solvent inkjet printers, Océ has the comfort of knowing that it was there first. Further, it believes that the introduction of its Arizona 600, which offers better quality at a higher speed, will provide its customers with an obvious upgrade path. However, Frequin indicated that Océ are pinning even more faith in the opportunities offered by UV inks. He said: "Because UV inks cure the instant they are

exposed to light, the need for drying time is eliminated which in turn allows for higher print speeds and increases machine productivity, a crucial requirement in this emerging industry. What's more, UV inks can be used on a much wider range of substrates - glass and ceramics as well as plastic, metals and board – all of which enable printing professionals to substantially enhance the services they can offer to their customers." Oce's first sortie into the UV market is the Arizona T22UV flatbed inkjet printer, which is specially targeted at those producing point of purchase material, exhibition displays and a wide range of decorative products and signs. Describing the T220UV as a natural progression to the Arizona T220 solvent based printer introduced last year, Frequin commented that Flatbed UV printing is a very important development for the display graphics sector. Oce's third new offering is the Arizona 60UV a printer, which combines the ability to print on to both rigid and flexible media. Frequin said: "I think of this as

WHAT’S NEW IN DIGITAL PRINTING our most exciting new offering because it is exactly what the industry is waiting for and it carries a most attractive price tag." In fact the Arizona 60UV is something of a snip since it comes in at sub-50,000 Euros, less than half the price of most UV printers which start at around 100,000 Euros. It can also print on to practically any material invented. Frequin concluded his presentation by outlining the exciting opportunities new technology has created. He described how one Océ customer was making a career out of printing limited edition wallpaper whilst another user was happily printing classical designs on to leather and marble. A third customer has reported that his T220 solvent-based printer has reduced the cost of printing on to rigid materials by up to 60%. Doubtless Océ will now be carefully monitoring the success of its three new launches whilst also deciding what further innovations it can introduce to help it achieve its aim of becoming the biggest manufacturer in this already very competitive marketplace.

The new launches in brief: The Océ Arizona 600 is a midsized (1.9 metre wide), industrialgrade, high volume production inkjet printer designed to produce high-quality, attention-getting graphics for outdoor applications. It delivers print resolutions of up to 1,200 apparent (618 x 618 addressable) dpi using Océ ColorBlend six-colour printing technology. It is ideally suited to producing high-impact vehicle graphics on adhesive-backed vinyl materials, as well as eye-catching, oversized banners. Production print speeds are up to 20 square metres per hour for most media types and ink coverage. The Océ Arizona 600 uses solvent-based high-durability inks manufactured specifically for it by 3M Commercial Graphics. When matched with select media, these inks will produce long-lasting graphics for outdoor applications. The output is well suited for both outdoor and indoor applications

where image quality with outstanding highlights and production speeds and volumes are required. In addition, the ability to print on both sides of the same media enables print providers to offer premium-priced, doublesided banners while reducing media and finishing costs. The Océ Arizona 60UV hybrid inkjet is an entry-level printer that uses piezo printing technology and UV curable inks to produce large format outdoor durable graphics on rigid and flexible substrates. It is unique in that it is the first inkjet printer to combine both flatbed and roll-to-roll printing capabilities with UV ink technology at an entry-level price. Other hybrid models in its price range use either aqueous or solvent inks, and other flatbed UV systems are priced several times higher. Using the collapsible, rigidmedia tables included with the system, an operator can print directly onto rigid substrates up to 60 inches wide by 96 inches long by 3/8 inches thick. Printing directly onto a variety of uncoated rigid substrates such as foam-core style mounting board, PVC sheets, styrene, aluminium-plastic composites and more is easy and profitable with the Océ Arizona 60UV. Roll-based media, such as banner and PSA vinyl, in widths up to 64 inches can also be used. The Arizona 60UV offers graphics for a wide range of

applications such as point-ofpurchase displays, exhibition graphics, backlit signs, banners, real estate signs and more. Intended for operation in light production environments, it is user-installable. It uses Océ ColorBlend™ sixcolor printing technology to deliver an apparent resolution of 600dpi. Print speeds are up to 55 square feet per hour in fourpass mode. The Océ Arizona T220UV, is the company's first entry in the UV (ultraviolet) curable digital printing marketplace. The Océ Arizona T220UV uses piezo printing technology and UV curable inks to produce outdoordurable output. It can print directly onto rigid and flexible substrates up to 62" wide x 120" long x 2" thick. It is ideal for lowto mid-volume production runs

that require high quality output on a variety of rigid and flexible substrates. A complementary product to the Océ Arizona T220, which uses solvent-based inks, both printers are designed to deliver specific benefits to users based on their application requirements. For those customers that prefer to use UV curable printing technology, the Océ Arizona T220UV can print directly onto a variety of uncoated rigid or flexible substrates such as foam-core style mounting board, polyvinyl chloride (PVC) sheets, styrene, aluminum-plastic composites, vinyl, and more. It is ideal for producing exhibition graphics, point-of-purchase displays, construction signage, and indoor and outdoor advertising. For further information on Océ products visit

FESPA WORLD 03/04 13


Enhancements to FabriVu 3360 EC VUTEk has introduced new quality enhancements to its FabriVu 3360 EC. With 360 dpi, the FabriVu3360 EC now offers improved continuous tone output, better transition in the mid and quarter tone areas, and increased shadow and highlight detail. Unmatched by any other fabric printing technology, the FabriVu 3360 EC's new bene-

fits will enable users to further increase print quality. The FabriVu 3360 EC is a fast and reliable three-metre, eightcolor production machine that can print directly onto a wide range of poplin and flag materials, typically used for sporting events

and exhibit displays. All printed materials require a secondary dye sublimation transfer process to maximise brilliant colours, soft handling and washability. Switchable from high quality eight-color printing to Fast-4 printing, the FabriVu dye

sublimation technology is an excellent replacement for traditional electrostatic printing technology, and is ideal for traditional flag and banner applications. For further information visit:

ation thus maximising revenue and margin potential. Encad achieves exceptional image quality at high speeds with a unique print masking technique called Intelligent Mask Technology or IMT. A print mask is a screen that is applied to image

files by the printer to determine which dots are laid down during each swath or print pass when printing in a particular print mode. Encad engineers have created a process that maximises the technique of print masking for each of the six ink colours.

NovaJet: the next generation The first printer to combine the wide-format expertise of Encad with Kodak's extensive knowledge in colour imaging science. The first wide-format printer jointly developed by Encad and Kodak, the NovaJet 1000i will, according to the company, redefine the relationship between wide-format printer speed, image quality and cost per print. It is being billed as the first printer to combine the wide-format expertise of Encad with Kodak's extensive knowledge and research in colour imaging science and is designed to establish a new definition for productivity in wideformat inkjet printing. The printer offers faster print speeds, leading edge technology and low operational costs. Barry Lathan, Encad's CEO explains: "The 1000i was devel-

14 FESPA WORLD 03/04

oped following extensive input from our customers, prospects and partners in key market segments, all of whom requested a machine that could combine speed, image quality, reliability, with low hardware and consumable cost. We believe that the NovaJet 1000i meets all of these criteria." High throughput is achieved with an advanced print head that allows high-speed printing and new dryer technology ensures quick dry time on a wide variety of media. With a printer price of under â‚Ź20,000 and the lowest ink cost in the category, the 1000i printer will also meet customer demand for low total cost of oper-


SGIA intensifies membership activities in Europe The Specialty Graphic Imaging Association and its affiliate, the Digital Printing & Imaging Association will work with Dutch imaging association ZSO to enhance member services in Europe and increase SGIA/DPI European membership. The new partnership replaces an earlier arrangement between SGIA and Promotions Projects BV of Amsterdam; as a result, the planned SGIA '04 Europe conference will not take place in October 2004. "SGIA's objective is to provide specific tools for success to specialty imaging companies of all sizes. Our meetings and individual member services will complement the work of FESPA, which interacts with national associations and is famous for its exhibition," SGIA/DPI President Michael Robertson said.

SGIA/DPI has thousands of member companies worldwide and responds to more than 2,400 technical and business-related questions each year, Robertson noted, emphasizing the Associations' vast knowledge base. "Our global imaging industry needs a global community to support it, especially as international levels of technical awareness and knowledge become more uniform. With ZSO's assistance, SGIA tools and information will be available in any country to help imaging professionals arrive at the best technical

Around the associations

New easy to navigate website

Dutch Screenprinting Asssociation elects new Chairman

The Swedish Association has created an easy to navigate new website, with the purpose of making it easier to obtain information for both screenprinters and their customers. The site, which includes links to both members' websites and of course the FESPA website can be found at

Following its December meeting, the Dutch Screenprinting Asssociation has elected Jan Kerdel, the owner of two screenprinting companies, Kerdel Zeefdruk and Kerdel Display as its Chairman. Enrico Steijn and Hwie-Yang Kwee have been re-elected as Board members. The Association hosted a very successful New Year reception at Nijmegen, on the 9th January, which was attended by 250 people drawn from its membership.

16 FESPA WORLD 03/04

Member meeting The SSTF is organising a member meeting on the 23rd-25th of April 2004 in Jönköping. The programme will include a study visit and seminars relating to Technique and the Environment. For further information contact Anders Nilsson at e-mail:

and business decisions possible," Robertson continued. "To be competitive, our members must understand and use technologies that best meet their clients' growing demands. That versatility stems from readily available knowledge." ZSO Secretary Marius Gort added: "We are very excited about the possibilities SGIA/DPI offers. The member services are a good addition to the services we offer ZSO members. ZSO is one of the largest associations in Europe, so we think that imagers and suppliers in other countries

Member celebrates its 75th anniversary Located in the mediaeval centre of Utrecht, Van der Geest originally specialised in producing transfers for very special applications, such as the tax signs that were required on bikes before World War II in the Netherlands and the former Dutch colony, Indonesia. Nowadays, its operation is far more diverse and it produces everything from high quality transfers for the most exacting industrial applications to the colourful transfers that are applied to Dutch clogs to simulate an aged appearance and which are a great hit with tourists! Now owned and managed by Nol van Beek, the grandson of

in Europe can profit even more than Dutch companies from these additional services. "The depth of resources available on the SGIA and DPI Web sites is especially attractive, and we will be able to build on them from a European perspective. For example, we can supplement environmental or health and safety information with updates on European Commission directives." The SGIA and DPI Web sites ( and, respectively) house much of SGIA's and DPI's information resources – the most extensive industry-specific library available online. The sites' search engines scan the depths of the Associations' publications and exclusive online feature articles (many offered as downloadable PDF files). Robertson stressed that the goal of the new relationship is to support imaging companies in all parts of Europe.

one of the original founders, Van der Geest relied on lithography rather than offset printing, until 1960 but since then it has graduated to screenprinting, and its old lithography presses are now operating in a museum. The company's interesting history is described more fully in a booklet published by Van der Geest and authored by Ad Versteeg, the Managing Editor of Silkscreen Magazine in the Netherlands. Ad was privileged to obtain a great deal of useful information from both Nol van Beek's father and long-standing employees. The description of the difficult decades that followed the Wall Street Crash shortly after the company was established and the subsequent Great Depression and the difficult war years, goes some way towards illustrating how much easier life is now for screenprinters, even if we don't always appreciate it! For further information visit Van der Geest at


Belgian Screenprinting Association introduces new initiative Following the recent election of Christian Duyckaerst as President, The Belgian Screenprinting Association is organising a Golf Day on April 30th which is open to all screen and digital printers who wish to participate. The Association has managed to secure the sponsorship of ten screen and digital suppliers and believe that the Golf Day will provide a hugely enjoyable social event that will also provide an excellent 'warm

up' prior to three workshops covering several important and screen relevant topics. Explaining the thinking behind this initiative, Christian Duyckaerst explains: "It was plain to both Isabelle Lefebvre, the Association's Secretary, and myself that if we are to succeed in our aim of making the Association a more dynamic and active one we will have to do something different to

attract the members' participation. So far we have invited 80 companies to attend and hope that the Golf Day will provide them with a good opportunity to get together informally and to swap news, views and ideas before the workshops begin." The workshops themselves are designed to cover all of the burning issues that face the screen and digital sectors today. They include such topics as, "Screen or digital -

competition or complementary technologies?"; "The environmental situation in Belgium as compared to its neighbours"; "Standardisation in the pre-press sector" and "The differences between solvent based inks and UV inks." Attendees will be invited to vote on which order the topics should be discussed. For further information visit website:

Sweden: SSTF initiates new poster project Following three very successful previous competitions, The Swedish Screenprinting Association has now launched its 2004 Poster Project. Following three very successful previous competitions, The Swedish Screenprinting Association has now launched its 2004 Poster Project. Designed to provide Swedish students of Graphic Art with the opportunity to learn at least a little about screenprinting, the Poster Project invites them to create a poster on a given theme. When the competition was originally launched in 2001, only three colleges were involved and there were around 50 entries, all of which reflected the chosen theme of "Sweden 2001". The six best entries were screenprinted in limited runs of 40, with each poster measuring 70x100 cm. The winning students and their colleges each received ten copies and the rest were retained by the SSTF with a view to setting up an exhibition of the completed works. Two further competitions followed in 2002 and 2003 with the themes, "Design Responsibility" and "Globalization", respectively and from 2002 the number of

participating colleges has risen to four. The theme for this year's competition is, "Year 2003", and the SSTF are delighted to report that the response so far has been stunning, which may provide the judges, Torbjรถrn Lenskog and Lars Liljendahl, two of Sweden's leading craftsmen, with something of a headache! The ten winning entries will be shown at an exhibition at Kulturhuset in Stockholm between the 17th and 31st March, whilst a special preview day will take place on 16th March. The Poster Project is an excellent way to encourage young graphic art professionals and students to learn more about screen-printing and if any other Association is interested in replicating this concept it should contact the SSTF for more information. To do this or to purchase a set of ten posters on the theme of "Year 2003", please contact Anders Nilsson at e-mail:

The pictures featured here are from a special commemorative book which celebrates the winning entries over the past three competitions and which was produced in association with Gafiskt Papper and Bille of Goteborg, just two of the many member companies who have generously supported the competition.

FESPA WORLD 03/04 17


Headliners Our new occasional feature where FESPA spotlights people in the news

Harmut Flothmann retires Changes within the German Screenprinting Association have occurred recently with the retirement of Harmut Flothmann on 29th February, 2004. Harmut Flothmann's long and distinguished career within the screenprinting sector began in 1967, when he was appointed general secretary of the German professional associations for screen printers. In 1975 a reorganisation of the German printing association "Bundesverband Druck" lead to him taking up the post of Head of Department for "Specific Functions" and also becoming responsible for leading the faculty of screen printing. 1987 saw a further career change, when following the establishment of The German Guild of Screenprinters, Harmut

Flothmann, was appointed to the post of General Secretary. From the commencement of his position Harmut has commissioned and overseen scores of initiatives relating to education, standardisation and research and has also acted as an advisor to the "Deutsches Institut Druck", the German Association responsible for managing the development of the printing industry, where he took a particular interest in screen printing and pad printing. He also took charge of the Faculty for Flexography in the German Printing Association and became the General Secretary of

Torben Thorn Takes up the reins at the German Screenprinting Association Harmut Flothmann's successor is Torben Thorn who took up the Secretaryship on 1st March 2004. Born in 1975 Torben Thorn is a graduate of the Applied Sciences Faculty of the University of Wiesbaden, having completed a degree course in Environmental Engineering. In 2001 he was appointed as a technical officer in "Bundesverband Druck und Medien", the German printing association, where he was responsible for the interdisciplinary department "Environmental Issues". Following in the footsteps of Harmut Flothmann, Torben also took over the leader-

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ship of the department for "Specific Functions" and carried out the same full range of duties as his predecessor. Referring to his new role, Torben Thorn comments: "I am delighted to be able to continue the work started by Harmut Flothmann and hope that one day, I will be able to look back on the same level of aptitude and achievement." FESPA extends him a warm welcome to and looks forward to working with him in the future.

the European Association of Gravures and Flexographers (AGRAFLEX0) and the German Guild of Flexographers. On behalf of all of the member associations, FESPA would like to take this opportunity to express its appreciation for Harmut Flothmann's hard work and dedication over the years and to warmly acknowledge his contribution to printing as a whole. Before embarking on retirement Harmut is taking a well deserved break away with his family. We extend good wishes for a long, happy and productive retirement.


Diary dates for 2004

If you would like your event to feature on this page, please send full information via fax or e-mail to Val Hirst at: Fax: +44 1737 240 770 e-mail:

Sign UK 2004



Pro Sign 2004

30th March - 1st April 2004 NEC, Birmingham, UK The UK's sign industry's premier event.

19th-22nd May Parliament Palace, Bucharest, Romania The International Show for Indoor and Outdoor Advertising.

6th - 9th October Minneapolis Convention Centre, Minneapolis, Minnesota The annual US Screen and Digital Imaging exhibition.

21st - 23rd October 2004 Frankfurt Fairgrounds, Germany The German sign and digital printing show. Organiser: Reed Exhibitions Deutschland GmbH Tel: + 0211 / 90 191 - 197 E-Mail:

Organiser: Faversham House Group Ltd. Tel: 0208 651 7100 Fax: 0208 651 7144 e-mail:

ISA 14th - 17th April Orange County Convention Centre, Orlando, Florida, USA The biggest and the best international sign show. Organiser: International Sign Association Tel: 001 703 836 4012 Fax: 001 703 836 8353 e-mail:

DRUPA 6th - 19th May Dusseldorf Fairgrounds, Germany The world's biggest printing show. Organiser: Messe, Dusseldorf Tel: 01 (0) 211/4560 900 Fax: 01 (0)211/4560-668

Organiser: Elga Expo Tel: +40 21 231 93 08 Fax: +40 21 231 93 09 e-mail: www.

Visual Communication Europe 15th-17th September Parc des Expositions, Porte de Versailles, Paris The European sign show returns to Paris this year. Organiser: Reed Exhibitions Tel: 1 33 (0) 1 47 56 24 82 e-mail: \

ASGA 15th-18th September Beijing, China The major annual screenprinting event in Asia.

Organiser: Speciality Graphic Imaging Association Tel: 001 703 385 1335 Fax: 001 703 385 1339 e-mail:

K 20th - 27th October 2004 Dusseldorf Fairgrounds, Germany The international exhibition for Plastics and Rubber. Organiser: Messe Düsseldorf GmbH Tel: +49 (0)211 45 60 01 Fax: +49 (0)211 45 60-668 e-mail:

Glasstec 2004 9th - 13th November 2004 Düsseldorf, Fairgrounds Germany The International show for glass. Organiser: Messe Dusseldorf GmbH Tel: +49 (0)211 / 4560-01 Fax: +49 (0)211 / 4560-668

FESPA 2005 31st May - 4th June 2005 Munich, Germany The world's largest event for screenprinting and digital imaging. Organiser: Fespa Tel: 01737 24 07 70 e-mail:

Organiser: Chinese Screenprinting and Graphics Association Tel: +86 10 8404 3402 64001990 Fax: +86 10 6403 4996 E-mail:

FESPA WORLD 03/04 19


FESPA 2005 The voice of the industry Anyone who is serious about screen, digital or industrial printing has to visit FESPA 2005! Why visit?

Corporate sponsor

Platinum sponsors


20 FESPA WORLD 03/04

Below are just a few of the reasons why visitors should attend FESPA 2005: • Number one global event of screen, digital and industrial printing • See over 350 exhibitors from all over the world under one roof • View the very latest technology in action • Exchange ideas and network with industry experts • Learn from free interactive seminars and workshops on current issues, techniques and applications • Attend fee-paying conference hosted by top industry speakers With 162 confirmed exhibitors taking 14,000m2 of floor space, FESPA 2005 is off to a flying start with more than 60% of the space sold and sales 30% up at this stage when compared with previous FESPA exhibitions. With just over 14 months to go until the leading international trade fair for screenprinting and wide-format digital imaging opens its doors, FESPA 2005 promises to be a very successful event indeed. As well as re-bookings from leading industry players, interest among new participants accounts for around 15-20% of current bookings, indicating the show's consistent growth in new sectors such as pre-press, glass and ceramics. Commenting on the widespread interest in the event, Frazer Chesterman, Exhibition Director, says, "These are extremely encouraging signs and are reflective of the proven track record and significance that

FESPA holds as the foremost exhibition of its kind in the screenprinting and wide-format digital imaging sector." FESPA 2005 is expected to bring together more than 350 exhibitors in four halls of the Munich Trade Fair centre. However, there are still some exhibitors from 2002 who have not re-booked and latecomers are advised to contact International Sales Manager Michael Ryan on Tel: +44 1737 240788 as soon as possible in order to ensure their requirements are fully satisfied.

Show sponsors This year the show has a new corporate sponsor in the form of MHM, the Austrian manufacturer of textile screenprinting machinery. Herbert Mayrhofer and Dagobert Girardelli, Managing Directors, MHM explain their company's participation thus: "As corporate sponsor, we see the opportunity for maximum contribution towards the success of the most important and largest exhibition for screenprinting in the world. We also want to use the exhibition as an opportunity to show our customers from all over the world the developments we have made with regard to customer service" FESPA 2005 has also attracted three Platinum Sponsors: Saati Print, the Italian manufacturer and distributor of screenprinting fabrics and inks; Marabu, the German manufacturer of inks for screen and pad printing and VUTEk, the American manufacturer of wide

format digital printing machines. Frazer Chesterman is delighted by the involvement of these four leading industry players. He says: "The support of these manufacturers reflects the global importance of FESPA 2005 in the industry calendar and I am very pleased that they will be working with us to promote the show and help make it the best FESPA exhibition to date." Other sponsorship opportunities are still available for FESPA 2005 and companies interested in maximising their exposure in the screen and digital printing sectors should contact International Sales Manager Michael Ryan on Tel: +44 1737 240788.

Why Munich? As a leading business centre, with excellent road, rail and direct air links Munich is a perfect location for FESPA 2005 and, since it is also a popular tourist destination, the city boasts an excellent range of hotels to suit all budgets and tastes. It's inherent suitability is further enhanced by the Munich Trade Fair Centre, an ultramodern and highly efficient venue which offers a total of 16 halls covering 160,000sqm of exhibition space, 13,000 parking spaces and its own underground station. Located approximately 30 minutes from the airport – there will be a free shuttle bus serviceand a mere 20 minutes from the town centre, Munich Trade Fair Centre is also provides an ideal venue for ancillary business and social activities. For more information please visit




d a b

Enjoy the culture of Munich. The Exhibition brings together the latest developments in screenprinting, digital imaging and other associated processes.

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The Gala Dinner. Entrance Hall of Munich Trade Fair Centre.

FESPA 2005 Die Messe hat schon 162 Aussteller, 14,000m2 (60% der verfügbaren Ausstellungsfläche) verkauft und 4 Sponsor (MHM, Saati Print, Marabu und VUTEk). Ausstellungsdirektor, Frazer Chesterman behauptet, „Dies ist eine äußerst positive Entwicklung, die nicht zuletzt auf die Erfolgsbilanz vergangener FESPAs und die Bedeutung der Messe als führende Veranstaltung ihrer Art für Siebdruck und großformatiges Digital Imaging zurückzuführen ist". Die Messe hat eine neue Website Registrieren Sie online, um Ihre kostenlose Eintrittskarte zu bekommen und Ihre Unterkunft zu reservieren. Die Messeleitung hat sich mit einigen Ausstellern schon getroffen, um die Besuchermarketing zu diskutieren. Die ganze Gruppe wird sich regelmäßig treffen, um die Organisation der Messe zu besprechen. Wenn Ihnen Siebdruck, Digitaldruck und der industrielle Druck wichtig ist, sollten Sie die FESPA 2005 besuchen. Lesen Sie den ganzen Artikel an

FESPA 2005 Le salon a déjà 162 exposants, on a alloué plus de 60% de son espace au sol (près de 14,000m2) et il y a 4 sponsors (MHM, Saati Print, Marabu et VUTEk). Frazer Chesterman, Directeur du salon a déclaré "Voilà des signes extrêmement encourageants qui reflétent le succes de l'évènement et l'importance de son rôle pour les secteurs de la sérigraphie et l'impression numérique grand format". Le salon a un nouveau website Vous pouvez inscrire sur Internet pour recevoir votre badge visiteur gratuit et réserver votre hôtel. Il y avait une réunion en janvier entre les organisateurs du salon et quelques exposants, pour discuter le marketing vis à vis des visiteurs. Il y aura des réunions à des intervalles réguliers pour discuter l'organisation du salon. Si vous vous intéressez à la sérigraphie ou à l'impression numérique, visitez FESPA 2005! Lisez tout l'article à

Fespa 2005: Resumen FESPA 2005: Ya hay confirmados 162 expositores, 14.000m2 y 4 patrocinadores. MHM, es el patrocinador principal. Saati print, Marabu y VUTEk son los patrocinadores platino. Frazer Chesterman, director de la muestra, comenta el amplio interés que suscita la misma, "Estamos ante unos indicios extremadamente alentadores, que ponen de manifiesto los antecedentes y la importancia demostrada de este evento como la exposición más destacada de su clase en el sector de la serigrafía y la imagen digital de gran formato. La muestra tiene una nueva pagina de internet: Regístrese ahora para conseguir su pase gratuito de visitante y reservar su alojamiento. En enero el equipo de la muestra se reunió con unos expositores clave para tratar la campaña de marketing de los visitantes. Estas reuniones se harán con regularidad antes de la muestra. Le interesa la industria de serigrafía, impresión digital y sus aplicaciones? Entonces venga a FESPA 2005. Lea este artículo adentro por completo en FESPA WORLD 03/04 21

Karen Bentley, Marketing and Operations Manager.

Michael Ryan, International Sales Manager.

Smiling steering group members.


22 FESPA WORLD 03/04

New website: To enhance its marketing campaign FESPA 2005 has also created a brand new website that is much easier to navigate. The site, which includes separate pages for exhibitors, visitors and press, will be regularly updated to carry all of the latest information on seminars, conferences, factory visits, the gala dinner, FESPA awards and much more.

On-line Registration Visitors will be able to register online for their FREE entry pass and even be able to book their hotel accommodation on-line, through Maritz Travel, Munich, Germany, the specialist international travel agency, that FESPA has appointed as the official handler for hotel reservations. Since hotel space is usually at a premium during the show, visitors are advised to make a firm booking as early as possible to avoid disappointment. Registration is available in English, French, German and Spanish. Register on-line at (Note: visitors who don't take advantage of the on-line booking facility will be required will to pay â‚Ź35 on site).

Steering group meeting The first meeting of the FESPA 2005 steering group took place on 29th January at Saati headquarters, Lake Como, Italy. The exhibition organising team met with key exhibitors, FESPA board members and ESMA representatives to discuss the proposed visitor marketing campaign. The meeting was a two-way interactive session with all parties providing suggestions and useful feedback to the proposals made by the exhibition team. Karen Bentley, FESPA 2005's Marketing and Operations Manager, says: "It was a very useful and productive session because although we have wide experience in exhibition organisation, it is our exhibitors and visitors who really understand the market place. A meeting of this kind is excellent because it helps to ensure that we are targeting our marketing campaign appropriately and that we are generally on the right track". The meeting confirmed that Eastern and Northern Europe as well as India and South America are all key markets for the show, and that FESPA should do everything possible to attract visitors from niche industry sectors such as glass and ceramics. The inclusion of specialised seminars and conference sessions will form

a crucial part in this aspect of the campaign. Referring to the meeting Jane Cedrone, Marketing Communications Manager, VUTEk comments, "This dedication to exhibitors' interests is very refreshing. While most exhibition organisers will operate a committee group of some form, the feeling here from the outset, was that our contribution and input is being listened to and is actually helping to shape the show". The next meeting of the steering group will take place on 9th June at Messe MĂźnchen. This meeting will focus on the operational aspects of the event, and cover build-up, onsite and break-down logistics, with FESPA remaining committed to making the whole experience as easy and stress-free as possible for exhibitors.

Coming next Between now and June 2005, the FESPA Newsletter will be a regular feature in the magazine. If there are any specific areas that you would like it to cover please contact Karen Bentley on Tel: +44 1737 240788 or email Register now for your FREE visitor badge at


a b c


The Rho 160. Arizona T220UV. Inca PPE.


It seems to me... In the first of our series of regular opinion dominated features, Bryan Stringer, Chairman of B & P Light Brigade, ponders on the viability of UV curable inkjet printers and draws his own conclusions‌


24 FESPA WORLD 03/04

Drupa, the Olympic Games of the print industry, is nearly upon us, and one market in particular is set to change beyond all recognition. The question is whether these changes will add clarity or confusion to potential purchasers. The technology in question is UV curable flatbed printing. At the last Drupa four years ago there were four UV based systems being shown, of these only the Zund machine still exists and has actually gone on to be the dominant first generation UV flatbed system, with currently more installations than any other supplier. At the forthcoming Drupa you won't be able to move for UV based systems, by my reckoning you can expect to see perhaps 30 or more differ-

ent manufacturers showing machines. All of the big names in grand format solvent print will have UV curable flatbed systems, additionally there will be machines from previously unheard of European vendors and a glut of systems from Chinese and Korean suppliers. Does this level of interest from manufacturers point to UV becoming the dominant technology for large format production? Or is it simply a case of everyone jumping onto what they assume will be the next gravy train? Who are the serious players in this market? Who will come out at the other end of the current development frenzy and still be exhibiting their wares at Drupa 2008? And most importantly, how do you, the potential buyer, make an informed buying deci-

sion with so much noise in the market? To answer these question briefly and in turn, I'd say that, yes undoubtedly in my mind UV curable ink systems will come to dominate the display print market over the next few years, if for no other reason than current environmental pressures and new legislation dictates that a move away from solvent technology is unavoidable. The issue here is time scales. UV development is a slow and expensive process, the inks themselves are still being refined and developed, and we are yet to fully realise the potential. All this will undoubtedly have matured by Drupa 2008, however for Drupa 2004 it remains a case of 'let the buyer beware'. Too many companies have looked at the new

market being built on the back of UV technology and have decided they want a piece of the pie. But the ability of these various companies to bring a workable solution to market, which will serve the customer in the manner they expect, is far more of a stab in the dark than it ought to be. Of the current vendors, Zund, Durst and Inca/Sericol have undoubtedly clocked up the most installations and by association, the greatest degree of credibility. They have now had genuine feedback from real users, are already aware of the issues faced by UV system users and are all showing second generation systems at Drupa that should be highly viable. Add to this the eternal trio of NUR, Scitex and Vutek, all with new systems to show, and



all equally determined to become the market leader. And don't disregard Oce – they have the financial clout to make a big impact on this developing market. Outside of those mentioned above, it becomes harder to predict who will do what. Smaller European manufacturers run the risk of development costs growing faster than their customer base, a sure recipe for disaster. Chinese and Korean machines, which have tended towards the agricultural at times, might find that UV system development is far more demanding than simply cloning existing solvent technology. Further, their ability to bring genuinely innovative products to market, particularly as regards emerging technologies, remains an unknown commodity. Although some will

undoubtedly persevere and flourish, some will return to the easier existing solvent technologies and leave others to do the groundwork before trying again at some point in the future. By Drupa 2008 we think the dominant players will be the European trio of Zund, Inca and Durst, all of whom have good reputations, loyal customer bases and are known for sound engineering and support. NUR, Scitex and Vutek, if can they stop killing each other for long enough to see off the assault from those mentioned above, should all be there or thereabouts. Outside of this? It's really anyone's guess. What I can tell you is that UV technology is not a market that will dominated by sales and marketing, it will

be dominated by sound engineering, astute product placement, and tangible customer support. For these reasons, UV printing is the sector of the graphics market that is potentially tailor made for domination by a European manufacturer.

Do you agree?


Do you agree with the assertions that this article makes or violently disagree? Whatever you believe, please feel free to air your views on this, or indeed, any other industry related topic that you think is worthy of wider debate. Address your offerings to Val Hirst, Editor, Fespa, Association House, 7a West Street, Reigate, surrey, Great Britain RH2 9BL or e-mail to

FESPA WORLD 03/04 25



Mean machines Fresh from its triumph at the recent PMA exhibition in Las Vegas, where its products won a clutch of trophies in the Annual DIMA Awards Competition, Durst is enjoying the culmination of six heady months, during which period it has launched a new, affordable inkjet flatbed printer and upgraded its hugely successful Rho 160. Val Hirst reports

Founded in 1929 and originally best known for its highly specialised solutions for digital processing in the professional photo and print fields, Durst is now considered as one of the main players in the area of digital inkjet printing too. Durst's first landmark digital machine, the Lambda 130, a laser printer that was also the first wide-format output device for the direct exposure of digital images and text data, was introduced in 1994, but the company didn't launch its first inkjet printer until 2001. However, when the Rho 160, a supremely flexible inkjet flatbed machine, designed to print directly on to a broad range of materials including paper, vinyls, textiles and board finally burst upon the scene, it immediately won a lot of fans. Encouraged by its popularity, Durst has followed it with a second new launch. Last December the company unveiled the Rho 250 at its manufacturing unit in Lienz, Austria, to a coterie of press and customers drawn from around the world. Billed as a more affordable inkjet flatbed printer targeted at smaller companies operating in the screen, digital and sign sectors, one of the most attractive things

about the Rho 250 is undoubtedly its price. Costing a mere â‚Ź228,000 for the basic Rho 250/8 version, which can be used to print directly on to boards with a thickness of up to 4cm and a weight of 50kg, it is a mere snip when compared to its nearest competitors. The 250/8 i version, which is priced at an equally cost effective â‚Ź239,000, is a slightly more robust production machine suitable for most industrial applications, and accommodates boards up to 7cm thick and with a maximum weight of 70kg. Both machines are easily half the price of their nearest rivals and come complete with a Compaq DS 10 workstation with monitor, Durst Printer Software including a RIP, installation and two days basic training. Explaining the philosophy behind the Rho 250, Michael Lackner, Durst's Managing Director says: "We set out to produce a printer that offered all of the advantages of the Rho 160 in terms of specification and image quality but which was nevertheless within the reach of smaller companies who are unable to invest upwards of â‚Ź500,000, but are still looking for high levels of productivity. continued on page 28

26 FESPA WORLD 03/04



a b

The Rho 160. The Rho 250.

Nach Einführung der Rho160 UV Flachbett-Inkjetdrucker, hat Durst den RHO 250 auf der Markt gebracht, der entwickelt wurde, um den Nachfragen kleinerer Siebdruckereien und Schildermacher zu entsprechen. Die Maschine bietet digitale Drucktechnik für Außenanwendungen, ohne dass eine zusätzliche Laminierung nötig wird und wurde in einer neuartigen Modulbauweise konzipiert, die es ermöglicht, sie stärker auf die individuellen Gegebenheiten des Anwenders anzupassen. Der Rho 250 ist nach den gleichen anspruchsvollen Anforderungen der größeren Version gefertigt. Der Rho 250 ist zu einem erschwinglichen Preis (€228.000) erhältlich. Es gibt zwei Versionen: 205/8 für Platten bis zu 4cm Dicke und 50kg Gewicht 205/8 I für Platten bis zu 7cm Dicke und 70kg Gewicht. Der Rho 250 ist mit acht PiezoHochleistungsdüsen der Fa. Spectra ausgestattet, die Dursts eigene UVFarben und die gleiche PiezoTintenstrahl-Technik der Rho 160 Plus verwendet. Der Rho 250 bietet drei Produktivitätsstufen. Die erste Stufe (Standardqualität) bietet eine Produktivität von ca. 20m2 pro Stunde bei einer Auflösung von 360dpi. Sie druckt auf einer Vielzahl von Plattenmaterialien, einschließlich Materialien mit strukturierter Oberfläche, wie Hartschaumplatten, Weichschaumplatten, Aluminium, Acrylglas, Kartonbögen, Wellpappe usw., mit hoher Bildqualität. Lesen Sie den ganzen Artikel an

Après avoir mis sur le marché son imprimante jet d'encre UV à plat, la Rho 160, Durst vient de lancer la Rho 250 qui est tout particulièrement adaptée aux besoins des petites entreprises de sérigraphie et de signalétique. La presse qui permet d'imprimer des encres résistantes en extérieur – sans laminage de protection – est d'un concept modulaire qui permet de la faire "grandir" en même temps que l'entreprise. Conçue pour durer selon les mêmes critères que son aînée, la Rho 250 ne coûte que €228.000. Elle existe en deux versions: la 205/8 qui peut imprimer des supports jusqu'à 4cm d'épaisseur pour un poids de 50kg et la 205/8-I qui peut aller jusqu'à 7cm d'épaisseur pour 70kg. Elle est équipée de huit têtes spéciales Spectra et, tout en utilisant la même technique jet d'encre que la Rho 160, avec les encres UV de Durst, elle offre 3 niveaux de productivité. En mode "standard", la presse peut imprimer des images de haute qualité à 20m2/heure en 360 DPI sur une gamme très vaste de supports – même si leur surface est structurée – comme des expansés, durs et mous, de l'aluminium, des PMMA, du carton plat et cannelé. Lisez tout l'article à

Como continuación de la introducción de su impresora ink jet UV plana de RHO 160, Durst ha lanzado la RHO 250 que se adapta especialmente a las necesidades de serígrafos y de rotulistas más pequeños. La máquina, que imprime color duradero al aire libre sin la necesidad de la laminación, ofrece un sistema "modular" que permite que crezca con el del propio negocio. Diseñado para durar y construido con las mismas especificaciones que su hermano mayor, la RHO 250 tiene su precio en un eminentemente accesible 228.000 euros. Está disponible en dos versiones: la 205/8 acomoda los substratos hasta los 4cm gruesos y un peso hasta de 50kg, mientras que la 205/8 L es conveniente para el uso los substratos hasta los 7cm gruesos y que pesan hasta 70 kilogramos. Equipada con ocho cabezas de impresión especiales de Spectra y usando tinta propia curada UV de Durst y de la misma tecnología de la ink jet del piezo que el RHO 160 plus, las 250 ofrece tres niveles de productividad. En el modo estándar es capaz de imprimir 20m2 por hora en 360dpi en una gama extensa de diversos materiales incluyendo aquellos con una superficie estructurada tales como tableros duros de espuma, aluminio, acrílicos, cartulina y tableros acanalados para producir imágenes de la alta calidad Lea este artículo adentro por completo en

FESPA WORLD 03/04 27


Furthermore, the Rho 250 has been designed in a modular format so that it can be gradually upgraded as the business grows." He goes on to add that the Rho 250 will enable many companies to expand into new sectors for the first time. He says: "The Rho 250 is ideal for point of purchase applications where there is often the need for short runs and a rapid response. We also believe that it will score highly with signmakers, who will be able to save on time and labour costs by printing directly onto a sign substrate rather than using vinyl or having to apply individual printed graphics. However it will also open up a lot of industrial sectors too: it can be used to print on to the front panels of white goods, fire protection doors, structured ceiling tiles, office furniture, fascia panels and much, much more besides." Equipped with eight special print heads from Spectra and using Durst's own UV curing ink and the same piezo inkjet technology as the Rho 160 Plus, the Rho 250 features CMYK work flow and offers three levels of productivity. At standard mode it is capable of printing at up to 20m2 per hour at 360dpi on a vast range of different materials including those with a structured surface such as hard foam boards, soft foam boards, aluminium, acrylics, cardboard and corrugated boards to produce high quality images. Further, the proprietary Durst Rho UNIX software features "on-the-fly" image processing (scaling-pixel interpolation, sharpening, cropping, panelling and corrections) and "on-the-fly" dithering for maximum productivity and minimum hard disk usage. Another undoubted advantage is a new optional automated feeder stacker, which enables the printer to run with the minimum of intervention. The sheets are fed from a stack delivered on a pallet, aligned and

right justified to the direction of feed and transported to the pinch rollers in the Rho. In addition to the increase in throughput facilitated by minimising loading and unloading times, the main advantage is that one person can easily operate the Rho, since it enables them to handle heavy or large sheets of material, even those with sensitive surfaces such as glass and polycarbonates. In fact, it is possible for a single person to operate several different output devices at once, with the Rho being loaded and left to print a large volume of work, unattended. Pre-launch, the printer underwent comprehensive beta testing with two Italian Print companies, Color Zenith in Milan and Imaging Pro who are located near Venice. Both companies professed themselves highly delighted with it and when the Rho 2O5 was launched at Sign Italia at the end of last year, Durst immediately secured two orders, a success that is it no doubt hoping to repeat many times over as the 2004 exhibition season kicks into gear. Not content with one new launch Durst has also introduced the Rho 160 plus, an enhanced version of the original printer, which features a new print head layout that facilitates faster speeds without sacrificing image quality. There are now four printing modes offering real high speed digital printing at up to 80m2 per hour (using 62 inch wide roll media) Other additional features include increased front to back registration of Âą0.5mm, a user selectable CMYK or RGB workflow, something which is unique to this machine, with corresponding Colour Management System and of course, the optional Durst feeder/stacker system. Even more excitingly, Durst announced at the recent PMA show in Las Vegas that it was introducing a white ink option that will allow users to produce sharper graphics and use white as a spot colour. Until now this is a variation that has only been available with smaller inkjet printers. Unsurprisingly the Rho 160 Plus W was singled out as the most innovative producer at the show. At some stage it is likely that the white option will also be offered to users of the Rho 205 as part of the natural upgrade program. Michael Lackner comments: "The introduction of a white ink is a very important step because it opens up a new universe of possibilities for large format image making. It also adds more value and flexibility to the printer's capabilities." It will be interesting to follow the progress of both of these machines and see whether they do tempt new buyers and no less interesting to see what new innovations Durst have planned for us all in the future.



28 FESPA WORLD 03/04

Durst exhibiting at Sign Italia.


A match made in Val Hirst reports on a face to face meeting between Ricardo Rodriguez Delgado, the President of FESPA and Rudi Röller, the President of ESMA, where they discuss their hopes for a new closer collaboration between the two associations.

When two long established associations decide to embark on a closer collaboration for the greater good of all of their members it's much the same as entering into any new partnership. Both parties will have to learn to respect each other's ideas and opinions and be prepared to make the odd compromise. The ultimate success of the union depends on how much common ground there is to begin with and how closely their aims and aspirations match. According to Ricardo Rodriguez Delgado, the early indications are favourable. Referring to a joint board meeting which took place in May, he says:

We were in perfect accord over most things – in fact I would say that we are agreed on 95% of all of the issues involved. It is the remaining 5% that we have to work at.

As President of the Spanish screenprinting company Panorama since 1983, following a career in both the financial and media sectors, Ricardo has been perfectly placed to follow all of the various developments in screenprinting over the last two decades. He acknowledges that FESPA members are now competing in a very different arena. "Today, to survive, we have to keep pace with everything that is going on and adapt our methodology to suit the needs of the client, who really doesn't care how his graphic is produced. Whether we use screen, digital or any other method – it's all the same to him just as long as it meets his criteria regarding quality and cost," he says, adding: "Now, more than ever, we need a strong association to help us circumnavigate all of the bureaucracy involved with running our businesses. In fact, this is one of the main reasons why FESPA and ESMA should get closer together – by combining our collective strengths we can exert more influence over the things that affect us all." Ricardo's ambitions don't just stop at helping to facilitate a greater allegiance with ESMA. Already he is looking towards the developing economies of the Far East. He explains: "Greater globalisation means that we are already competing with companies operating out of Asia and India. And, although at present they might 30 FESPA WORLD 03/04

30 FESPA WORLD 03/04

seem to have the advantage of being able to offer lower costs and comparable quality, as their companies mature they will find themselves going through exactly the same cycles as their counterparts in Europe. As they become more successful, their expectations will rise and their costs will increase. Pretty soon, all screenprinters, wherever they are based, will share the same problems and I would like to think that FESPA, which I regard as the strongest of all of the associations, can provide an umbrella where other associations, drawn from all over the world, can safely shelter. We should all aim to help each other by sharing ideas and expertise and setting internationally recognised standards. This in turn will mean that all screenprinters will be able to service customers anywhere, something that is now perfectly possible thanks to the advances in e-commerce, confident in the knowledge that they are meeting all of the obligations and legislation that affects different countries. However, a closer alliance with ESMA is a good first step, because I feel it is essential that screenprinters and the manufacturers of the equipment and materials they use gain a better understanding of each other's needs. Further if it is successful, this collaboration can serve as a blueprint for further allegiances in the future. Ricardo goes on to comment on the importance of the FESPA exhibition. He says; "We have always concentrated on the exhibition as a prime activity, not only because it serves as a wonderful focal point for screen and more recently, digital printers from all over the world, but also because it generates the income we need to help FESPA evolve. All the profits from the show are ploughed back into the association and help to provide new services and facilities for members. One of the first initiatives a closer relationship with ESMA may facilitate is the possible launch of a new digital exhibition to take place midway between the FESPA shows. We accept that digital equipment is now developing at such a speed that it is necessary to provide our exhibitors with the opportunity to show their products at an internationally recognised event more regularly. In the same way, FESPA has evolved over the last two or three shows to include a lot more digital equipment and, with the help of our new in-house exhibition team will aim to attract exhibitors from many new industrial sectors. This is a subject which is close to Rudi Röller's heart. Rudi who has worked for Kissel + Wolf (KIWO) for the past 24 years claims to find his work as 'endlessly fascinating' now as he did when he started out three




Ricardo Rodriguez Delgado, FESPA President.

Right: Rudi Röller, ESMA President.

Ein kürzlich erfolgtes Treffen zwischen Ricardo Rodriguez Delgado (Präsident FESPA) und Rudi Röller (Präsident ESMA) ergab, dass es zwischen beiden Verbänden, gerade in Anbetracht einer stärkeren zukünftigen Zusammenarbeit, eine große Übereinstimmungen in wesentlichen Fragestellungen gibt. Beide Herren sind sich der Änderungen im Markt und Geschäftsleben bewusst, denen Ihre Mitglieder derzeit ausgesetzt sind und wie der Siebdruck zukünftig davon betroffen sein wird. Das Ziel beider Verbände muss sein, ihren Mitgliedern zu Helfen, Vorteile aus neuen Märkten und Möglichkeiten zu ziehen. RRD hofft, die Zusammenarbeit mit Verbänden aus Asien ausbauen zu können. Er sehe die FESPA als einen weltweiten Dachverband, unter dem alle Siebdruck-Verbände gemeinschaftlich ihre Anstrengungen bündeln könnten. RR ist bestrebt, neue Anwendungen für den Siebdruck aufzutun, gerade um Anwendungsbereiche, die dem Siebdruck durch den Digitaldruck in den letzten Jahren abgerungen wurden, durch neue Möglichkeiten aufzufangen. Lesen Sie den ganzen Artikel an

Une rencontre récente entre Ricardo Rodriguez Delgado, Président de la FESPA et Rudi Röller, Président de l'ESMA a montré que dans la perspective d'une collaboration accrûe entre les deux associations, il existait plus de points d'accord que de points de désaccord. Les deux hommes sont très au fait des changements survenus dans la vie des membres de leurs associations, des effets qu'ils ont engendré sur leur vie et la manière dont cela affectera l'avenir de la sérigraphie. Ils sont d'accord pour dire que les deux associations doivent aider leurs membres à tirer un parti maximum des possibilités nouvelles qui leurs sont offertes. RRD espère arriver à une collaboration plus étroite avec les associations d'Extrême Orient en expliquant qu'il voit bien la FESPA en organisation qui chapeauterait plusieurs autres pour les aider dans leurs efforts, où que ce soit dans le monde. RR voudrait surtout identifier toutes les possibilités d'applications nouvelles de la sérigraphie de façon à remplacer les marchés maintenant pris par l'impression numérique. Lisez tout l'article à

Una reunión reciente entre Ricardo Rodriguez Delgado (RRD), el presidente de FESPA y Rudi Röller (RR) presidente de ESMA reveló que cuando existe una perspectiva de colaboración entre las dos asociaciones, hay más áreas de acuerdo que discordia. Ambos comentaron los cambios que están ocurriendo entre sus miembros y de cómo afectarán el futuro del proceso serígrafía. También convienieron que un objetivo clave de ambas asociaciones es ayudar a sus miembros a acceder a las nuevas oportunidades que se ofrecen. RRD espera extender la invitación para una colaboración más cercana a las asociaciones en el Extremo Oriente ya que él ve a FESPA como la organización paragüas que puede amparar la serígrafía a través del mundo. RR está especialmente dedicado a identificar nuevas aplicaciones de la serígrafía que ayudarán a sustituir el trabajo que ahora se está realizando en digital. Lea este artículo adentro por completo en

FESPA WORLD 03/04 31


and a half decades ago, with print machine manufacturers KBA, formerly known as Albert Frankenthal, followed by five years of valuable experience with Dr Messerschmitt in screen systems. He maintains that as digital printing methods continue to erode screenprinting's dominance in certain graphic sectors, so screenprinters will have to create new markets for themselves. He says: "As some of the work that was previously screenprinted is now accommodated by either offset, wide format printing, because it is faster and more flexible, or digital flatbed printing, because it is better suited to lower volumes, so screenprinters will have to look for applications where screen is still the only viable method. At the same time, they should consider investigating the risk and challenges of offset printing so that they can look towards fulfilling all of their client's needs, since more and more, clients expect to be able to use one supplier to produce everything that is required." He adds that screenprinters who take this more proactive and entrepreneurial approach are, not surprisingly, much healthier than those who don't.

They have to define the advantages they can offer and persuade customers that they can provide something that is both visible and valuable – and those who manage to do that and integrate the new technology will continue to prosper

Rudi goes on to suggest that one of the first benefits ESMA can bring to the table is its capacity to encourage more businesses from different industrial spheres to participate in the FESPA show. "The ESMA membership has access to a large number of companies who use screenprinting as an in-house product process and we would very much like to involve them in the show", he says. Rudi, who has played an active role in ESMA since his company became one of the founder members some 14 years ago, has been instrumental in helping to initiate this new closer partnership with FESPA. He explains: "I acknowledge that FESPA is the driving force of the graphic industry and so it seemed sensible that we should get to work together and learn and understand the ethos, aims and the day to day workings of each association. Happily Ricardo was very responsive when I contacted him and suggested the joint board meeting in May." This original meeting, described by Rudi as 'a voyage of exploration and discovery' revealed that there was enough common ground for things to proceed and a further joint meeting was held in November. As sometimes happens, the second 'date' was a little tougher than the first, when everyone is determined to show their best side and is consequently on their best behaviour. "Perhaps we focused more on our differences at that meeting," concedes Rudi, but he agrees that the two associations agree more than they disagree. "ESMA represents the major manufacturers throughout the world and I think because of this we are already 32 FESPA WORLD 03/04

thinking more globally. FESPA members on the other hand have, until recently, been more concerned with the state of the industry within their own countries, or at least in Europe. But things are beginning to change – after all most screenprinters, wherever they are based, now have access to the same equipment and materials, which makes for a much more even playing field." Returning to the theme of exhibitions, Rudi confirms that ESMA has had discussions with the SGIA. He says: "The shows are important in that they present us with an opportunity to reach all of our international customers at the same place and at the same time. But since they require the investment of a significant amount of time, money and resources, we would prefer that there were fewer, better shows that deliver a good return. FESPA is undisputedly an excellent show but at present it represents only about one third of our total market – two-thirds of screenprinting is covered by technical screenprinting applications in the automotive, architectural glass , electronic and many other sectors, so obviously we would like to do everything we can to help expand it and broaden its appeal." Remarking on other ways he feels that a closer association with ESMA would benefit FESPA, Rudi introduces the subject of the well established ESMA committees which between them cover every conceivable aspect of the screen and digital process and regularly report upon their findings. "This is something else that we could bring to the table: we already have a structure in place for gathering and disseminating information on all of the issues that concern everyone active within the screen and digital sectors, such as the latest technical developments, environmental controls, quality assessment and the implementation of good practice. FESPA could have access to all of this and thus save on valuable resources." Certainly there seem remarkably few areas of discord, with both men nodding in agreement each time the other makes a point. However, neither underestimates the complexity of what they are trying to do. Calling on his own experience of running a company, Ricardo remarks that at some stage, all companies experience the same series of peaks and troughs, albeit at different stages. He says: "Although FESPA members might be competitors they gain a lot from the camaraderie engendered by the Association. When we all get together we know that most of the other people in the room will be able to empathise with any problems that we are experiencing and provide useful insights. If we can draw the manufacturers into this circle too, I think we all stand to learn something from each other that will be as valuable to us as individuals in our everyday business lives as it is from an association viewpoint. I have no doubt that as our relationship progresses we will have the odd disagreement, but I believe that we all stand to achieve far more through co-operation than by remaining as two separate entities." In conclusion Rudi adds: "In the end, the most important thing is that both associations continue to offer the best possible service to the members and I am sure that we will be much better able to achieve that if we work together."


Showcase Our regular review of some of the latest screen and digital applications. N3 Neelsen Print & Display GmbH, used its new three-meter, eight-color, VUTEk UltraVu 3360 EC, to print the largest building wrap installed on a church in Germany. Designed to raise money for the restoration of the building, the wrap features high quality images and colour, displayed on three-quarters of the 115m high Church. Produced for the German bank Schwabisch Hall, the graphic proved very successful, delivering its sponsor's advertising to 250,000 inhabitants of the city of Lubeck, in North East Germany. As the 19th century building was very tall, the church graphic was printed onto mesh to withstand the effects of high wind. Typico Megaprints Co., of Austria, also used a VUTEk UltraVu 3360 EC to print a 2500m2 graphic for the internal walls and ceiling of the Graz train station. Produced for the city's 'Capital of Culture' program in 2003, the high-resolution images of brightly colored geometric patterns were used to enhance the station's visual appearance. Due to the complexity of installation, Typico had to carefully consider which substrate to use, finally selecting a very light rigid mesh, with virtually invisible perforations. Installation was a very time consuming and complicated job since 1,500m of holding and structural rails had to be positioned on the walls and ceiling, providing a base for the screws and anchors to secure the 34 FESPA WORLD 03/04


graphic in place. Following installation, Typico fixed a rail down the center of the mesh and a tension rail to the walls to ensure that the mesh didn't bend the wrong way, Once this was done, the graphic was not only safe, but the design was brought to life. Typico Megaprints Co also won the commission to print graphics for a Mercedes Benz booth at the Amsterdam Automotive show. As one of the biggest in Europe, the Amsterdam exhibition displayed the latest utility vehicles, vans, lorries/trucks and trailers. Because the client specifically requested that the

graphics be printed on to one sheet and not on individual panels Typico used its 5m wide VUTEk UltraVu 5330 EC, to produce a single 1200m2 double sided mesh graphic for Mercedes Benz. Installed on its twostory U shaped booth, the wall featured marketing imagery on one side, with a plain printed gray background on the other. Jupiter Display, a division of Service Graphics, in the UK, is spearheading a whole new trend in London's Bond Street this spring. As new stores arrive and old stores regenerate, the latest fashion accessory is a high spec, high gloss fashion hoarding! From Dolce and Gabbana to





Jimmy Choo, the big names are commissioning Service Graphics to create hoardings which not only disguise the work going on behind them, but which also reflect the incumbent brand. The latest fashion big-hitter to adopt a Service

Graphic's hoarding is designer Matthew Williamson, who was determined that the hoarding would be as stylish as his new store in Bruton Street. Williamson asked Service Graphics to use the same artwork for the hoarding that will feature on the special fabric he has designed for his latest collection! The distinctive peacock feather print has been specially printed directly on to white self-adhesive film and then overlaminated with anti-graffiti sealant to ensure a highly durable gloss finish. The graphics were wrap mounted on to marine ply to ensure the cleanest possible finish and then neatly finished with the application of vinyl cut lettering.


N3 Neelsen Print & Display used its new VUTEk UltraVu 3360 EC to print the largest building wrap installed on a church.


Typico Megaprints Co. also used a VUTEk UltraVu 3360 EC to print a 2500m2 graphic for the internal walls and ceiling of the Graz train station.


Installation was a very time consuming and complicated job.


The latest fashion accessory in London's Bond Street this spring is a high spec, high gloss hoarding.


Typico Megaprints Co print a single sheet, double sided mesh graphic for a Mercedes Benz booth at the Amsterdam Automotive show.

FESPA WORLD 03/04 35





Vinyl wraps of idyllic beach and other typical

Bermudian scenery tantalise UK shoppers with a brief glimpse of this wonderful holiday destination.

e f

Glitter ink gives packaging that extra sparkle. When launching a new product, Campari use Capillex CP from Autotype to ensure that reproduction remains identical on different substrates.



c e

d In another campaign, Service Graphics worked with the Bermuda Tourist Board to provide shoppers throughout the UK with a brief but tantalising glimpse of this wonderful holiday destination. The campaign, which comprised of a series of vinyl wraps of idyllic beach and other typical Bermudian scenery, appeared in over forty Selfridges windows for one week during February – always a dismal month in the UK – and was especially designed to tempt more visitors to the island.


36 FESPA WORLD 03/04

Campari are the sixth largest player in the global spirits sector, so it's no surprise that this famous brand applies the most up-todate technologies when launching a new product. In the competitive ready to drink sector, a new product needs to be carefully targeted and since Campari Mixx is aimed at a young and discerning customer, Campari chose to make use of state of the art refrigerated point of sale units strategically placed in fashionable bars. Italian printer Serigrafia Formiginese screenprinted the very large self-adhesive panels used for the units, which were entirely branded in the Campari Mixx colours. In order to ensure that the reproduction remained identical on the two different substrates that were being

used, PVC for the sides and a transparent polycarbonate for the backlit front panels, it used Capillex CP from Autotype, a capillary film developed specifically for this type of ultra-demanding screenprinting application. Capillex CP is a controlled profile stencil film specifically formulated for ultra fine halftone and line printing and the low stencil profile and optimised Rz-value give superb dot reproduction and sheet to sheet reproducibility. Harlands has launched an exciting new label concept designed to give packaging that extra sparkle. Increasing competition on the supermarket shelf means that new innovations are key to helping products stand out amongst an increasing number of competitors. Glitter ink helps give more impact to a design and can be applied using Harlands' flat-screen presses, to selfadhesive labels. Harlands uses polyester particles to achieve the glitter effect giving the same final look as metallic glitter but avoiding problems that could be caused by metal detection units in filling lines. The glitter ink range includes a variety of colours, as well as the more traditional gold and silver and is ideal for seasonal promotions or as a way of adding extra impact to an existing design.


Defining the sign This year's Sign UK, will, for the first time, include a section devoted to Outdoor Advertising in acknowledgement of the fact that many signmakers are now engaged in this type of work. Val Hirst traces the gradual evolution of the sign industry since the advent of computerisation.

The time was when the definition of a sign was very narrow – it either graced the front of a retail outlet, petrol station forecourt or a commercial building or it provided information and/or directions. Vehicle liveries were considered a form of signage, albeit a slightly lesser one, but only when a whole fleet of vehicles was involved. Interior signs were considered to come under the general heading of 'shop fitting' or, even worse, 'interior design', whilst promotional and advertising signs were considered to be totally beyond the pale. Nowadays, however in addition to signs, signmakers happily produce point of purchase material, exhibition displays, the despised advertising signs and all manner of graphics, which less than two decades ago, would never have fallen within the old rigid definition. So what has provoked the change? Most people within the industry would probably say that the introduction of Gerber's Graphix 3, the first computerised vinyl cutter, signaled the beginning of the end of signmaking as it used to be and heralded the expansion of the industry into the general graphic arena. Until the early 80s signmaking was very much a cottage industry. Certainly, there were some big sign companies, many of them family run

38 FESPA WORLD 03/04


businesses, who between them fulfilled the demand for corporate identity signage, but at the opposite end of the scale, there were the signwriters who hand painted everything from fascia signs to vehicles. The advent of computerisation into the industry affected this latter group the most. Of course, vinyl had been available for some considerable time, but cutting it and applying it was a laborious and labour intensive process. Most signwriters preferred to continue in the time honoured way, using paints, occasionally supplemented with gold and silver leaf and used traditional methods to produce often incredibly complex and beautiful signs. As is so often the case, when new technology is introduced, an industry that had previously been largely made up of skilled craftspeople was suddenly being populated by anyone who fancied themselves as an 'artist' but also needed to make a living. The net result was that traditional hand painted signs were replaced with less lovely vinyl signs which nevertheless had the advantage of being much cheaper as well as quicker and easier to produce. At this stage, the larger companies were comparatively unaffected and most enjoyed



a b

Promotional vehicle liveries from Media Drive. An off the shelf sign system duly customised, from SignSystems.


Active Signs produce wayfinding and corporate signage for a Birmingham shopping centre.


Service Graphics create an exhibition stand for supermarket chain, Somerfield.


Pearce Signs reproduce Reebok's corporate identity sign.


d e

the boom times which accompanied the growing awareness and appreciation of good design coupled with a blossoming retail sector. Indeed, at the end of the ‘80s it seemed that most retailers and petroleum companies felt it necessary to re-image at the drop of a hat. Most large companies enjoyed the security of endlessly resigning all of the high street chains as they sought to remain totally up to the minute. There's many a signmaker who fondly remembers this period as the halcyon days of the industry. As is so often the case, boom turned into bust with the onset of the recession of the early ‘90s and the industry never fully recovered from the blows it was dealt during this period. Suddenly the multi-site signing programs were no more, with retailers, aware of their own slipping profits, cautiously resigning perhaps six test stores and carefully monitoring the effect on their revenue, before sanctioning a larger roll-out. During this time, many of the larger companies disappeared for ever whilst those who survived began downsizing rapidly. As a result, lots of new, smaller companies appeared as discarded staff invested their redundancy payments in the acquisition of the computerised signmaking equipment they needed to start up on their own. For an investment of something less than €l0,000 it was perfectly possible to set yourself up as a signmaker and operate from a garage, shed or spare room and many took this route back into employment. Their low overheads also meant that they could offer basic signmaking services much more cost-effectively than their former employers and it was at this stage that the whole cost structure of the industry was fatally undermined. Lack of skill was a topic of heated debate and it's true that the proliferation of illconceived, poorly crafted and downright ugly signage was rife at this time, but this in itself led to a growth in the number of ready made sign systems on the market. Novice signmakers could buy these in kit form to construct and install themsleves or as ready made up units customised to suit individual specification. All that was needed was the application of the appropriate text and decoration, which was easily achieved with vinyl. Colour printing really only entered the sign industry in l993 when Gerber introduced another new piece of equipment – The Gerber Edge, a thermal transfer printer that could print outdoor durable colour directly onto vinyl. It has become fashionable to scoff at the Gerber

Edge and when compared with all of the sophisticated inkjet printers on the market today, it does look incredibly 'Heath Robinson' in both its design and mode of operation. But there is no doubt that it remains arguably the most popular colour printer amongst signmakers to this day. There is no doubt that Gerber with an enviable degree of perspicacity realised that the Edge was absolutely the right machine for its time. Resembling nothing more revolutionary than your average desk-top printer the Edge was easy to use and it did precisely what signmakers wanted – it allowed them to produce durable graphics for using on vehicles or signs. Even during the tremendous growth of inkjet technology over the last several years, durability has remained an issue with signmakers. By dint of the fact that signs, as often as not, are located out of doors, they need to withstand the worst that the climate and, most importantly in the case of vehicle liveries, abrasive cleaning methods can throw at them. And there is also the necessity of them being made relatively vandal proof too. Most sign buyers would specify a lifespan of anywhere from three to ten years, regardless of the fact that it might not always be necessary, so for many signmakers, inkjet printers were simply irrelevant. In fact, it wasn't until the introduction of the new breed of eco-solvent printers some three years ago, that signmakers were tempted to forsake their trusty Edge. And although some companies had bravely branched out into the world of digital colour, it is only now that signmakers are beginning to invest in inkjet printers en masse. The spectacular thing about this is that once they do, they seldom look back. Suddenly all sorts of things that were previously impossible are within their scope and over the past few years I have spoken to many signmakers who have expanded their businesses on the back of the purchase of a Arizona or a Mimaki JV3. The advantage that a signmaker can offer his or her clients over and above many other denominations of graphic providers is that they know about fabrication, installation and the intricacies of electricity. They don't just provide the graphic, they can produce the housing, light it, install it, even maintain it, all of which makes them a very attractive proposition to some customers. Although they have been slow to board the digital bandwagon it could well be that signmakers are shortly about to experience another halcyon period entirely of their own making!

FESPA WORLD 03/04 39






a,b,c & d

Shown here is

a small foretaste of what the show has to offer.


Encad’s new NovaJet 1000i wide format printer – the fastest in its class.

40 FESPA WORLD 03/04


Dreaming of Drupa Acknowledged as the world's biggest printing show, Drupa 2004 attracts nearly half a million visitors from all over the globe. Val Hirst reports on the show logistics.

Apparently, Drupa is to the printing and paper industries what the Olympic Games are to athletes, in that every four years, thousands and thousands of print professionals flock to Dusseldorf to see all of the latest equipment and materials on offer. And if, as it is being predicted that Drupa 2004, is even bigger and better than the Millennial show, which attracted an impressive 428,000 trade visitors, 1,957 exhibitors and covered over 1.7 million square feet of exhibiting space, then visitors would be well advised to get into training and go equipped with running shoes because there will certainly be an awful lot of ground for them to cover! However, Drupa isn't just a big show – the quantity is evenly matched by quality, with both exhibitors and visitors proclaiming that Drupa 2000 was one of the best shows they had ever attended, both in terms of sheer scope and value for money. The show is split into five main product groups: Prepress and Premedia, Printing, Bookbinding and Print Finishing, Paper Conversion and Package Production and Material Services. Many of the leading suppliers within the screen and digital sectors are exhibiting, with some using the opportunity to launch new products for the first time. A full exhibitor list can be downloaded from the Drupa website. Drupa 2004 will take place over 16 days from Thursday 6th May to Wednesday 19th

May at the Dusseldorf Fairgrounds. Daily admission is €33 but visitors can save money with the purchase of a four day pass for €100.00 Admission charges include free transport to the fairgrounds on all of the regional transport networks. Tickets and catalogues can be ordered on line, in advance, from the Drupa website at

Encad introduces the NovaJet 100I wide format printer Encad's showcase product at Drupa 2004, will be the new NovaJet 1000i wide format printer – the first graphic arts printer jointly developed by Encad and Kodak. Printing at speeds of up to 14m2 (150 sq ft) per hour in photo quality, the NovaJet 1000i printer is the fastest printer in its class. Encad has introduced an all new, 640 nozzle print head to deliver the high speed with exceptional image quality. In addition, the NovaJet 1000i uses a unique dual component Rapid Evaporation Drying System to enable take-up at full speed with a wide assortment of Kodak media. The NovaJet 1000i printer features image quality with a resolution of up to 1200dpi. In combination with this resolution, Encad has introduced a new dynamic print masking technique, Intelligent Mask Technology (IMT) that incorporates a proprietary ink tiling method. This advanced technique of laying down ink in a randomised pattern for each colour and

print mode delivers exceptional image quality during high speed printing. Encad has also introduced Quantum Ink with the NovaJet 1000i Printer. A universal ink with the ability to print on both indoor and outdoor media with a colour gamut that is unmatched by any other pigment ink, it also boasts outstanding colour gamut and superior durability. The new Quantum Inks arguably provide the lowest cost per print in the industry, based on MSRP. The low cost of consumables combined with the high production speeds of the NovaJet 1000i, provide end users with a highly profitable wide format printing system at a low cost of ownership. As result of Kodak's corporate strategy and their position within the Commercial Printing Group, Drupa 2004 will see Encad and NexPress Solutions LLC exhibit alongside each other. The booth will incorporate an integrated theme to show how Encad devices can complete a wide range of printing applications. Also on display will be an extensive range of Kodak Wide Format Inkjet Media including photographic papers, coated print papers, films, specialty media, vinyls and laminates, all of which is guaranteed under an exclusive Performance Guarantee of up to 35yrs, for use on the most popular piezo and thermal inkjet wide format printers, including Hewlett Packard, Encad and Epson. Hall 4, Stand A55

FESPA WORLD 03/04 41


The world's fastest wide format digital press, the Scitex Vision TURBOjet.

Innovative inkjet solutions for large format and packaging applications from Scitex Vision Scitex Vision, a global leader in industrial digital printing and manufacturer of innovative inkjet systems for high quality colour printing, will be showing the world's fastest wide format digital press, the Scitex Vision TURBOjet. Also featured on the stand will be the revolutionary Scitex Vision CORjet press for corrugated and screen printing applications. Information on Scitex Vision's complete range of industrial digital solutions will also be available to the public, thanks to the addition of a multi-lingual team who will be able to address visitors in their native language. The TURBOjet is the latest in Scitex Vision's range of wide format inkjet printers and has been specifically developed to meet the exacting requirements of the display and large format sector. Superb image quality, wide colour gamut, high print speed and low printing costs are amongst the TURBOjet's many advantages. Its ability to produce up to 400m2/hr (4,304 sq ft/hr) makes it the fastest wide format digital system on the market, providing high image quality, with text point sizes as small as 8 point reproducing with outstanding clarity and legibility. Perfect for display quality applications, indoor and outdoor signage, bus shelters and billboards, as well as window and exhibition graphics, the TURBOjet prints from roll to sheet (up to 1.63m x 3.66m/ 64" x 144") with a resolution of up to 448dpi. And, since it is capable of printing on an extensive range of substrates from coated and uncoated paper, vinyl, banner, canvas, Tyvek and polystyrene to fabric, it 42 FESPA WORLD 03/04

is possibly the market's most cost effective and versatile tool. The Scitex Vision TURBOjet can print large format images, as well as A0 and A1 sized posters, even printing multiple A2 images on a 1.6 x 3.6 full size sheet, in very high quality. The Scitex Vision TURBOjet produces optimum results when using dedicated TJ100 ink from Scitex Vision VisionInk. The software is user friendly requiring minimal training before operators can queue jobs, change orders, tile RIPped files, cut and paste two or more files, add pictures to one layout, and perform other routine functions. In addition, the advanced Onyx Production House RIP ensures that printers have the best tools at their disposal to produce superior printed results. Scitex Vision's CORjet brings on-demand digital printing to the corrugated packaging sector. For time critical short run corrugated printing, the Scitex Vision CORjet offers a cost effective, value adding solution. Running straight from standard digital formats, the Scitex Vision CORjet eliminates lengthy platemaking and mounting time and makes it possible to print short runs of cartons, POP/POS, and other applications cost effectively complementing or replacing screen, flexo and litho. "Cross-overs" for the different processes vary from approximately 1500m2 for flexo, and up to around 300 copies for offset litho and screen. However, products printed on the Scitex Vision CORjet can also be easily varied in colour and content enabling the run, for example, of language versions comprising very few copies, or products that are adapted for specific regions, outlets, occasions or individual locations.

Scitex Vision CORjet was designed to overcome the limitations of the prepress costs of flexo, screen and offset litho. The growing demand for niche applications and short runs (for example, for test marketing of new products, new product launches, promotional campaigns of new products, more creative packaging and 3 dimensional displays also suitable as exhibition booth graphics) are perfect jobs for the Scitex Vision CORjet, and extends the versatility and efficiency of printing corrugated products as well as traditional screen printed rigid media. Conceived as a completely automated industrial production system, from front end to print delivery, the Scitex Vision CORjet has been designed to be integrated into existing industrial printing workflows, possibly replacing old screen lines. The press will deliver full sheets up to 160cm x 320cm (63" x 126") and up to 10mm (0.39") thick, at an amazing throughput of up to 150m2/hr (1,614 sq ft/hr) yielding up to 29 full format sheets per hour in three different printing modes. The 600dpi high resolution, piezo electric drop-on-demand inkjet printing utilises the unique Aprion technology. Using four (optional 6) process colours and fast drying water based, abrasion resistant, waterproof pigmented inks, the image is produced direct-to-sheet without impact to the surface. The Scitex Vision CORjet wide format digital press has been optimised to print on rigid substrates such as corrugated cardboards, foam boards, compressed cardboards and other paper based liners on rigid substrates. Hall 9 Stand A04


One-stop shopping with Xaar Having firmly established itself as a pioneer and leading international manufacturer of inkjet printing technology, Xaar plc is now offering customers a wider variety of inkjet solutions which will enable, assist and support the production of high specification inkjet printing machines. For the first time, Xaar will present its complete and expanded range of services: printhead and ink products, integration expertise, the new Xaar range of peripherals and licensing of its patented technology. Xaar will also be displaying its very latest inkjet printheads, the OmniDot series, along with three OEM industrial printers on its stand. Xaar's sales director, Hugh Baker-Smith says, "This Drupa, Xaar will be demonstrating how, like its technology, the company has evolved over the past few years. From pure research and development beginnings, we have now also proven ourselves as a leading inkjet manufacturer. Having combined our experience, knowledge and skill-set, today we are offering our customers a 'one-stop shop' which provides

the solutions, service and support required to produce successful and competitive inkjet printers." Xaar will also be showing a six colour, wide format printer manufactured by Chinese OEM, Shenzhen Runtianzhi, which incorporates Xaar's XJ500 printheads and produces large format prints. The second OEM machine is Kappa's packaging printer, which also uses Xaar XJ500 printheads and oil based ink. This unique machine has been designed predominantly for the packaging sector and prints variable information on both sides of a cardboard box simultaneously – printing one side in colour and the other in monochrome. The third customer machine epitomises one of the areas of highest growth in inkjet printing – the UV flatbed printer. The Octopus printer from Grapo has the ability to print onto a wide variety of surfaces, including PVC, wood, glass, metals and textiles etc., making it an ideal choice for the versatile printshop. Hall 7, Stand C28

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VUTEk help your business to grow VUTEk Inc., will exhibit its range of UltraVu superwide solvent based printers and its PressVu UV family of digital inkjet flatbed printers. The ultimate combination of speed, reliability and superior image quality inherent in all VUTEk printers allows commercial imaging shops to extend the scope of their work and produce more profitable applications. VUTEk printers are engineered and built to deliver fast turnaround on large scale printing jobs, and to economically produce short runs of customised graphics. They are also engineered to deliver consistently reliable operation and to require minimal maintenance, so operating costs remain low and productivity and profitability remain high, thus enabling users to realise a speedy return and to remain responsive to customer demand. VUTEk offers a variety of printer models that feature different size, colour, speed and resolution capabilities. The UltraVu product range, for high quality, high speed, superwide flexible printing, for example, is available in 1.5, 2, 3, and 5 metre formats, while the PressVu UV family of digital inkjet flatbed printers uses UV curable inks to print high quality images on both rigid and flexible substrates. All VUTEk printers facilitate the creation of beautiful images and graphics on a wide variety of substrates, including paper, vinyl and canvas, and even on unusual surfaces such as metal. The PressVu UV models can even print on rigid board up to two inches thick. With that kind of performance capability, the applications are virtually limitless. The VUTEk product portfolio has a solution for every superwide application and with products offering 600dpi resolution and up to eight colors, not only provide the highest resolution on the market, but deliver maximum profit through superior productivity and reliability benefits. Hans Klarenbeek, VUTEk's European Managing Director, comments on the company's show focus saying: 'Over the last 12 months, we have made substantial changes to our customer and support services including the introduction of tailored customer support programs, the recruitment of highly experienced staff, and the continual development of our product portfolio. At Drupa 2004, we will present the extensive opportunities and workflow benefits of the VUTEk product portfolio and provide details of some exciting plans for 2004. In addition to this, particular



NUR upgrades the Fresco and the Tempo

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Xaar's XJ500 printheads. VUTEk’s PressVu UV 180 EC printer. The SEFAR 3A stretching system PhotoChrome pigment inkjet inks for use in the Continuous Ink System (CIS) from Lyson

Inca push back the speed barriers for the corrugated market



focus will be given to the PressVu UV family of rigid and flexible flatbed printers, where creativity and market opportunities are limitless, and customers break the boundaries of the technology, almost daily.' Hall 5, Stand C18

Screen printing for the Digital Age This is the theme of the attractive stand that Sefar will be sharing with its fellow screenprinting suppliers, Fimor, Hurtz, KIWO and Marabu, which will enable visitors to see state-of-the-art screenprinting technology for the digital era. In addition, Sefar will also be showing the SEFAR 3A stretching system for the first time. Sefar's Printing Division manufactures a wide range of high-quality precision meshes for the screenprinting sector and is a leading global producer. Pneumatic stretching systems and precise monitoring and control equipment for the stretching process complement the range of meshes, whilst highly advanced application technology rounds out the range of services that the company offers. The hallmarks of Sefar meshes are balanced elongation, both in the warp and the weft, and good antistatic behaviour, thus customers benefit from high register accuracy, excellent reproducibility between different print runs, constant quality even within large print runs, and longer stencil lifetimes. Other Sefar products on display will include SEFAR PET 1500, a

NUR macroprinters will be using Drupa to introduce the latest model in its Flagship NUR Fresco series of wide format production presses, the Fesco II and a faster version of the NUR Tempo flatbed inkjet press, which can deliver output at up to 82m2 per hour in four colours and up to 50m2 per hour in eight colors. The new NUR Fresco II series, which replaces the NUR Fresco HiQ models, is currently in beta testing but will be ready for shipping in April 2004. Older Fresco printers can be upgraded to the Fresco ii performance level.

new mesh with a special finish that Sefar expect to become the new standard product for screenprinting. SEFAR PET 1500 combines tried-and-tested positive features – such as high, reproducible stretching values, an excellent exposure area, specifications within tight tolerances and a long lifetime – with extra modifications to the surface. The result is major benefits in the everyday screenprinting routine, thanks to a substantial increase in process reliability for printing form production and use. SEFAR 3A is a brand-new clamping system, which is the only product in its category to feature a lifting function. Other impressive assets include excellent functionality and a design that is well conceived in terms of ergonomics as well as aesthetics. The range comprises one normal and one long-stroke version, each of which is available in two different widths – as well as a pneumatic control unit. Hall 3, Stand A/92

Lyson and Tiara to Exhibit Comprehensive Porduct Portfolio Leading independent digital ink jet ink and media manufacturer, Lyson will be exhibiting its new range of Campaign and Sublimation HD inks to the European market for the first time whilst its subsidiary company, Tiara Systems, will be introducing a new new grand format printer, the Tiara Tourmaline. Hall 7, Stand C31

Inca Digital Printers will demonstrate the prototype of an inkjet system that allows full colour high quality printing in a single pass over the substrate. Inca has formed a partnership with Sun Chemical who will commercialise the technology in the sheet fed corrugated packaging market. The machine to be shown at Drupa incorporates an array of inkjet heads that will enable a print width of 520mm on to substrates up to 700mm wide and 7mm thick. It also prints high quality four colour images 300dpi. "The new Inca single pass system will push CYMK inkjet technology to new limits in terms of quality, speed and format size, says Inca's director of marketing, Heather Kendle. "We're still developing the final equipment specification, but we anticipate that when we launch a commercial product during 2005 we will have the ability to print quality four colour print continuously at l00m per minute."

Canon targets the professional print market Canon Europe is now seeking to build upon its success and reputation in corporate printing by achieving a similarly dominant position in the professional print market and has unveiled a new strategic approach designed to increase its current market share and profile. The company will be unveiling this new strategy at Drupa.

FESPA WORLD 03/04 45



Exposure and exposure control in screen process stencil making Fotec AG and the TDS committee of ESMA Ltd help screenprinters to make perfect stencils every time. General Photographic stencil materials must be fully cured. For this purpose not only a suitable spectrum of UV radiation is needed but also the necessary quantity of light energy with the right intensity. The energy hitting the surface of the stencil after passing through the glass is expressed in mJ/cm2. mJ/cm2 = mW/cm2 x time. The intensity of the lamps energy is measured in mW/cm2 equal to irradiance. This value depends directly on the power consumption of the installation, the condition and the type of bulb or burner as well as the geometry and surface of the reflector. The penetration of the lights energy depends mostly on the irradiation. Higher energy hitting the surface of the stencil will penetrate the stencil thickness better. Thick stencils with 150 microns and more will show a strongly increased absorption. The absorption of a stencil is influenced by the dyes and the raw materials used in the emulsion as well as the mesh being used. Residual humidity in the stencil material at the moment of expo-

sure will influence the exposure time as well. Precise theoretical information is missing but it is a fact that humidity in the coated stencil material will increase the exposure time drastically. Diazosensitised emulsions are more sensitive than SBQ as far as humidity is concerned but SBQ emulsions are more sensitive to pre-exposure by daylight but less to heat during the drying cycle. In general the sensitivities of dry screen emulsions and films are around 340-400nm. Diazo types 360 to 400nm. SBQ-types 340 to 370nm.

Emission range of MH lamps Diazo bulb max.: Polymer bulb max.:

400-450nm 330-400nm

The spectrum of an MH (metal halide) lamp depends also on the temperature of the bulb. Instant start lamps can take up to 15 seconds to reach the proper spectrum. Precise recordings of a mJ/cm2 value should be made with a warm lamp. Over a time of least 1, better 2 minutes.

The right exposure must be found in any case with the help of special test films or with a step-exposure.

General recommendations to choose the right light source for stencil making MH lamps are the best commercially available exposure equipment. But regular control of performance is needed. Reflectors of different qualities and shapes are used. The geometrical configuration and surface of the reflector can influence light refraction and distribution and consequently also the resolution and equal thru-curing of a stencil. A reflector with a parabolic shape should be preferred. Unfortunately it is impractical to record the exposure energy after it has gone through the emulsion and behind the stencil. The values would be far too low. But the method would be logical to determine the influence of the absorption of energy during the cross linking process. Emulsion build-up, mesh number, mesh type,


emulsion type and colour influence the absorption and the exposure. To expose diazo, diazo photopolymer and single component (SBQ) emulsions and capillary films a so called photopolymer bulb should be used. Diazo type bulbs are made for offset type diazos and are doted with gallium, whereas polymer type bulbs are doted with an iron gallium (FE/GA) combination. Pure iron doted bulbs should be avoided. With gallium doted lamps a life span of 700 hours can be expected. After 100 hours running time a bulb can start to lose some of its energy. For safety reasons a glass is mounted in front of the reflector. This is justified despite of the additional absorption. A bulb can explode if it is too old. Deformed bulbs must be changed. Use only bulbs recommended by the lamp manufacturer and mount the lamp right according to instructions.

Other light sources for stencil making High pressure mercury lamps for graphic arts. Models of up to 6kW exist (mainly Asia). Types known in Europe are Philips HPR 125W or Osram Ultra Vitalux 300W. They have a more or less regular energy distribution over the full UV spectrum and give quite a good thru-curing after 4 min. warm-up time. This is only suitable for small formats because of lack of intensity. Assembling several lamps for larger formats does not increase intensity but scatters the light and gives inferior results. All types of emulsions and films including photopolymers can be exposed with fluorescent tube lamps as well with the draw-back of a strong diffusion of light resulting in lightundercutting and loss of details especially when white mesh is used. Only super actinic lamps for UV curing and other photochemical processes can be recommended. Normal fluorescent lamps do not work well at all. Super actinic lamps age as well and can lose up to 25% of intensity. They are available in differ-


ent lengths and wattages with or without reflector. Low powered mercury vapour lamps and UV fluorescent lamps are always inferior and cannot replace a good modern metal halide lamp. Nevertheless they are still used very often worldwide. A radiometer is a good instrument to control emission for this type of light source as well but the money would be better spent for a more powerful and reliable light source. • Good metal halide lamps are available in most countries with no problems. • Mercury vapour high pressure lamps – Philips HPR 125W (auxiliary regulator necessary) – Osram Ultra Vitalux 300W (can be connected directly to mains) • Fluorescent tube lamps – Philips TL/05 Series different lengths and performance available. – Very suitable is also TLK40W/05, diameter 38mm. – A bit less suitable because of the spectrum is Philips TL/10 Series with reflector. The tubes should be mounted as near together and as near as possible to the surface to be exposed. • Mercury vapour lamps of at least 2kW power can also be suitable. • Carbon arc lamps are not much in use any more but represent a very good light source if controlled with light integrator or radiometer. • Xenon lamps are out-dated and unsuitable for screen work. • Mercury vapour lamps and certain UV fluorescent tubes can be used but do not give the best possible results. For a screen printer it is worthwhile to invest in the best exposure equipment available. However, the equipment should be kept in good condition and controlled at all times with the help of a radiometer or at the minimum with a good light integrator.

Many screen printers in the more exotic countries of the third world use the sun for a light source. The results are not consistent for obvious reasons and more difficult to control.

Instruments facilitating the control of light sources A light integrator records the amount of light emitted but not the spectral distribution of a light source. A light source (MH) loses approx. 10% of UV light for each operating 100 hours. An aging lamp will run warmer and the light will become whiter. The invisible UV light will reduce. Hence only a good radiometer together with a time related recording for control will make sure that the lamp is functioning correctly. In addition the light distribution in a large vacuum frame can checked. As already known this depends on the lamp distance (mostly insufficient) and the quality of the reflector. Insufficient light distribution is often responsible for unexplainable shifts of tonal values in large format halftone printing. A radiometer working within the actual range of the spectrum of the UV lamp in use can measure the arriving energy behind the glass in mJ/cm2. This allows also to make a relation to the timer or light integrator. A radiometer or UV disk or puck as it is sometimes called is an extremely valuable control instrument. A radiometer should be calibrated regularly by the manufacturer. It is usually not possible to compare mJ/cm2 values of 2 radiometers even of the same manufacturer. It is therefore necessary to measure always with the same calibrated UV disk as the instrument can vary from manufacturer to manufacturer with a factor of 2 or higher. It is not possible to establish a general collection of exposure times for all different screen emulsions, films, meshes, coating techniques, lamps etc. A radiometer can be a unique and valuable control instrument if used properly.


The low down on‌ digital materials The popularity of digital printing technology has opened up a whole new market for consumable suppliers, as they hone and refine their offerings to suit the more exacting demands of wide format and super wide format inkjet printers. As the range of possible applications increases, so more and more new products are being introduced to suit the needs of even the most esoteric markets. Here, we provide a small insight into the vast array of options available. The next generation of VUTEk inks VUTEk Inc., one of the leading suppliers of superwide format digital inkjet printers, has invested years of research and applications testing to develop the purest and brightest inks for its printers. The result is a new generation of Enhanced UV inks that offer superior color gamut, matching ability and adhesion to difficult substrates, along with greater consistency from print to print. Unlike other printer manufacturers, the inks have been developed and optimized for the PressVu UV family of flatbed printers to assure the highest performance and, ultimately, greater profits. VUTEk's Enhanced UV inks provide a more consistent finish across deep hues and adhesion to difficult substrates such as untreated Styrene and Coroplast. In addition, they also provide a greater reduction in tire tracking (a common artifact when printing with UV curable 48 FESPA WORLD 03/04

ink), resulting in photo quality output. Enhanced UV inks are available in eight colours and currently available for shipment. VUTEk has also introduced a new Magenta ink called Greater Gamut Magenta, adding to the versatility of their UV flatbed printers. By extending the gamut, in the red color space only, you are assured the same reproducibility as achieved with the existing Magenta is assured, thus ensuring lighter/cleaner reds. What's more the Greater Gamut Magenta also allows the PressVu to match even more Pantone colors and print nearly 20% faster in eight-color mode.

KPMF selection made easy An at-a-glance guide to the scope and specifications of the many KPMF brand selfadhesive vinyls that are suitable for solventbased inkjet and thermal transfer printing




has been published by Kay Premium Marking Films and is available on request. Presented as a simple A4 folder, the guide covers no less than 16 different families of cast, calendered and hybrid film, providing snapshot descriptions of their face materials, adhesives and liners together with checklists of suitable end-use applications. A chip-sized sample of each family is also included. Manufactured in the UK to QS 9000 standards, KPMF films are sold throughout the world via a network of established graphic consumables distributors. Targeted principally at signmaking, vehicle and window graphics applications, they include the unique VWS Digital hybrid film that has been developed specifically for all-over promotional vehicle wraps. In addition to digital print media, KPMF is also a major supplier of transparent overlaminates with glass-clear adhesives designed to


The KPMF brand self-adhesive vinyls guide published by Kay Premium Marking Films.


The unique VWS Digital

hybrid film that has been developed specifically for all-over promotional vehicle wraps by KPMF.


VUTEk’s new generation of enhanced UV inks.

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Blue-back paper from Scitex. White-back paper from Scitex. High quality digital papers.

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enhance and protect digital prints. The current range includes an anti-graffiti film with a Teflon-like non-stick surface and a variety of differently textured products.

Two new grades for Scitex VisionMedia paper range After extensive research into the needs of the marketplace, Scitex Vision has developed and launched two new types of wet-strength papers aimed at the billboard and outdoor applications market. Scitex Vision's VisionMedia division carried out detailed research into the demands placed on papers for external applications, which resulted in the development and addition of two new grades to its popular VisionMedia Paper range. The two new grades comprise a Blue-back paper and a White-back paper (developed specially for the US market), which have

been optimised to provide brilliant, lasting colours for outdoor applications such as billboards, and are particularly effective when used in conjunction with Scitex Vision printers and VisionInk. The papers have been developed to meet the high demands placed upon them by modern outdoor applications, and have been designed to allow trouble free runnability and printability. Their high opacity and exceptionally glossy coating ensures maximum impact and eye-catching visuals with vivid colours. The new grades are highly durable, as they have been produced specifically for external usage. Their advanced formation allows unrivalled ink coverage, while high wet strength ensures that they are water and crack resistant, so that images stay fast and sharp for longer no matter what the weather. Essentially, the new VisionMedia Paper grades are compatible with all popular

workflows, mounting and folding techniques, as well as with all popular glues. They have been optimised for use with all Scitex Vision drum and roll-to-roll printers as well as Scitex Vision's proprietary VisionInk. The Blue-back and White-back papers are produced in accordance with ISO 9001:2000 quality standards, guaranteeing a consistently high standard of product. Printers will discover a highly cost effective digital paper for large format printing which is sure to become a benchmark product in the 'wet strength' paper market. The new grades are available in the following options: For Europe the Blue-back paper is available in 120g/m2 in 1.6 x 600m rolls. In the US it is available in 3.55oz/ sqyrds, 64" x 1968ft rolls. The White-back paper is available in the North American market in high-opacity 4oz/sqyrds in 64" x 1968ft rolls. FESPA WORLD 03/04 49



b a

A double-sided adhesive mounting film by Folex gives all of its large-format digital media a whole new range of potential applications.


Folajet Backlit P is expressly suitable for outdoor locations.


Folajet Vinyl/SA-P.


Folex – the world pioneer Folex is a world pioneer in the coating technology that has enabled ink jet to become the pre-eminent on-demand and short-run display print process. The first Folex media products were introduced almost 20 years ago and the company now offers an ex-stock range of some 30 papers and films to satisfy the many end-use digital print applications. Folex digital media materials are marketed throughout the world under two generic brand names – Folajet for film products, Folaproof for papers. The Folajet range is truly comprehensive, spanning glossy white, textured and matt pop-up and poster media, backlit and self-adhesive films, plus special products like a mirrorfinish metallic silver, an award-winning artist's canvas and materials for floor graphic and banner production. Two new Folajet film products have been announced by Folex for introduction during 2004 – both designed primarily for use with pigmented inks and providing the 50 FESPA WORLD 03/04

high degree of water-fastness (including wet-smear resistance) necessary for external applications. Folajet Backlit P matches the existing Folex backlit film in its ability to display printed colour images in their full brilliance under natural light, as well as when back illuminated – but is expressly suitable for outdoor locations. Folajet PPWO is a top-coated white opaque polypropylene film, which provides a durable medium for outdoor posters and point of purchase display panels. Also to be released this year is a new canvas cloth, Folajet Canvas P, and a genuine "mould-made" artists' paper that have been developed primarily for the fine art giclée print market. A recent addition to the Folex media range is Folajet Vinyl/SA-P, a self-adhesive vinyl for large-format piezo and thermal ink jet printing that offers good water and wet-rub resistance. The new vinyl's surface coating optimises the key of pigmented inks to provide an ideal medium for posters and signs without the need for over-lamination.

A double-sided adhesive mounting film has also been introduced by Folex to give all of its large-format digital media a whole new range of potential applications in floor graphics, stick-on wall posters, window and cabinet stickers and shortterm vehicle graphics. The versatile Folajet ARF film has a permanent pressure-sensitive adhesive on one side, which is compatible with the unadhesed Folajet and Folaproof materials, whilst the reverse side is coated with a removable grade adhesive designed to allow clean removal from most smooth surfaces or substrates for up to six months. The newest Folex paper media product is Folaproof PTDP – a universal, fast-drying display and poster paper which is suitable for both thermal and piezo print systems using either dye-based or pigmented inks. As a true photo base paper, Folaproof PTDP is a relatively stiff polyethylene/ paper laminate that ensures reliable machine feed, dimensional stability and layflatness.


GFPHOTO, a fast-drying, 6-mil glossy photobase paper from InteliCoat Technologies.


Inkjet Stoplight provides excellent image quality.


InteliCoat Technologies adds new magic InteliCoat Technologies has recently developed and launched two new products designed for solvent ink jet printers under its Magic brand. The new products are DMVSF, a 9-mil super high-strength banner media developed in partnership with ValĂŠron Strength Films, and GFPHOTO, a fast-drying, 6-mil glossy photobase paper. Both products are formulated to work with the latest generation of solvent ink jet printers manufactured by Raster Arizona, Mimaki, Mutoh and DGI. Magic DMVSF is ideal for pole banners, suspension banners, pop-up banners, frontlit and backlit rolling signage and other applications where increased tear resistance is needed. It combines a ValĂŠron Strength Film base with a specialised top coating developed by InteliCoat and is a highstrength, tear-resistant banner media that is stronger than most scrim vinyls on the market today. Because it is plasticiser-free and recyclable, DMVSF eliminates the colour shifting, shelf life, and environmental problems associated with traditional vinyls. In addition, its light weight makes handling, shipping and installation easier. 52 FESPA WORLD 03/04

Magic GFPHOTO is a solvent ink jetcompatible 6-mil glossy photorealistic paper ideal for high-resolution gloss posters and displays. Its specialised coating offers a high degree of whiteness and colour gamut with an extremely smooth surface for high photographic resolution. In fact, Magic GFPHOTO paper played a critical part in Mutoh's recent win at the DIMA (Digital Imaging Marketing Association) Digital Printer Shoot-out at the 2004 PMA Trade Show in Las Vegas, when Mutoh's Falcon II outdoor printer won first place in the 50" to 72" solvent ink jet category with an image printed on Magic GFPHOTO media. Magic DMVSF carries a one-year outdoor warranty when protected with Magic DMFTP Fluorex Transfer Protection. To optimise the output on DMVSF and GFPHOTO media, InteliCoat offers ICC color profiles for selected RIP, ink and printer combinations at Magic DMVSF and GFPHOTO are available in numerous sizes. Magic GFPHOTO ranges from 36" x 20" to 50" x 125" and Magic DMVSF ranges from 36" x 10" to 54" x 75".


Seal Graphics launches inkjet-printable backing film Seal Graphics, a world leader in image and print finishing systems, has launched a new inkjet-printable backing film, 'Inkjet Stoplight'. Developed for use with pop-up and roll-up displays, together with banner stand applications, Inkjet Stoplight has a universal coating that provides excellent image quality whilst retaining the unique light blocking properties of the original and popular Stoplight backing films. As well as providing a substrate suitable for direct printing, this new film claims the further advantages of improved whiteness and lay-flat properties along with a scratchresistant, quick drying and highly durable water-resistant finish. Inkjet Stoplight is available for immediate delivery in 300-micron thickness for pop-up displays and in 100 and 200-microns for banners and roll-up displays. All are suitable for use with a wide range of inkjet output devices.



To simplify the ordering process for all of its customers, Metamark has produced an inspirational Product Guide.


Metamark’s Digital Vinyl

range provides the same spectacularly good results across the full gamut of digital printing technologies.


Metamark offer world wide coverage Metamark , the UK based manufacturer and distributor of self-adhesive vinyls now offers a highly acclaimed Digital Vinyl range that achieves the difficult feat of providing the same spectacularly good results across the full gamut of digital printing technologies. It has also been awarded the ultimate accolade of becoming the product that the manufacturers of all of the most popular digital printers recommend for use with their machines. Although originally founded in Lancaster, nowadays, 22% of the company's annual revenue comes from exports and thanks to a distribution network which spans 38 different countries including mainland Europe, Scandinavia and the Middle and Far East Metamark Digital Viny has become an international best seller. Metamark has also recently made inroads into the lucrative North American market. The acquisition of a 12,500m2 distribution facility in Miami 54 FESPA WORLD 03/04

b c

not only enables it to service its existing customers throughout Latin America, where it has already established a flourishing distributor network, but also provides it with a convenient base to supply the whole of North America too. To simplify the ordering process for all of its customers, wherever they are located, Metamark has produced an inspirational

Product Guide. Running to some 70 pages, it is packed with lots of useful information, such as tips on choosing the best materials for specific applications, as well as a comprehensive rundown on all of the ranges, together with full price details. The end result, which was compiled following extensive customer research, is also available as a CD.

FESPA 2005 Future of Global Imaging The largest Global Event for Screen, Digital and Industrial Printing Register now for your FREE visitor pass at or call +44(0)1737 240788 Over 350 exhibitors from all over the world Corporate sponsor

Platinum sponsors TM


FESPA ‘contact list’ The following list of Telephone, Fax and E-mail numbers will help you when you need to contact a colleague in FESPA.

FESPA board




Ricardo Rodriguez Delgado – President

34 914 85 28 70

34 916 71 02 73

Michel Caza – Past President

33 1 34 30 87 78

33 1 34 30 87 79

Hellmuth Frey – Vice President

49 408 50 40 21

49 408 537 18 12

Lascelle Barrow

44 207 537 42 00

44 207 531 12 77

Gyorgy Kovacs

36 28 51 66 15

36 28 51 66 16

Anders Nilsson

46 493 130 40

46 493 121 20

Enrico Steijn

31 79 343 5353

31 79 343 5354

Kurt Sperisen – International Ambassador 41 19 10 51 50

41 19 10 38 66

Nigel Steffens – General Secretary

44 1737 22 53 21

44 1737 24 07 70

Frazer Chesterman – Exhibition Director 44 1737 22 97 26

44 1737 24 07 70

Val Hirst – FESPA Magazine Editor

44 1159 81 81 99

44 1623 88 23 98

ESMA board Rudi Röller – ESMA Chairman

49 62 22 57 80

49 62 22 57 82 00

David Parker

44 12 35 77 11 11

44 12 35 77 11 96

Pedro Rodriguez

34 944 02 27 47

34 944 71 11 82

Eckhard Napp – TDS Ctee Chairman

49 21 53 71 901

49 21 53 71 917

Sem Seaborne – HSEP Ctee. Chairman

44 12 35 77 11 11

44 12 35 77 11 96

Heinz Brocker – IA Ctee. Chairman

41 71 24 28 686

41 71 24 28 989

Bryan Collings – General Secretary

44 12 27 28 25 73

44 12 27 28 25 74

Ralph Roschlau

49 71 41 69 11 26

49 71 41 69 11 03

Daniele de Rosa – EPP Ctee. Chairman

39 03 19 711

39 03 19 33 392

Bob Watson – Digital Ctee. Chairman

44 1843 87 21 10

44 1843 87 21 26

FESPA secretariat 44 1737 22 97 23

44 1737 24 07 70

Michael Ryan – Sales Manager, FESPA 2005 44 1737 22 97 27

Mandy Goldfinch – PA to Nigel Steffens

44 1737 24 07 70

Karen Bentley – Operations and Marketing 44 1737 22 97 25 Manager FESPA 2005

44 1737 24 07 70

Ken Chan – Accounts Department

44 1737 24 07 70

44 1737 22 97 24

Secretaries of FESPA national associations


Fax E-mail / Website

Franz Kimberger


43 15 12 66 09

43 15 13 28 26 19

Isabelle Lefebvre


32 25 12 36 38

32 25 13 56 76 /

Eugeny Ivanov


35 96 082 39 48

35 96 082 39 48

Mirjana Bjelan


38 51 45 52 327

38 51 45 52 327

Vladimir Havel

Czech Republic

420 723 07 02 22

420 485 35 31 13

Finn Obbekaer


45 63 12 70 00

45 63 12 70 80 /

Regina Aas


35 89 71 72 99

35 89 73 84 52

François Faurien


33 1 47 20 33 46

33 1 49 52 01 47 /

Torben Thorn


49 611 80 31 15

49 611 80 31 17 /

Kimon Papas


30 210 52 39 41 6

30 210 52 48 23 7

Janos Buranyi


36 28 51 66 15

36 28 51 66 16

Giuseppe Scozzi


39 06 44 18 82 71

39 06 44 24 95 15

56 FESPA WORLD 03/04


Marius Gort


31 20 5 43 56 78

31 20 5 43 55 35 /

Jon Halvorsen


47 33 07 15 30

47 33 07 15 31 /

Wojciech Kwinta


48 12 29 60 385

48 12 65 60 132 /

José Carragosela


35 12 18 49 10 20

35 12 18 43 87 39

Marius Codirla


40 264 19 71 39

40 264 19 71 39 /

Artem Nadirashvili


7 09 53 65 38 96

7 09 52 32 18 66 /

Dusan Golubovic

Serbia and Montenegro 38 11 63 21 23 49

38 11 13 61 50 23


Ludovit Bartos


42 1 32 74 43 589

42 1 32 74 43 589 /

Mateja Skrl


38 65 36 66 010

38 65 36 66 022

Pablo Serrano Cobos


34 91 307 74 44

34 91 307 76 08 /

Else-Britt Lindeborg


46 87 62 68 17

46 86 11 08 28

Walter Trösch


41 71 38 58 81 7

41 71 38 58 84 3 / Ibrahim Demirseren


90 21 22 22 83 30

90 21 22 21 69 46 /

Michael Turner

United Kingdom

44 1737 24 07 92

44 1737 24 07 70 /


1 70 33 8513 35

1 70 32 73 04 56

Other associations Mike Robertson

Magazine coupon for ordering Fespa World All members of FESPA receive this magazine every three months free. If you are not a FESPA member and wish to order a copy, the annual subscription for four copies, including postage, is €63.00. Please complete the following order form to ensure your copy for the future. The magazine is published in English with selected summaries in German, French and Spanish. Full translations are available on to members and subscribers. I enclose my cheque for €63.00 payable to FESPA for editions 36, 37, 38 and 39.

Future issues Issue 2 June 2004, Issue 3 September 2004, Issue 4 December 2004 (Block capitals please)

Name Company Address

Tel: Fax: Photocopy this sheet and send by post or Fax to: M. Goldfinch, FESPA, 7a West Street, Reigate, Surrey RH2 9BL, UK, Tel: +44 1737 240788 Fax: +44 1737 240770 FESPA WORLD 03/04 57

Before we were, now we are From screenprinting to image making! By Michel Caza, FESPA Past-President, ASPT Vice-President.

As my career in screen-printing began exactly 50 years ago, I have experienced a lot of changes to our small world – in fact, I may be responsible for some of them – and the "translation" of these changes into our everyday lives.

What has happened to us? We had the "good old times", the "before", until the beginning of the 90s when it was replaced by the "then", the new era that began when digital printing technology started to impinge on our kind, and gentle world somewhere between '94 and '95. Naturally, we were not always happy even during the "good old times". In France for example, we had six months without orders after May 1968, followed by the oil and silver crisis of 1974 and the advent of "socialist time" in 1981. But on the whole, life was simple and easy.

Before ...we were We were screenprinters, the magicians of image printing and the customer, from whom we maintained a healthy degree of independence, was responsible for creating artwork and separating films. The jobs we were asked to execute quite often fell into the 58 FESPA WORLD 03/04

Now… a lot of big, complicated multi-material and multi-process displays for POP.


strange and bizarre category and were usually those that would have been impossible to fulfil using other classical printing technologies. Our kind and precious customer bought the substrate himself and also sourced his own cutting tool manufacturer and cardboard specialist. All we had to do was to print the job and supply a proof for approval before it was sent to the finishing company or the billsticker. And that was it! We were simply the printers and our part in the comedy – or occasionally tragedy – ended the moment the printed product left our premises. If there were problems, as naturally there sometimes were, it was never our fault! Either the customer had chosen the wrong substrate, or the designer had no real idea of what he was doing! Of course, the films were usually made for offset, not for screen-printing and so if something was wrong in the finishing, it was nothing to do with us!

Now we are! Now, of course, we are fully responsible for everything that goes wrong and quite right too! Why? Well, we started to present ourselves as 'Image Manufacturers' and 'Full Service Providers' and naturally our customer no longer expects to get his hands dirty. Instead, he wants a Foreman who will take charge of all of the necessary processes from start to finish and, as is the tendency in Europe, one who will also guarantee the highest possible quality at the lowest possible price! Now we have to take care of the artwork and also have to manage what is often pompously referred to as "pre-press" including colour sepa-

ration and the overall treatment of the image. Of course, we also have to print (although this is now often the smallest part of the whole undertaking) and then we have to take care of all the "post-press" operations, another pompous neologism that simply means finishing, packaging and delivery. This is okay if you manufacture and print simple objects. But let us suppose, as is the case with my company, that you are specialists in something like multi-purpose point of purchase materials and displays, then the hell really begins! It is now our responsibility to help the customer select the most appropriate material and advise on the best shape, style and design. We are no longer just screenprinters we have become 'multi-process' specialists and even have to decide which process to use: screen, digital, tampo, offset, flexo-printing. Our dear customer does not care which technology we use – all he wants is a printed image that will help him to sell his product so we have to decide which method offers the best options, depending on the quantity, material and application involved. And then there's finishing. We may have to call on a number of different facilities and specialities and organise delivery all over the world. Of course, even the biggest and smartest amongst us seldom have all of these resources immediately to hand which means that we must engage and manage subcontractors and ensure that they meet the necessary quality requirements and time scales agreed. And if any of these outside arrangements fail for any reason at all, then of

course it is our fault and we are fully responsible to the customer! Further, all of this has to be achieved on a veritable 'shoestring'. At the same time, we are required to work within the boundaries set by international quality assurance regulations and an ill-conceived law that restricts the working week to just 35 hours! Either life has become a lot more complicated or I am getting old, but this complexity is a fact that we all have to face and accept or disappear!

Are we happy with this? We can be, if we accept that life changes, technologies develop and that things become simpler, yet more complicated at the same time. Before, we had to be a lot more creative; to invent technologies that didn't exist to deal with applications that were seemingly impossible. Materials and equipment that are now in common usage throughout the world were not that easy to find years ago. I am thinking of everything such as nylon, polyester, direct emulsion and capillary films, polyurethane squeegee blades, UV technology, multi-colour presses, DTS, direct projection, IMD up to the UV flatbed piezo inkjet. We faced a lot of challenges but it was exciting and we can now think of ourselves as pioneers, and be proud of the fact that thanks to our efforts, our simple craft has become much more complex and valuable. Now Screenprinting is regarded as a proper profession and we are properly recognised as the "Foreman" in this big world of Visual Communication. And that's great!

Fespa World Issue 35  

Fespa World Issue 35

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