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The Magazine for Digital & Screen Printers

SEPTEMBER 2004 VOL.14 / NO.37 â‚Ź15

Fespa World incorporating European Screen Printer & Digital Imager Translations available at www.fespaworld.com

The gold standard Thieme has set a new industry benchmark for innovation and reliability Plus The big story: Screen & digital stateside Photo magic: A new niche for digital printing


Fespa World

NEWS ROUND-UP

4 SUPPLIER NEWS The latest supplier news.

Editor’s letter Since this issue of Fespa World is destined to reach a wider circulation than usual, due to the fact that it is going to be distributed from our stand at the SGIA exhibition in Minneapolis, I'd like to take the opportunity to welcome our new American readers, whilst also expressing the fervent hope that the magazine will provide them with some interesting insights into the European market. Conversely, European readers will be able to glean some insghts of their own on how screen and digital printing are progressing in the States, by reading the Big Story on pages 28-32, which includes articles from Bob Linck of Sericol Inc and David Eissenbeiss of Kiwo Inc., together with news on the formation of NASMA, a new association for the manufacturers of equipment and materials. I have no doubt that readers of all nationalities will enjoy Michel Caza's report on the recent Screenprinting show in India, as well as his shrewd observations on the way screen and digital technologies are moving on the sub-continent. However, the feature I want to urge everyone to read is the new Fespa Forum on pages 26-27. This contains two letters in response to Stewart Partridge's Opinion piece in the last issue and will, I hope, be just the first of many such similar debates that will unfold on these pages over the next several issues. Please keep your letters coming!

6 WHAT’S NEW IN

SPECIAL FEATURES

28 THE BIG STORY Screen & digital stateside The latest news in the American screen and digital sectors.

SCREENPRINTING

12 WHAT’S NEW IN DIGITAL PRINTING

18 ASSOCIATION NEWS The latest association news including FESPA diary dates.

20 WEB WATCH A new regular feature looking at some useful sites for anyone working in the area of screen and digital printing.

21 DIARY DATES

34 FACE2FACE The gold standard Val Hirst goes Face2Face with Peter Geiger, Director of Thieme’s Screenprinting Division to discuss the company’s development so far and it’s plans for the future.

22 FESPA NEWSLETTER FESPA 2005: Back to work! Now the summer is over, the hard work resumes.

38 SHOWCASE OPINION

26 FESPA FORUM Views and comments. Why not add your voice to the debate.

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

42 FOCUS ON… Membrane switches

INFORMATION

Val Hirst e-mail: val.hirst@fespa.com

50 EVENTS Big events in Bombay

Fespa World The membership magazine of the Federation of European Screenprinting Associations Vol.14 / No.37 September 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: info@fespa.com www.fespa.com Publisher Frazer Chesterman – Director Tel: +44 1737 24 07 88

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: val.hirst@fespa.com Graphic Design Bate Brand Communications 8 St Leonard’s Square, Wallingford Oxfordshire OX10 0AR Tel: +44 1491 835835 www.batebrand.com Printing The MANSON Group Ltd Reynolds House, 8 Porters Wood Valley Road Industrial Estate St Albans, AL3 6PZ Tel: +44 1727 848 440 www.manson-grp.co.uk

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.

Michel Caza shares his experiences of Screenprint India and his insights into the growth of both screen and digital technologies in India.

46 PHOTO MAGIC A new niche for digital printing.

54 INNOVATIONS The best jumbo scanner I ever saw! Measuring the level of curing in UV printing

AND FINALLY…

58 Don’t believe everything you read

Cover photograph: Magnus Mighall from R.A.Smart and Trish Belford from Belford Print. FESPA WORLD 09/04 3


Multiformula.

Giuseppe Butti.

NEWS ROUND-UP – SUPPLIER NEWS

Formation of Siasprint UK Speaking at the official opening of the company's new AngloItalian company, Siasprint UK which is based in Leeds, Butti welcomed the company's two principals, Paul Waterton and Jeff Turley, Directors of Registerprint, and also of Vision Supplies which is one of the UK's most successful suppliers of Chim Screen Cleaning products and other consumables. "Having spent virtually all their working lives in the screenprinting

industry, Turley and Waterton have extensive knowledge of customer requirements, market trends, legislation, ever shortening lead times and all the other pressures which face screeprinters today", reports Butti. He adds: "They also have the right market knowledge to make Siasprint UK a real success." Another addition to the Siasprint UK team is Chris Mabbott, who is responsible for technical sales.

The Siasprint range of presses, dryers and curing units, currently the widest on the market, are used by companies operating within the graphics, textiles and glass printing industries. Specific applications include POS, displays, indoor and outdoor signage, graphics, metal decorating, overlays, membrane switches, aviation, touch panels, instrumentation clusters and other automotive components, textiles, footwear and packaging.

Paul Waterton and Jeff Turley.

"The UK market is one of the most important in the world to Siasprint", asserts Giuseppe Butti, Managing Director of the Italian manufacturer of screenprinting machines and drying and curing units.

OYO Geospace acquires Graphtec printheads OYO Geospace, the parent company of OYO Instruments, has announced the signing of a definitive agreement to purchase the thermal printhead division of Graphtec Corporation located in Yokohama, Japan. The effective date of the purchase is October 1, 2004. The Yokohama facility will be relocated to the new 215,000ft2 4 FESPA WORLD 09/04

Houston facility of OYO Geospace during the first calendar quarter of 2005, a move that will include the Graphtec Printhead Division's engineering and manufacturing staff. "This is an exciting time for OYO," states Lance Heap, Vice President of OYO Instruments. "While acquiring the technology to manufacture our own thermal

printheads, OYO is investing into a rapidly growing technology that will effectively help us to diversify our business. OYO will continue to manufacture thermal printheads for both its own use and that of other companies who are currently consuming these products in their printer manufacturing. Additionally, it also gives us the opportunity to manage devel-

opment of future products." He continues, "Bringing into one fold the development and manufacturing teams of thermal film, thermal printhead, and thermal printers offers OYO a unique opportunity to control all attributes of our product offering, which in turn will allow us to impact upon various segments of the thermal printing marketplace."


SUPPLIER NEWS

VUTEk expansions VUTEk's PressVu UV 200/600 inkjet printer.

VUTEk has recently announced the appointment of two new distributors for its superwide format digital printers.

Arrow Systems, Inc., who currently distributes VUTEk machines throughout India and its neighbouring countries, will now also be spearheading the company's sales efforts in Southeast Asia, Australia, and New Zealand. With headquarters in New York and sales support organisations in over 200 countries around the world, Arrow Systems has been serving the signmaking equipment and materials sector for over 25 years.

Gary Wu, VUTEk's Managing Director of Asia Pacific Operations comments, "Arrow Systems is a highly-professional organization that has been doing a great job for us in India and its surrounding areas and we are delighted to be able to expand the relationship to cover additional territories". At the same time, VUTEk has also announced that Nazdar will become VUTEk's exclusive North American distributor to the screen printing market. Scott

Schinlever, VUTEk's Vice President of Marketing said, "Nazdar is the ideal partner for VUTEk in the screen printing sector since it has built a reputation for providing high-quality products during its 90 years in the industry. We fully expect that this arrangement will open new doors for VUTEk, while adding a great deal of value to the industry in terms of helping screen printers adopt digital superwide technology."

New funding finances Arccure UV systems Arccure Technologies GmbH, a provider of pure UV systems has revealed that it has secured new funding totalling â‚Ź5.5M. The money, which is being provided by a new lead investor, Partech International together with existing investor 3i, will enable Arccure to take full advantage of the significant growth opportunities in new markets and applications. Currently Arccure is considered to be a market leader in the optical storage media sector but anticipates that its new funding will now help it to move into new areas including graphics, electronics, tapes and labelling and automotives.

Pacific Coast Fabrics becomes a Dupont partner DuPont Ink Jet has announced the appointment of California based Pacific Coast Fabrics, Inc. as a DuPont Artistri marketing partner for its DuPont Artistri digital printing for textiles system. The system consists of three components: the DuPont Artistri 2020 printer, a roll to

roll machine, which prints on to a wide variety of different fabrics and can be used for sampling, strike off or short run applications, together with complementary ink and software. The system is supported by a world-class global service and support team, which provides product, application

and consulting services. DuPont Artistri marketing partners are a select group of industry leading textile suppliers whose offerings complement the DuPont Artistri portfolio of products for digital textile printing. Pacific Coast Fabrics, Inc. is a speciality fabric converter and supplier with a mill in Gardena,

California and is licensed to pretreat fabrics with the DuPont Artistri pre-treatment solutions for use with the DuPont Artistri digital printing for textiles system. Pre-treated or untreated fabrics can be ordered from stock and can also be applied to customer-supplied fabrics when required.

Sefar and Leguay join forces for the future

Sefar AG, a leading international company for screen printing and filtration applications, has acquired Leguay SA, its long standing marketing partner in France, in a retrospective deal that takes effect from 1 January 2004. To ensure continuity, Leguay SA will continue to be run by its established management team, led by Martine Leguay.

"Thanks to synergies and a uniform presence, Sefar and Leguay are set to become a considerably stronger and more efficient combined force in future", commented Dr. Roland Stählin, Managing Director of the Sefar AG Printing Division. "Our policy of sustained, profitable growth will continue, based on core competencies in product

innovation and excellent customer service." Martine Leguay, CEO of Leguay SA, is similarly convinced. She says: "Merging with Sefar means an assured future for Leguay SA. Moreover, Sefar's international experience and know-how promises to add further dynamism to our business, and that will in turn benefit customers." FESPA WORLD 09/04 5


Sefar sets out its stall The Sefar Group will be showing its entire range of innovative meshes and accessories at Technargilla this Autumn.

These will include the Rotacombi mesh, which is made of polyester and polyamide monofilaments and has been specifically developed for rotary ceramic screenprinting. Its key features are an extremely high resistance to abrasion, improved emulsion adhesion and high stencil flexibility. Customer benefits include 50 to 100% higher print runs, lower stencil costs per print order, fewer machine dead times and enhanced process reliability, thanks to more flexible stencils when printing on uneven surfaces.

The Rotacombi mesh – perfect for ceramic screenprinting.

The Sefar 3A stretching system.

NEWS ROUND-UP – WHAT’S NEW IN SCREENPRINTING

Another product on show will be Sefar Pet 1500, which features a special surface treatment that simplifies the stencil manufacturing, leading to significantly higher quality printing results. The mesh is already degreased and, depending on the working conditions, a new screen can be coated directly, without a rinsing process. The adhesion of the stencil material is improved, resulting in a longer lifespan for the stencils and the optimised ink release produces a uniform

ink deposit, which in turn yields high-quality printing and fewer ghost images. A complementary product is the new Sefer 3A stretching system, which is the only product in its class with a lifting function. The mesh is raised during the stretching process, preventing unwanted frictions between the frame and the mesh, which is stretched more uniformly with minimal risk of tearing. For further information visit: www.sefar.com

Nor-Cote launch new PTX series ink Following an intensive testing program, Nor-Cote has launched its new PTX series ink, which has been specially formulated to print on top coated polyesters, polycarbonates and polycarbonate blend films. The testing program has been supported and endorsed by many substrate and adhesive cosuppliers over the last year and has surpassed all other UV and most solvent inks for adhesion, flexibility and adhesive resistance performance. The net result is that the industrial graphic printer can now use one ink for all of his printing requirements.

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One of the PTX ink's main advantages is its exceptional intercoat adhesion characteristics, especially when printed onto polyester films. The PTX ink series also has more opacity and faster cure speeds than all other UV industrial graphic inks designed to print on polyester or polycarbonate. The PTX is NVP free and VDA compliant and meets all regulatory requirements globally. The Launch of the PTX series complements Nor-Cote's total solution product offering, which also includes a full range of UV textured varnishes, UV filter

colours, UV graphic inks, UV conductive silvers, UV screen printing adhesives especially developed by 3M and a full range of UV electroluminescent inks. The company has also introduced Nor-Cote IM (In Mould Decoration) UV ink which offers excellent formability, temperature stability and wash out resistance when used in conjunction with appropriate tie-coats. This ink cures at high speed and has excellent opacity. Nor-Cote NBW ink has been especially developed to be used in conjunction with digital inks,

specifically the Indigo system, although it works equally well with many other systems. The NBW can be printed on top of the digital ink, thus providing excellent opacity, flexibility and switch actuation life and of course, adhesive resistance. The NBW complements both the screen and digital processes and enables printers to integrate the two systems with confidence. For a FREE interactive guide to UV inks, which contains more than half a gigabyte of information, hints and tips visit: www.norcote.com


WHAT’S NEW IN SCREENPRINTING

Perfect stencils every time Autotype has launched a range of new tools, called the Caplicator Program, for use with its Capillex film range. Designed to improve profitability and maximise output, the new tools simplify stencil making and reduce dust entrapment to ensure that perfect Capillex screens are produced every time. The Caplicator Program comprises four main tools: a mounting board for small (CD size) sheets of film; a film cassette for mounting medium to large screens; a 'bolt on' adaptor for automatic coating machines; and a dispenser for rolls of film. The mounting board incorporates precision angled edges to ensure bubble free application and is particularly suitable for CD stencil making.

The larger Caplicator mounting cassette is available in five widths, from 45cm to 122cm, and has been developed to make it easy to mount larger screens precisely and consistently. The unit enables rolled film to be held safely within the lightweight cassette until it is applied to wet mesh and features a built-in dust wiper to remove any surface contamination that may have been collected. The Auto Caplicator is designed to enable the Caplicator to operate effectively on automatic coating machines. This unit can be retrofitted to virtually any twin tower-coating machine in place of a print-side trough and is simple to fit and operate. As there are no electrical or air connections, it only takes a few seconds to change from emulsion to film mode, allowing printers to use the most appropriate stencil system for each print job. The final tool within the Caplicator Program is an Auto Dispenser, which enables the printer to roll off exactly the right length of material for each

screen. The unit uses a standard 10m roll of film, which is held within a cassette ready to be rolled off onto a core, and features a built-in counter to

ensure that the correct film length is measured. For further information E-mail: screen@autotype.com or visit: www.autotype.com

Quick change machine from Isimat Visitors to the K exhibition, which takes place in Dusseldorf in October, will be able to see Isimat's newly enhanced version of the TS 6090, first hand. This six-colour screenprinting machine is designed to print on to both the flexible plastic tubes used for cosmetics and personal care products and onto plastic cartridges for glue and durable elastic sealants. The machine has a production speed of up to 90 tubes/minute. The TS 6090 has been a major success since its introduction in

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2000, when it set a new benchmark for production speed and print quality, in particular colour to colour registration. Now the focus has shifted to reducing changeover times, increasing flexibility, and improving handling of thin walled tubes. Isimat's ISI-Star UV drying system maximises UV power during drying, whilst keeping the average power output low to prevent a build-up of heat in the tubes during their path through the machine, thus eliminating

the printing problems which can occur in thin-walled tubes. An innovative differential drive for the screens reduces changeover times when the machine is set-up for another tube diameter. Screen strokes and speeds of all printing stations are matched to the tube diameter by a single adjustment of the drive. Gear wheels are not required at the printing stations and therefore the time normally spent changing them is effectively saved. The tube diameters can vary in steps of 0.1mm within a range of 13–60mm.

An intelligent positioning system reduces the set-up time required for tube orientation relative to a thumb recess in a cap or a printed mark. The sensor is mounted above the centre line of the orientation station and the operator at the touch screen can set angular advance or retard. The value can be stored in the job memory and is available for recall and automatic machine pre-setting during set-up for a repeat job.

For further information visit: www.isimat.de


Saati up the tension The new Top 14 SaatiPrint Clamp provides optimum pneumatic screen tensioning from small to extremely large format screens. This highly advanced, yet easy to use system achieves the highest recommended tensions more uniformly, without over-tensioning the corners and provides the greatest stability of any system available. Amongst the most notable features are the independent or simultaneous warp/weft tensioning capability. In addition, its unmatched, patent-pending 'moveable' design pre-stresses the frame whilst simultaneously eliminating mesh contact with the frame surface during stretching. This specialised 'non-contact' stretching eliminates any hazardous friction, uneven

tensioning or resultant tears caused by stretching the mesh in contact with rough or uneven frame surfaces. The longer 5.5" stroke per clamp allows for 11" of total stretch in each direction. A special pneumatic action allows the fabric to be tensioned above the frame for stretching, while pre-bowing the frame. Once the desired tension is achieved, the mesh is lowered into contact with the frame for adhesive application. Further, there is no potentially damaging metal-to-mesh contact, as is common with other systems, during the stretching process.

The lower jaw contains a large polyurethane gripping surface, whilst the upper assembly is constructed of lightweight alloy that houses cylindrical polyurethane sections for safe, slip-free tensioning. The Top 14 SaatiPrint clamps feature a uniquely designed modular plug-in system for easy set-up in minutes. Each clamp's four airlines are bundled securely in a protective tube at the end of the lines, the male connectors snap easily into quick disconnect ports in the manifold and into the clamp itself. The system's manual control

panel is ergonomically designed and allows continuous non-incremental adjustments on demand. All pneumatic connections offer quick release for rapid frame size changeover and system expansion. Further advantages include the superior safety features. The clamps' angled design helps prevent them from overturning or jumping under high tension. In addition, a metal pin at the front of the clamp anchors it under the frame in case the fabric tears. The entire clamp body is covered to prevent fingers, clothing, etc. from getting caught in the moving parts.

TECHNICAL FEATURES

DIGITAL CONTROL PANEL

• Internal components extruded in aluminum, lateral parts in ABS, head and back in composite nylon • Two versions are available, 10" (250mm) and 6" (150mm) • Independent pneumatic control for both horizontal axis • 5.5" stroke length • Vertical axis with a range stroke of .4" - 1.25" (10.5mm - 31mm) of run • Maximum tension: 60 N/cm • Delron guides greatly reduce friction during the stretching process – smooth operation • Adjustable frame support to fit ESMA standard • Electronic control panel option equipped with LCD display • Blue and Grey color • CE compliant

• Independent unit has an advanced, ergonomic design • Plug and play • Panel equipped with membrane switches, LCD unit and emergency push button • Two independent axis controls available • Three operating modes: manual mode, semi-automatic mode (pressure control), automatic mode (pressure control, tension control axis)

BENEFITS • Higher tension, longer stroke than its predecessor • Tension from small frames to extremely large frames • Very high degree of repeatability • High reliability, easy maintenance • Compatible with current manifold lines and control panels • Easy removal of adhesive from the surface

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TECHNICAL SPECIFICATIONS Weight: 26 lbs. Total length: 24.5" Length from frame push plate: 18.9" Piston run: 5.5" Air: 95-100 PSI (dry air line required) Jaw widths: 10" (standard clamp type), 6" (clamp type A) Clamp to manifold airlines: Length of tubing from clamp to manifold is 10ft. with quick connections at both ends Table top length required: frame outside dimensions plus 42" in both directions


NEWS ROUND-UP – WHAT’S NEW IN DIGITAL PRINTING

Encad optimise media range Encad has recently launched two new media, Kodak Water-Resistant Removable Vinyl and Kodak WaterResistant Scrim Banner, to its portfolio of Kodak Wide-Format Inkjet Media. Both are suitable for use for a wide variety of indoor and outdoor applications including retail signs, point of purchase displays and exhibition graphics and can be used in conjunction with all of the leading wide format inkjet printers currently on the market. Kodak Water-Resistant Removable Vinyl, is a calendered

vinyl with a pressure sensitive, removable, repositionable adhesive, designed for both indoor and outdoor displays, which can easily be removed within six months of original application, without leaving a sticky residue or damaging the surface. Added benefits include excellent water resistance and light stability, which enable it to

be used successfully for both indoor and outdoor applications. Kodak Water-Resistant Scrim Banner is a truly universal product which can be used in conjunction with both thermal and piezo inkjet-printing systems. Manufactured from a tear-resistant polyester fabric, embedded between two layers of

calendared white vinyl, the polyester scrim centre creates a 'blockout layer' providing 100% opacity. It also provides a bright white base to facilitate excellent colour reproduction, exceptional water and tear- resistance and can be sewn, grommeted and draped as required. For further information visit: www.kodakmedia.com

Sericol launch advanced Colour+ inks Following strong customer-lead demand, Sericol, has introduced Color+, a solvent-based piezo drop on demand ink suitable for use with the broad range of wide and superwide format flatbed digital presses on the market. Specially formulated for use in roll-fed digital presses and aimed at the inks after-market that is often poorly served by suppliers Color+ is unlike other solvent based ink systems in that the pigments stay in solution longer, thus eliminating the need to shake or adjust viscosity before

use. It was designed to complement Sericol's Uvijet UV curing digital inks range Uvijet, and offers maximum productivity benefits to users of solvent-based digital presses. The Color+ series has a range suitable for most of the leading makes of roll fed digital presses

currently available, including those from Oce, Mutoh, Vutek, Scitex, Nur and Idanit and it is already performing to the highest standards in more than 100 presses. For detailed information E-mail: tudor.morgan@sericol.com

not require an inkjet coating. Suitable for short-term outdoor applications, two of the vinyls are available as a matte and a gloss finish with a permanent clear adhesive; while the third is a gloss with a permanent grey

adhesive for applications where preventing the substrate from showing through the graphic is important. For further information visit: www.sealgraphics.com

Enlarged range of economy vinyls from Seal Seal Graphics, has expanded its range of economically-priced vinyls with the addition of three new products. Each one is a white 80 micron monomeric vinyl that has been designed for use with solvent printers that do

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WHAT’S NEW IN DIGITAL PRINTING

J-Teck set for global domination Italian based ink manufacturer J-Teck is planning to complement its best selling digital sublimatic ink, 'J-Subly', with further digitally focused products and wider market penetration. Already the company has formed strategic alliances in Australia, America and Brazil. In addition to 'J-Subly', its product range currently includes J-Flag, a disperse dye ink suitable for direct printing, J-Acx, an acid dye

ink, J Rex, a reactive dye ink and a software program Subly Spot Colour (SSC) which helps printers to achieve optimal colour management. Its most recent innovation is J-Feeder, a bulk ink feeder system that can be retrofit-

ted to all of the leading makes of digital printer and which cleverly delivers a sterile supply of ink and consistent ink pressure to the print heads. The inks are supplied in clear one litre plastic bottles, which can be changed

'on the fly' without disrupting work in progress. As well as providing greater productivity, this system is also highly cost effective too. For further information visit: www.j-teck3.com

ColorGate introduce expandable RIP Productionserver4, the next generation of the successful ColorGate LFP production software, which is now available in two formats, Select and Pro is a flexible and cost effective production software, which helps printers to achieve output of a consistently high quality. Thanks to the redesigned user interface, both novice and experienced ColorGate users will find

this latest edition of the software reassuringly easy to use. Thanks to its modular format, features such as job and colour management can be added when required, in line with the user's level of expertise and the type of applications he is working on. This also makes the software very cost effective. Of the two versions available, Productionserver4 Pro is a high-

testing site in Switzerland samples have endured 10 months' exposure without sign of deterioration. Folex has chosen a 180 micron bright-white polypropylene for its new waterfast banner media because of its outstanding opacity and flexibility. Being far less stiff than polyester, it hangs much more naturally; yet it is dimensionally stable and sufficiently tough to be eyeleted or grommeted.

Ideal for one-off and short-run promotional banners where colour vibrancy and lightfastness are pre-requisite, Folajet PP-WO is compatible with all current piezo and thermal ink jet printer models from Encad, Epson, HP, Mimaki, Mutoh, Roland and Seiko. For internal applications, it can be printed as successfully with dye-based as with pigmented inks. For further information visit: www.folex.com

Let it pour! Folex has introduced Folajet PPWO, a new banner material made from soft, flexible polypropylene with a quickdrying ink-receptive top coating which has been newly developed by Folex to render images virtually waterproof when printed with pigmented inks. Certainly, kitchen sink tests show that printed images are totally smear-proof when immersed in water – whilst at the Folex outdoor product

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end production tool, and thus contains all of the optional select features that would be demanded by print professionals, whilst Productionserver4 Select is the more economical beginners' option which provides sufficient features for the user to produce saleable prints. For further information and prices visit: www.colorgate.com


The Scitex Vision XLjet+ series is available in widths of 2, 3 and 5m.

WHAT’S NEW IN DIGITAL PRINTING

Scitex Vision XLjet+ offers even greater versatility Scitex Vision, has announced the expansion of its XLjet 3+ range of printers. The Scitex Vision XLjet+ 3m printer is now available in four and six colours as well as in the existing eight-colour version. Additionally, upgrades from four colours to six colours, and six colours to eight colours are also available, thus extending both the versatility of the printer and its working life. These new models complete the XLjet+ 3m range and make the Scitex Vision XLjet+ the only machine in the world to offer four, six and eight colour options as well as the only one to offer upgrades in all models up to eight colours. Designed to extend the superior capabilities of the existing Scitex VisionXLjet+ 8C printer, the new 4C and 6C models provide costeffective solutions for companies entering the market or expanding their services. "We believe that the addition of the extra models will take the Scitex Vision XLjet+ into more market segments, and firmly establish it as the standard for high-quality three-metre printing 16 FESPA WORLD 09/04

applications," comments Itai Halevy, Scitex Vision's Executive Vice President and Chief Marketing Officer. The Scitex Vision XLjet+ series is available in widths of 2, 3 and 5m (7.2, 10.5 and 16.4ft), facilitating high quality print with a level of substrate versatility not possible before. Suitable applications range from indoor applications where high print quality is required, including double-sided and backlit applications, billboards, floor and window graphics and vehicle wraps. There is a wide choice of suitable substrates to chose from, including flex, banner, canvas, Tyvek, textiles, paper and vinyl. The official launch of the new XLjet+ printers took place at Viscom Europe, in Paris, during September, on a stand, which also featured the Scitex Vision GOjet, which was making its European debut. The GOjet offers the lowest priced entry to the market of any four-colour wide format industrial printer in the world and was thus

the focus of much attention during the show. It is a four colour, three metre, cost-effective machine, designed for both large and small scale printing houses and sign shops that specialise in outdoor super-wide format applications. The GOjet is ideal for billboards, banners and wall mural production. Its user-friendly software accepts different file formats and input resolutions, and incorporates the market-leading Onyx PosterShop RIP. It is a closed system, ensuring optimum conditions for the self-cleaning print heads to deliver high quality results. The system can reach print speeds of 701ft2 per hour. printing at up to 370x370dpi on substrates such as canvas, mesh, vinyl, fabrics, paper and more and the free fall output allows the printed media to fall freely, or be cut or collated on a collector, thus further increasing production capacity while reducing the time between printing and finishing. The GOjet is a multi-roll system that can image on two

rolls simultaneously, even while using narrow media, saving time and increasing capacity. The 'Skip White' function also enhances productivity by shortening the print time of images that include a large white area, an important feature when printing huge banners and backdrops. Lilach Sapir, Scitex Vision V.P. Marketing Graphic Arts Products, concludes: "The Scitex Vision GOjet is the perfect printing solution for creating billboards, fleet graphics, bus stop and other outdoor super-wide format applications. Whether the customer is an entrepreneur new to the super-wide format market, an established print house looking for a cost-effective way to increase printing capacity, or an established indoor signage producer wishing to add outdoor signage printing capability, the GOjet will meet their needs and budgets." For further information on Scitex products contact: www.scitexvision.com


From left to right: Chris Smith (director), Colin Gillman (press officer) and Mike Turner (director).

NEWS ROUND-UP – ASSOCIATION NEWS

SPA presses ahead The UK Screenprinting Association (SPA) has appointed Colin Gillman to the role of press officer. His brief is to raise the profile of the screen printing industry and to build awareness of the benefits of SPA membership to a wider market.

d

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Gillman, who joins the SPA in an independent capacity, runs a successful public relations and marketing consultancy serving the printing industry, with clients such as BASF, Litho Supplies, Gammerler and Shuttleworth Business Systems. One of his first objectives will be to develop a communication channel for the SPA to promote its activities to its members, and to help the membership to undertake a broader range of marketing and promotional activities, either from a printer or a supplier's perspective. Additional plans include promoting further advice to

screen printers on the wider aspects of health and safety and environmental issues, along with widening the appeal of the benefits of modern digital production techniques. SPA Director Michael Turner comments: "Colin has extensive knowledge of the printing and graphics industry. We have worked for years to make the SPA what it is today, and the only thing we don't do very well is to blow our own trumpet! Notwithstanding that, the SPA is now one of the best screen printing trade associations in the world and we feel that it is time that we began to really build our

profile and to get our messages out into the wider market." Colin Gillman has the benefit of 28 years industry experience, having started as a platemaker before moving into print management and then to a marketing position with the graphic arts company Agfa. Prior to his move to industry public relations, he spent several years in paper merchanting with the Robert Horne Group as Southern business development manager. He has extensive knowledge of the UK, European, US and Asian Pacific graphic arts markets gained through his work with his many international PR clients.


ASSOCIATION NEWS

New initiatives from Aedes

Tempting Training Opportunities The Spanish Screenprinting Association, Aedes has announced a number of new initiatives. The first relates to the legislative changes to training programs that are designed to enhance and improve the qualifications of those working within the printing sector. In future, members of Aedes will be able to enjoy a special cost reduction when they arrange such courses through the Association, thanks to an agreement it has recently reached with the training organisation, Servalia. Servalia operates a number of modular courses, which can be delivered in a variety of ways. Aedes members can chose from either full and part-time courses, which can either be delivered on site or at a distance via the internet. Thanks to their modular format, the courses can be individually tailored to suit the specific needs of each participating company, according to their particular area of application. This new concept was recently unveiled at a series of Technical Workshops held in Barcelona and Madrid and received an extremely enthusiastic response.

Export without Tears Ever conscious of the increasing number of international export opportunities, Aedes has devised

a special Export Plan designed to enable its members to make the most of such opportunities in the future. Association Secretary Pablo Serrano Cobos explains: "In our view, exporting is not merely an option, but an obligation, although sadly, at present, only 6% of the total turnover of our member companies is due to exports. We are aware that very often the amount of complicated paperwork and bureaucracy which surrounds the whole exporting process is very offputting and acts as a deterrent. Therefore, our Plan has been devised to counter this and to guide companies around all of the potential pitfalls as well as to help them identify the most appropriate new markets for their products and services." He continues: "Not only should companies regard export as another source of revenue, although of course it can be an extremely lucrative one, they should also remember that frequent interaction with the international business community also helps them in other ways too. For example it provides them with a window on the wider world and helps them to keep in touch with all of the latest developments within the screen and digital sectors." This year Aedes has commissioned a special foreign

markets survey to determine where future opportunities might occur, whilst simultaneously funding two study missions in France and Brazil, which it hopes will demonstrate the scope available in two very different market places. It is also working closely with a handful of selected companies and will trace their progress over four years, using their experiences to provide a blueprint for success that other member companies can follow in the future. Its findings will be recorded in due course.

Aedes Zaps Bad Debts Bad debts will soon cease to be quite such a worry for the Aedes members following the establishment of a Bad-Credit Database, which provides full information on defaulting companies and identifies those who are a bad credit risk. This information which is only available to Aedes' members is updated bi-monthly and provides them with a greater level of security regarding payment. For more details on any of these initiatives contact AEDES on Tel: ++91 307 74 44, Fax: ++91 307 76 08 or E-mail: aedes@asibnet.orgt. For more information on training courses contact Servalia direct on Tel: ++91 510 23 08

Febelgra schedules two events Febelgra, the Belgian Screenprinting Association has announced the dates for two events it is organising during the coming months. The first of these, a seminar entitled 'Efficiency in Management' will take place on November 25th and is open to all companies operating within the graphics sector. The second event, which is scheduled for l0th December, is a workshop especially designed for screen and digital printers and will cover such topics as 'The use of UV and solvent-based inks' and 'European Environmental Legislation'. Michel Caza will be on hand to share his expertise on a wide range of everyday screen

and digitally related subjects and in order that he can fully prepare his answers, Febelgra request that any questions be submitted in advance of the event itself. The workshop, which will run from 8.30am – 17.00pm will close with a debate entitled 'Screen and digital printing – complementary or conflicting technologies?' As well as providing a lot of useful and relevant information and an excellent opportunity for participants to share their opinions, ideas and experiences, the

workshop will also have its lighter side too. For those who wish to take advantage of it, there will be a chance for them to show off their prowess at gokarting, followed by a dinner which partners are also invited to attend. All in all, an action packed day is promised! For further information please contact Febelgra on Tel: ++02/512 36 38, Fax: ++02/513 56 76, E-mail: info@febelgra.be or visit www.febelgra.be FESPA WORLD 09/04 19


NEWS ROUND-UP – WEB WATCH

The increasing use of the internet as a business tool has spawned a plethora of web sites, many of which are highly relevant for anyone working in the area of screen and digital printing. In this new regular feature, Fespa World will be highlighting all of the latest sites, revisiting some old favourites, and inviting your nominations for sites which you have found to be especially useful. In this issue we introduce four new sites for you to add to your browser list. Folex support forum

Clean up with Solvitol

If you have any queries about where, when or how to use any of the 100 or so ink jet media products in the Folex catalogue, or would like to share your own tips or experiences on making the most of the diverse papers and films, the Folex Support Forum is the site for you. One of a clutch of interactive facilities in the newly re-designed Folex web site, the Folex Support Forum has been set up to promote a free interchange of information and ideas on largeformat ink jet print printing between professionals and enthusiasts, from all over the world. A central feature of the Forum is the free access to technical advice it provides to everyone who is prepared to register as a member. Questions posted on the Forum message board are directed straight to a panel of specialist 'moderators' appointed from within the Folex organisation, which is primed to respond with the required expert guidance at least within the same day. All questions and answers, plus comments from other Forum members, are then filed by topic, by member and by moderator to create an on-going archive of vital information and recorded experiences, which will be readily accessible in perpetuity to both members and casual browsers. Visit: www.folex.co.uk/FolexForum

Users of Solivtol cleaning products will enjoy the numerous features offered by the company's new website, which provides extensive information on Solvital's brands, products and services. Functions on the site include a full text search, together with a facility that enables customers to download technical information on a variety of Solvitol product areas. Solvitol has also incorporated a number of customerfocused features into the site, which ensures complete access and interaction with the company at all times. For example, the site operates an online customer request form that customers can fill in to obtain further information or request a call or visit from a Solvitol Account Manager. Latest news is also clearly presented on the site and there is an option for customers to join Solvitol's mailing list for direct updates and news. Visit: www.solvitol.com

20 FESPA WORLD 09/04

Spartanics offer a purchasing guide for printers Printers Worldwide can now access a comprehensive guide to high precision technology for die cutting, color matching, automated counting, and other automation for finishing printed products at the expanded web site of Spartanics, which

Folex support forum site.

Web watch

specialises in finishing equipment for printed products and packaging. The new site is designed to help printers gain a better understanding of the niche for high precision optically-registered equipment and to enable them to make more informed buying decisions. It also includes a comprehensive guide to Spartanics' products for die cutting, color inspection, automated counting, automated feeds, and related equipment, including complete user manuals, together with a library of published articles in five languages (English, French, German, Portuguese, and Spanish) on a wide variety of topics of interest to printers seeking effective finishing tools. Printers seeking ways to leverage their prior investments in finishing equipment can also access an index of applications to guide their future product line expansion. Visit: www.spartanics.com

New website for film and chemical products Autotype International has recently totally redeveloped its website to contain more comprehensive product details, supported by thorough technical and application pages in multiple languages. The new, simple to navigate layout features bold explanatory

menus and logical design making it easy to find the information required on Autotype's films and chemical products. The technical library currently consists of over 1200 documents in l0 languages and the entire site will be constantly updated with the latest developments and data sheets. Product information has also been upgraded to include more specialised sections: Display Graphics, Graphic Arts, IMD, Industrial, Optical Films, PrePress, Screen Films and Screen liquids. Each section contains an enormous amount of detailed information, beginning with an overview of the area and then segmented into more specific relevant products for each section, enabling designers, screen printers and technicians to make fully informed decisions on the appropriate product for their projects. The technical support section contains further product data and comprehensive instruction manuals in addition to safety data sheets and answers to frequently asked questions. Visit: www.autotype.com If you would like to nominate a site for inclusion please e-mail full details to val.hirst@fespa.com Meanwhile, don't forget that the Fespa site provides a wealth of useful information too! Visit: www.fespa.com


NEWS ROUND-UP – DIARY DATES

Diary dates for 2004/5

If you would like your event to feature on this page, please send full information via e-mail to Val Hirst at: val.hirst@fespa.com

SGIA

Screen Printing Awards 2004

Febelgra Seminar

Digital Textile 2005

6th-9th October 2004 Minneapolis Convention Centre, Minneapolis, Minnesota The annual US Screen and Digital Imaging exhibition. Organiser: Speciality Graphic Imaging Association Tel: 001 703 385 1335 Fax: 001 703 385 1339 e-mail: sgia@sgias.org www.sgia.org

21st October 2004 Stationers Hall, London, UK UK Awards for Excellence in Screen & Digital Printing Organiser: Screen Printing Association UK Tel: +44 1727 240 792 e-mail: info@spauk.co.uk www.spauk.co.uk

25th November 2004 Belgium Seminar organised by the Belgian Screenprinting Association entitled 'Efficiency in Management' Organiser: Febelgra Tel: +322/512.36.38 Fax:+322/513.56.76 E-mail: info@febelgra.be www.febelgra.be

3rd-5th March 2005 Radisson SAS Hotel, Berlin, Germany Organiser: Web Consulting Ltd Tel: +44 1235 821 771 e-mail: info@web-eu.com www.web-eu.com

Sign Spain - Visual Communication 7th-9th October 2004 Feria de Madrid, IFEMA Pavillion No. 4, Madrid, Spain The 17th Edition of Spain's comprehensive visual communication show. Organiser: Reed Exhibitions Iberia, S.A. Tel: +34 93 452 07 22 Fax: +34 93 45249 13 e-mail: rtorner@reediberia.com www.sign-viscom.com

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

Pro Sign 2004 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: pschmitz@reedexpo.de www.prosign.de

Sign Italia, Seriprint, GravoIncisoria Visual Communication 2004 4th-6th November 2004 Fiera Milano, Milan, Italy Arguably the biggest and best of all of the European sign related shows. Organiser: Brigitte Hunt - Reed Exhibitions Italia S.r.l. Tel: ++39 0744 400544 Fax: ++39 0744 403708 e-mail: viscomit@tin.it www.visualcommunication.it

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 www.messe-duesseldorf.de

Sign Istanbul 9th-12th December 2004 Tüyap Fair and Congress Center, Beylikdüzü, Turkey Exhibition covering all aspects of Visual communication Organiser: IFO - Istanbul Fair Organisation Tel: ++90(212)275 75 79 Fax: ++90(212)288 36 11 E-mail : ifo@ifo.com.tr www.signistanbul.com

Febelgra Workshop 10th December 2004 Belgium Workshop organised by the Belgian Screenprinting Association to cover a selection of screen and digital printing issues Organiser: Febelgra Tel: +322/512.36.38 Fax:+322/513.56.76 E-mail: info@febelgra.be www.febelgra.be

FESPA Secretaries Meeting tbc March 2005 London, UK Organiser: FESPA Tel: +44 1737 240 770 e-mail: info@fespa.com www.fespa.com

GlassCeramDeco 2005 30th May 2005 New Munich Exhibition Centre, Munich, Germany Organiser: Webconsulting

FESPA 2005 31st May - 4th June 2005 Munich, Germany The world's largest event for screenprinting and digital imaging. Organiser : Fespa Tel: +44 1737 24 07 70 e-mail: info@fespa.com www.fespa2005.com

FESPA General Assembly tbc Sept 2005 Slovenia Organiser: FESPA Tel: +44 1737 240 770 e-mail: info@fespa.com www.fespa.com

FESPA WORLD 09/04 21


NEWS ROUND-UP – FESPA NEWSLETTER

FESPA 2005 Back to work! 'Now the summer is over, the hard work resumes and the preparations for FESPA 2005 are really gathering momentum', writes Karen Pooley, Fespa's Marketing and Operations Manager. As usual, FESPA is determined to host a first class event and the aim of this regular newsletter is to keep you thoroughly updated with all of the latest developments and innovations. FESPA firmly believe that the 2005 show will exceed the expectations of both exhibitors and visitors, which is why it is continually asking those working within the screen and digital sectors what they want to see at FESPA 2005 and what benefits they expect to gain from attending the exhibition. This is the response of just one of the 5000 pre-registered visitors, when asked why he will be visiting FESPA 2005… Name: Christian Duyckaerts Company: Print & Display (Belgium) Job Title: Production Director

Q. What does your company do? A. It specialises in large format printing, primarily for the outdoor advertising and instore promotion sectors.

Corporate sponsor

Q. What is your role within the organisation? A. Production Director. Q. Which products do you have responsibility for buying? A. Machinery, consumables,

Platinum sponsors

investments.

TM

Q. What plans do you have for the development of the business over the next few years? A. We want to become a "onestop shop" so that customers can come to us for all of their printing needs. A flexible approach is essential if we are

22 FESPA WORLD 09/04

to remain competitive in today's marketplace.

Q. Why are you planning to visit FESPA? A. At FESPA there is a huge amount of information centralised in one place. It provides us with an excellent opportunity to meet suppliers and colleagues, to network and make new contacts, to see new technologies and to generally keep up to date with the market.

Q. Have you visited FESPA before, if so when and where? A. Madrid 2002, Munich 1999, Lyon 1996.

Q. How long do you plan to stay? A. 2-3 days. Q. We plan to run free seminars at FESPA 2005, which subjects would you be interested in hearing about? A. I am particularly interested in new developments in machinery and colour technology.

• Use of business facilities • Invitation to the welcome party • Complimentary airport shuttle service Exhibitors and FESPA National Associations will be able to nominate a number of people to be VIPs. If they qualify for VIP status personalised invitations will be sent to them on behalf of the nominee. If you have not already done so, please email your list of nominations to Karen Pooley: karen.pooley@fespa.com

FREE Seminars In order to add extra value to your visit, FESPA will be running a series of seminars and workshops aimed at educating visitors on the latest issues and developments in screen and digital printing. These sessions will be FREE. The selection of confirmed topics includes:

• Come to the edge and fly – the value of screen printing Bob Holt.

VIP Programme New for FESPA 2005, this specialist program is aimed at attracting key buyers to the event. A carefully selected group of visitors from all over the world will be invited to attend FESPA as VIPs. This program will raise the profile of the show and make the visit more enjoyable for these key industry players. VIPs will be entitled to the following benefits: • Fast track entry to the exhibition • Entrance to a private lounge on the exhibition floor • Complimentary refreshments • Private meeting area

• Environmental Problems Michel Caza.

• Screen printers and the digital challenge – what's the real business model? NUR.

• FESPA Board Question and Answer session • What printers should demand from ink-jet inks Pedro J. Martinez, Afford Industrial.

• Colour Separation for Garment Printers Scott Fresener, US Screen Printing Institute.

• UV Inks, PVC/Phthalate free textile inks Sericol.


FESPA NEWSLETTER

b

a

c

d

e

a

Karen Pooley, Marketing and Operations Manager.

b

Christian Duyckaerts, Print and Display (Belgium).

c d

Seminar theatre. FESPA World Expo – India 2005, visitors arrive by all forms of transport.

e

The Munich Exhibition Centre.

FESPA hat es vor, eine Messe zu organisieren, die die Erwartungen seiner Besucher und Aussteller verpasst. Wir haben einer unserer Besucher gefragt, warum er FESPA 2005 besuchen wird. FESPA wird die wichtigsten Einkäufer einladen, die Messe als VIPs zu besuchen. Aussteller und die FESPA Verbände haben die Möglichkeit ihre wichtigsten Kunden als VIPS zu nominieren. Sie können kostenlosen Seminare auf der FESPA besuchen, wenn Sie ein Seminar organisieren möchten, schicken Sie ein Email an ruth.fahie@fespa.com Die FESPA 2005 Preise werden auf der Messe bewertet. Wenn Sie an diesen Preisen teilnehmen möchten, schicken Sie ein Email an info@fespa.com Reservieren Sie Ihr Hotelzimmer in München auf unser Website www.fespa2005.com FESPA organisiert eine neue Messe nächsten Dezember in Indien. Diese Messe erwartet ungefähr 150 Aussteller und 8000 Besucher. Lesen Sie den ganzen Artikel an www.fespaworld.com/27.1

FESPA a l'intention d'organiser un salon qui dépasse les espérances de ses visiteurs et de ses exposants. Nous avons demandé à un de nos visiteurs pourquoi va-t-il assister au salon. Les acheteurs les plus importants seront invité à assister au salon en tant que personnages de marque. Les exposants et les associations nationales de FESPA auront l'occasion de nommer leurs clients importants en tant que personnages de marque. Il y aura des séminaires gratuits pour les visiteurs. Si vous voudriez organiser un séminaire veuillez envoyer un email à ruth.fahie@fespa.com Le Concours FESPA 2005 sera jugé au salon. Si vous voudriez vous présenter au concours veuillez envoyer un email à info@fespa.com Réservez votre hôtel pour la FESPA 2005 maintenant sur internet www.fespa2005.com FESPA va organiser un nouveau salon en Inde en décembre 2005. Nous y attendons et pensons accueillir environ 150 exposants et 8000 visiteurs. Lisez tout l'article à www.fespaworld.com/27.2

FESPA planea organizar un evento que superá las expectativas de sus visitantes y de sus expositores. Preguntamos a uno de nuestros visitantes porque él va a asistir al evento. Algunos compradores claves serán invitados a asistir a la feria como VIPs. Los expositores y las asociaciones nacionales de FESPA podrán nombrar sus clientes importantes como VIPs. Los visitantes podrán asistir a seminarios gratuitos. Si usted quiere organizar un seminario le ruego enviar un email a ruth.fahie@fespa.com El Certamen de Premios FESPA 2005 será juzgado en la feria. Si quiere inscribirse en el certamen le ruego enviar un email a info@fespa.com Reserva su hotel para FESPA 2005 ahora en www.fespa2005.com FESPA planea organizar una nueva feria en India en diciembre 2005. Esperamos recibir allí a unos 150 expositores y 8000 visitantes. Lea este artículo adentro por completo en www.fespaworld.com/27.3

FESPA WORLD 09/04 23


Accommodation for FESPA 2005 in Munich can be reserved by visiting the FESPA 2005 web site

• How Industrial Digital Printing Complements Screen Printing Scitex.

• Digital Die Cutting and Digital Finishing Lars Bendixen, Zünd.

• A Cure for Textiles Johnny Shell, Vice President - Technical Services SGIA. If you have any suggestions for hot topics you would like to see discussed, or if you are interested in hosting a session yourself, please E-mail ruth.fahie@fespa.com

FESPA 2005 Awards Widely regarded as the 'Oscars' of the screenprinting and wide format digital printing world, the FESPA 2005 Premier Awards Competition, recognises and rewards excellence in screenprinting and wide-format digital imaging production. The categories are divided into various sections covering Screenprinting, Textiles, Industrial and Digital. The awards will be judged on the basis of technical merit and quality. Winners will be notified immediately prior to the exhibition and the winning entries will be displayed in the special awards area in the entrance area to the halls during FESPA 2005. Winners will also be invited to attend the FESPA 2005 Award Winners cere24 FESPA WORLD 09/04

mony, which will also take place during the exhibition. Details on how to enter the competition will be posted on the website early October and entry forms will also be available at that time. To receive an entry form please E-mail info@fespa.com

Hotel Accommodation in Munich Given the continued growth and recognition of FESPA as a truly international event, it is suggested that you book your accommodation early, in order to avoid disappointment. Maritz Travel, Germany, is FESPA's official handler for hotel reservations and accommodation at a selection of hotels that can be reserved through Maritz by visiting the FESPA 2005 web site www.fespa2005.com

New FESPA exhibition bridges gap between Asian and Western markets! More exciting news from FESPA, relates to the planned launch of a new FESPA exhibition in India for December 2005. With the full co-operation of the SPAI Board, FESPA and the FESPA exhibition team embark on a fantastic new venture which is scheduled to take place in the Pragati Maidan Exhibition Centre in New Dehli, December 1st – 4th 2005.

Designed to offer the region an International event, which mirrors the format of FESPA in Munich, the exhibition will showcase technology, products and services from around the world. With around 150 exhibitors and a predicted 7,000 – 10,000 International visitors, FESPA in India will take place every two years. FESPA plans to organise this event using local staff, as well as the experienced organising team based at FESPA Headquarters in Reigate, UK. FESPA will also draw on its global database and links with SPAI and other associations to deliver a unique experience for both exhibitors and visitors. "This exhibition is a fantastic new concept and we believe it will prove very successful for all concerned," comments Frazer Chesterman, Exhibition Director. Bhargav Mistry VP of SPAI and Managing Director – Grafica Flextronica adds: "We want to put Screenprinting in India on the world map, since we already appreciate that the process is enjoying a tremendous period of growth throughout the world. By working closely with FESPA we will be able to ensure that we have a professionally run event, which provides screenprinting with a worthy showcase. " If you are interested in receiving information about

exhibiting or visiting please call the FESPA team on +44 1737 240 788

FESPA Out and About.... FESPA will be exhibiting at the following shows in the coming months:

SGIA, 6-9 October, Minneapolis Convention Centre Sign Italia, 4-6 November, Milan Please come by the FESPA stand and meet the team. FESPA will also be visiting the following shows:

Pro Sign, 21-23 October, Frankfurt Glasstec, 9-13 November, Düsseldorf

Coming next: In the December issue of Fespa World this newsletter will contain more useful information on sales activities and show features. If you have any comments or questions please contact Karen Pooley on Tel: +44 1737 240788 or email Karen.pooley@fespa.com (please note Karen's change of name and email address following her recent marriage!) Register now for your FREE visitor entry badge at www.fespa2005.com


FESPA 2005 Future of Global Imaging Munich 31 May – 4 June, 2005 The largest Global Event for Screen, Digital and Industrial Printing

MUNICH

Visit the FESPA exhibition to discover the very latest technology in: • Advertising & Wide Format POS printing • Sign Printing • Electronics Printing

Platinum sponsors TM

• Package & Label Printing • CD & DVD Production • Ceramics & Glass Printing • Garment Printing & Decoration

To register for your FREE entry pass to the exhibition please visit

www.fespa2005.com or call +44 (0)8701 296987

Corporate sponsor


FESPA FORUM

It seem s to me … Fesp a World Issue 3 6 P26-2 7

Over to you… FROM THE EDITOR This is what we like to see! Following Stewart Partridge's article in last month's 'Opinion' when he asked whether there would be a new world order, post Drupa, we received these two diverging views…

26 FESPA WORLD 09/04

The plethora of industrial applications that use screenprinting include such diverse areas as textiles, glass, ceramics, electronics, IMD, containers, CDs and DVD production, automotive and many more.

Michel Caza

"WHY does Stewart Partridge want to bury our screenprinters' hearts in the digital grave? Don't get me wrong, I like my friend Stewart, but for the last ten years he has been predicting the demise of screenprinting! He totally ignores the 45% of screenprinters who have already invested in digital technology and use it to complement their screenprinting activities and to broaden the scope of the services they can offer to their customers. And when he talks of 'graphics', he should remember that this sector accounts for only a relatively small proportion (probably less than 25%) of the total screenprinted output. He conveniently forgets the plethora of industrial applications that use screenprinting and which include such diverse areas as textiles, glass, ceramics, electronics, IMD, containers, CDs and DVD production, automotive and many more. He also ignores the enormous boom that screen-printing is currently enjoying in many parts of the world such as China, India, South America, Eastern Europe, Middle East and soon, Africa. And as for his warning to FESPA – well really! FESPA, both as an organisation and as an Exhibition organiser, did not have to wait for Stewart to tell them to change and move forward! Nor, might I add, did its member associations most of which now include digital print specialists within their core membership. During my two presidencies of FESPA I actively encouraged our adop-

tion of digital printing technology, which far from regarding as a threat, we have always considered, both individually and collectively, as providing us with an enormous opportunity. Digital printing technology has also featured strongly in both the last three FESPA exhibitions and the Mini-Fespas and in fact, now accounts for a third of our exhibitors. At the same time, we have also worked to include representatives of the many industrial areas of application, something that we will continue to do. We have no reason to be afraid of the competition posed by events such as Drupa, ISA and other sign and photo-

Glass printing – just one industrial application of screenprinting.

Long Live Screen Printing!

graphic shows, since what we offer is unique and continues to develop at the same pace as the technologies and the growth in applications. Over the years we have worked very hard to establish and maintain the success of FESPA and will continue to do so and not only in Europe either! Despite what Stewart says, digital printing has not destroyed screenprinting; rather, it has boosted it and helped to bring about a fantastic overall improvement in the quality of the work that we are seeing today. Michel Caza Past President of FESPA, France


FESPA FORUM

Digital is King! Stewart Partridge's article in the last edition was very interesting and I agree that his general point of view is probably right. It isn't really possible to predict how screenprinting will fare in the longer term, but certainly digital printing has progressed rapidly since its relatively recent introduction and the technology continues to evolve and to be used in all sorts of different applications. Fine art printing is one case in point – the quality of the output is truly fantastic and even to a trained eye, it is difficult to discern any difference between digital methods and more traditional techniques. In fact, I would go as far as to say that it is better than screenprinting, since there are fewer problems with overlapping and registration and there is no surface change between different colours. And this is just one area – there are many more where digital printing is now the preferred method. I think that the biggest advantage that digital printing technology offers relates to cost – with digital you can print as many copies as you need and simply replenish the supply as and when required. Put simply, you have the opportunity to sell what you print as you print it without having to accumulate large stocks. It is very interesting to learn from Stewart, who has been in the field from the beginning, that we are still, in a sense, pioneers, and that only a very few people really understand the full extent of what can be achieved now with the equipment available, as the superior quality of their output illustrates, although many others are producing prints which are 'good enough'.

Fine art printing is one case in point – the quality of the output is truly fantastic and even to a trained eye, it is difficult to discern any difference between digital methods and more traditional techniques.

This current process of evolution must remind screenprinters who have been established for some time of their own beginnings, since it is a case of history repeating itself with the one crucial difference that digital printing is developing much more quickly than screenprinting ever did. Screenprinting evolved over 50 years, digital will take less than half that time to achieve its full potential and it will totally change the face of printing in the process. FESPA was right to include digital printing within its remit and must continue to keep pace with all new technology. Michael Domberger, Filderstadt, Germany

Over to you Is there anything you would like to take issue with in this edition of the Magazine? Or is there some industry-related topic that you would like to raise for general discussion? If so we want to hear from you. Please address your thoughts to: Val Hirst, Editor, FESPA, Association House, 7a West Street, Reigate, Surrey, RH2 9BL, UK or e-mail to val.hirst@fespa.com

FESPA WORLD 09/04 27


THE BIG STORY

Screen & digital stateside In this issue Fespa World goes Stateside to catch up on the latest news in the American screen and digital sectors, prior to the annual SGIA show which this year is held in Minneapolis from 6th-9th October.

Val Hirst reports

The future of wide format digital printing in North America

It is becoming more and more difficult to predict the shape of the wide format industry, but it's certainly revolutionising the POP industry in North America writes Bob Linck of Sericol Inc. "Within the markets Sericol serves, the biggest transformation we see today is the rate at which graphic printers are embracing wide format digital flatbed technology, especially presses using UV curable digital inks. Why invest in this technology? The simple answer is the elimination of pre- and post-press processes, such as press set-up, mounting and laminating, and the increased demand for shorter run, customised 28 FESPA WORLD 09/04

printing. While digital print technology does enable direct-to-substrate printing and the elimination of mounting and finishing, it is the reduction in operating costs per print that provides the real cost savings. Together with the versatility of true flatbed printing systems, these elements provide a serious business advantage for any shop that currently produces wide-format graphics or is looking to get into higher margin, higher profit print-for-pay applications. As an example, Sericol has been very successful during the past three years with sales of Inca flatbed digital presses, which now number over 100 worldwide. Printers from all industries are investing in flatbed UV digital technology in an effort to widen their production capabilities and position themselves as leaders in the industries they serve.


THE BIG STORY

a

a

Columbia Turbo.

Da die Veröffentlichung dieser Ausgabe des Magazins mit der jährlichen SGIA-Ausstellung zusammenfällt, die vom 6. - 9. Oktober in Minnapolis, USA, stattfindet, nimmt FESPA World die Gelegenheit wahr, um sich über die neuesten Entwicklungen im Sieb- und Digitaldruck in Nordamerika zu informieren. Bob Linck, der Marketingdirektor von Sericol Inc., erklärt, warum die Siebdrucker so von der digitalen Flachbetttechnik angetan sind, besonders von den Druckmaschinen, die UV-härtende Farben verwenden. Andererseits ist David Eisenbeiss, der Präsident von Kiwo Inc., davon überzeugt, dass der Digitaldruck nicht in der ursprünglich vorhergesagten Geschwindigkeit vorgedrungen ist und dass der Siebdruck noch viele Jahre lang ein dynamisches und sich weiter entwickelndes Verfahren bleiben wird. Schließlich berichten wir über die Gründung des North American Specialty Printing Manufacturers' Association (nordamerikanischer Verband für die Hersteller von Spezialdruckanwendungen) oder NAZMA, der lose mit der ESMA verbunden ist und die Ansichten der Hersteller und Zulieferer repräsentiert, die in den Bereichen Sieb- und Digitaldruck arbeiten. Lesen Sie den ganzen Artikel an www.fespaworld.com/27.1

Dans la mesure où la publication de ce magazine va coincider avec l'exposition annuelle de la SGIA, qui se tient à Minneapolis, USA du 6 au 9 octobre, Fespa World saisit la possibilité de voir où en sont les derniers progrès de la sérigraphie et du numérique en Amérique du Nord. Bob Linck, le Directeur des Ventes de Sericol Inc explique pourquoi les sérigraphes sont amoureux de la technique d'impression numérique à plat et tout particulièrement avec les systèmes UV. D'autre part, David Eisenbeiss, Président de Kiwo Inc.est complètement persuadé que l'impression numérique n'a pas toutà-fait avancé à la vitesse prédite au début et que la sérigraphie restera un procédé dynamique et évolutif dans les années qui viennent. Finalement, nous parlons de la création de l'Association des Fabricants Nord-Américains pour les Impressions Spéciales (NASMA) qui tire ses racines de l'ESMA et va représenter les points de vue des fabricants et fournisseurs travaillant aussi bien dans le domaines de la sérigraphie que dans celui du numérique. Lisez tout l'article en français sur www.fespaworld.com/27.2

Dado que la publicación de este número de la revista coincidirá con la feria anual SGIA, que tendrá lugar en Mineápolis, EE.UU., del 6 al 9 de octubre, Fespa World va a tener la oportunidad de ponerle al día de los últimos desarrollos de serigrafía e impresión digital de Norte América. Bob Linck, Director de Marketing de Sericol Inc nos explica porqué los serígrafos están tan entusiasmados con la tecnología digital plana y particularmente con las máquinas que usan tintas UV. De otro lado, David Eisenbeiss, Presidente de Kiwo Inc. cree firmemente que la impresión digital no ha avanzado a la velocidad que en un principio se predijo y que la serigrafía retomará un proceso dinámico y evolutivo durante muchos años. Finalmente se va a informar sobre el establecimiento de la Asociación Norteamericana de Fabricantes de Impresión Especializada o NAZMA, lo que es la ESMA, y representará los puntos de vista de los fabricantes y suministradores que operan en ambos campos, digital y serigrafía. Para leer el artículo completo en español ver www.fespaworld.com/27.3

FESPA WORLD 09/04 29


THE BIG STORY

a

a

Inca Eagle.

While digital printing technology is being developed in other markets, such as narrow web roll labels, we believe the greatest potential for growth will remain in the wide format graphics area. Recent studies predict as many as 5,000 wide format flatbed printers will be installed worldwide over the next several years. As digital product developments continue to improve, flatbed UV digital presses will continue to push the boundaries of speed and quality. Sericol and Inca have now launched several flatbed UV digital presses, including the Eagle, Columbia and Spyder 150, each of which has set the industry standard for speed, reliability and durability. Sericol's most recent product launch, the Inca Columbia Turbo, is capable of printing at speeds of up to 1,725ft2 per hour. This improved production capability provides customers with the favorable operating costs needed to grow profitably and the throughput capacity to greatly increase their business. With all of the new press developments underway, digital ink manufacturers must be able to respond with inks that are able to process faster, with more durability and high definition print quality. We strongly believe that UV-curable digital 30 FESPA WORLD 09/04

ink systems represent the key trend in the future. Continuous improvements will be made to expand UV digital ink capabilities and the applications on which they work. Some of the improvements Sericol are building into our next generation Uvijet UV digital inks include providing adhesion on an even wider range of substrates, increased flexibility, a broader colour gamut and improved overall image quality. The screenprinting industry, which has been a traditional focus of Sericol, will continue to change dynamically as a result of further innovations in wide format digital print technology. Whereas once large format inkjet printing was used predominantly for proofing purposes, it is quickly becoming a valuable resource for printing POP graphic displays, signage and other types of high quality displays. Over the next several years, we expect large format digital inkjet printing to hold a leading position in the short to medium run length end of the graphics market, with increasing print speeds moving the cutoff higher and higher. Print buyers desire for customisation, as well as the increasing economies of digital printing,

will continue to drive this trend. On the other hand, we strongly believe that screen printing will remain a viable longterm print technology for medium to long run printing. Printers that are able to effectively utilise both technologies in their business model will be positioned to succeed in the future. Our customers benefit from Sericol's commitment to both screen and digital technologies. With the combination of digital equipment and inks we provide, as well as product and service solutions in screenprinting, we have witnessed how our customers have transformed their businesses with the combination of these two technologies. In fact, we actively promote this synergy through a concept called "Screen + Digital = Profit". From our perspective, the wide format digital printing revolution is in full swing. In the past two years, we have seen a significant increase in the capabilities of wide format digital presses and UV digital inks. It is expected that the rate of future improvements will accelerate even further. All in all, this is an exciting time for the graphic printing industry and printers' opportunities are limited only by their imagination.


THE BIG STORY

USA manufacturers establish NASMA Do companies that manufacture equipment and consumables for the printing industry have common concerns that warrant a separate trade association? A group of leading U.S. manufacturers in our industry thinks so, resulting in the formation of the new North American Specialty Printing Manufacturers' Association (NASMA). Formed late last year through the efforts of a handful of major manufacturers, NASMA held its first board-of-directors meeting last March in Kansas City, MO. Modelled loosely on ESMA Ltd the association of manufacturing suppliers to the specialty printers in Europe, NASMA is intended specifically for product manufacturers, not other types of suppliers or end users. "The SGIA (Specialty Graphic Imaging Association Int'l, with whom NASMA anticipates a very close working relationship) offers very valuable support

to industry suppliers, and I believe that all of NASMA's members so far are also SGIA members", says NASMA Executive Director Harold Johnston. "But we feel that product manufacturers have unique concerns and challenges, and the goal of NASMA is to provide a forum where we can focus on them." During the inaugural board meeting, NASMA decided its first major initiative would be a research program, which would attempt to define the size of the equipment and consumables market, using sales and manufacturing data collected from participating member companies. At present, the NASMA board is refining its mission statement and narrowing down a broad range of objectives for the new association. Johnston, who retired from Nazdar last year and received the SGIA's Howard Parmele Award for his outstanding contributions to the screen-printing industry in 2003, will serve as the only

Alive and kicking!

How is screenprinting faring in North America? Val Hirst poses the question to David Eisenbeiss, President of the Kissel + Wolf Group and its American division KIWO Inc., the worldwide manufacturer of screenmaking solutions for the screenprinting industry. "Digital technology isn't progressing close to as quickly as we expected it to when it first appeared on the scene," David Eisenbeiss firmly asserts, when I tentatively suggest that, one day, the screen process will be totally annihilated by digital printing methods. This definite response is a good start to a discussion that is designed to highlight the differences, or indeed the similarities, between screenprinting in North America and Europe. And as the man who runs not only the Kissel + Wolf group, but also the U.S. division of one of the world's most enduring screen chemistry suppliers, David is in a position to know. KIWO Inc has been active in the States since 1987 under its own name, but for considerably longer before that under a licensing arrangement with Colonial Ink and now, together with its sister company ULANO Corp., it is the country's number

one supplier of chemical screenmaking systems and solutions. However, although screenmaking products account for 60% of its sales, like any prudent company, KIWO maintains a diverse range of business activities. It also manufactures screen products for use within the roll to roll textile printing industry (under the Albert Rose brand name) and a wide variety of industrial adhesives, which range from the simple to the very complex and which are used in a wide spread of industries, including the automotive and electronic sector as well as a number of screenprinted applications. I begin our chat by asking whether the company has noted any downturn in screenprinting, following the increasing growth of digital printing methods and David responds, without hesitation, that it hasn't. "The contraction we saw in the overall US screenprinting industry in the

dedicated staff member for NASMA. The association has contracted with the association-management firm of Robstan Group, Kansas City, MO, to handle other logistics. According to Johnston, NASMA already has more than 25 members with more joining each month. Although most of the initial members are associated with screenprinting technology, NASMA is also actively recruiting manufacturing companies from the digital-printing, padprinting, and other specialty imaging fields. For membership information, contact Harold Johnston at 816-506-1686 or hjohnston1@kc.rr.com

past few years was by and large not systemic. It was largely a reflection of the generally depressed economic climate gripping the US and happily, we are now well into a steady, although gradual recovery, like much of the American economy. To say that "digital" is having no impact would of course be naïve. It has made impressive inroads into the graphics side of the screen market and there remains considerable future growth for digital printing at the expense of the screen process. How much and how fast this happens, will depend, however, on progress in printing speed and the affordability of the consumables, i.e. the ink." He adds, "Whatever business has indeed been lost to digital in the graphics sector has been largely made up for by screenprinting growing as a process in other applications, such as label printing, packaging, glass and more recently various aspects of electronic printing, such as the manufacture of Plasma Displays, LCDs, cell phone and RFID antennas etc., although a fair amount of the electronic growth is happening outside the United States." "But in terms of screen being threatened by digital, I have to say that screen has more than held its own. Eight to ten years ago, digital promoters were predicting screenprinting's demise within five years, which reminds me of Mark Twain's pronouncement about reports of his death being 'somewhat exaggerated'. In fact – FESPA WORLD 09/04 31


THE BIG STORY

and this goes for Europe too – today the only area where digital printing technology is making much headway is in the graphics sector. Screenprinting is still very much the process of choice, or often the only option, in both the textile industry and most industrial printing applications." He continues: "And within the graphics sector, I'd say that rather than posing a significant threat, digital printing has, in important ways, served to enhance screenprinting. Many screenprinters have invested in wide format and super wide format inkjet printers, and amongst that group there were some who expected that they would eventually ditch their screen equipment completely. Some of these pundits are today larger screenprinters than ever. That is because, in practice, at today's speed and cost of production, digital printing technology actually serves to make the screenprinter considerably more competitive – as a screenprinter, instead of replacing a majority of the screenprinted jobs. Digital output enables printers to take on short run, complex jobs they could never do efficiently by screen and provides a very quick and efficient proofing tool. Both these strengths tend to feed into more screenprinted jobs when volumes are greater". He adds: "A critical point to remember is that technical development of screenprinting has not stood still either. Since digital printing machines became an issue, the market has seen the large scale commercialization of in-line screenprinting presses, which vastly improved screen's efficiency and competitiveness, both against digital and also offset. North American screenprinters were quick to see the advantages of this technology and embraced it enthusiastically." In David's view two things will have to happen before digital printing really becomes a contender to replace screen on a wider scale. He opines: "Firstly it will have to become much quicker and secondly, the inks will have to become much cheaper. Until that occurs, digital direct output remains an important addition, but not a direct replacement for screenprinting as a method of graphic reproduction."

32 FESPA WORLD 09/04

David has taken time out from the CSGIA Printing Exhibition in China to talk to Fespa World and he remarks that most of the medium to large format graphics in China are printed digitally. He continues: "In China, where the graphic industry only geared up significantly in recent years, screenprinting was skipped almost entirely as a process to reproduce medium to large format graphics. Since there was no established screenprinting base to build on, digital was the least expensive and fastest way to get started," he adds, that local equipment and lack of experience are rather apparent in the quality of the final output, which mostly leaves much to be desired. However, he remarks that "as graphics move away from highly localised ads to wider advertising campaigns, we can expect to see considerable investment in screen to meet the volume and eventually the quality requirements." As far as industrial applications go, he states: "Screenprinting has and continues to grow rapidly in China, which is already one of the world's important markets for manufacturers such as KIWO". So what are his predictions for the future? "Amidst all of the hype about digital it would be easy to forget that screen is developing too," he cautions. "One of the challenges we face as manufacturers is to keep developing the screenprinting process, taking advantage of advances in technology to make it an ever more industrial and less craft-based process. This is something in which KIWO is trying to make an important contribution." He is referring here to the company's introduction of a full range of Computer to Screen (CTS) imaging equipment. "With Computer to Screen, we are taking the key advantages of digital technology and marrying it to the advantages of screenprinting. Taking a digital file and being able to image it directly on a screen, skipping entirely the need for outputting and handling a film positive, dramatically reduces the cost and time involved in making a printing screen. Film output and handling has always been the Achilles heel of the screen process. We therefore see this

as the single most important recent development in enhancing the competitiveness of screenprinting as a technology." KIWO's current CTS equipment lineup comprises three systems: The i-Jet, a fast, economical, inkjet based system for imaging screens in T-shirt format, the proven LĂźscher JetScreen that KIWO represents in North America, which also is an inkjet CTS system, but for medium to large format graphic and industrial applications, and the ScreenSetter, an ultra high-tech direct exposure device for small to medium screen sizes requiring high resolution such as screens for printing CDs, electronic applications, decals and similar. David is quick to draw a comparison with the developments that have taken place with regard to Litho and Flexo printing over the last decade. He says: "What we are trying to do is a parallel to what transformed offset and flexo printing. Both processes have been revolutionised by the introduction of computer to plate technology. And although it was initially embraced only haltingly, today it is almost ubiquitous. It is CTP that allowed offset to outpace the threat that digital posed to the process. I finally see more and more screenprinters now also embracing the concept of CTS and I hope it will have as important an impact on the screenprinting industry as CTP did for offset and flexo." So what other plans does KIWO have for the future? David concludes: "We aim to continue developing KIWO and its sister company ULANO towards becoming globally the suppliers of choice for screenmaking solutions. Furthermore we are exploring other markets unrelated to screenprinting where we can apply our core photo imaging technology. At the same time we are continuing to aggressively expand KIWO's industrial adhesive activities to lead us into new applications and niches around the world. But as far as screenprinting vs. digital is concerned, we see Computer to Screen solutions as a key contribution we can make to ensure that screenprinting remains a dynamic and evolving process for many years to come. We hope that screenprinters will take notice."


FACE2FACE

The gold standard Ever since the installation of its first multi-colour line ten years ago, the German equipment manufacturer Thieme has set a new industry benchmark for innovation and reliability. Val Hirst goes Face2Face with Peter Geiger, Director of Thieme's Screenprinting Division to discuss the company's development so far and its plans for the future.

Sometimes, the things that help to shape a company's destiny are totally unpredictable and it isn't until many years later that you look back and pinpoint the specific event, perhaps insignificant in itself, which influenced everything that came after it. Such events can herald the onset of a disastrous downturn or, as in Thieme's case, they can mark the beginning of a whole new and profitable era, which is why the German based manufacture of screenprinting equipment is celebrating a very special anniversary this year. It all started with a single order. Peter Geiger, the Director of Thieme's Screenprinting Division shares his memories of that initial commission. He says: "One of our regular and longstanding customers, Druckerei Dambach, a German screenprinter, decided that it was time to invest in a multi-colour line. Although some of our competitors had introduced the first multi-colour machines in the early 90's, they didn't form part of our product portfolio at the time. But fortunately for us, KarlHeinz Rhein, the then Managing Director of Dambach, was insistent that any machine he bought had to come from Thieme!" This shining example of touching customer loyalty convinced Werner Thieme, the founder of the company, that it had no option but to design and manufacture a multi-colour screen press of its own. Accordingly, some six months later it was duly installed, amidst great fanfare, at Dambach's Gaggenau print facility. The rest, as they say, is history. Since then, Thieme has gone on to sell a further l00 multi colour screenprinting systems to printing companies operating world wide and is now the acknowledged market leader, having manufactured nearly three quarters of the multicolour machines sold over the last three years. Meanwhile, Dambach's original line is still going strong. "Since its installation, it has printed somewhere close to 15 million placards, operates on a 24/7 basis and is still running flawlessly," reports Peter Geiger proudly. Peter, who has worked for Thieme for 27 years, starting out as a designer and then moving on to 34 FESPA WORLD 09/04

Project Sales, before taking up his current post nine years ago, provides me with an admirably concise resume of Thieme's background. First founded by Werner Thieme in l960, the company was originally set up to produce machined metal parts. Some five years later, Werner Thieme, having shrewdly recognised a huge future market for synthetic materials, also set up a plastics factory to make GRP. When in 1972 this division began to manufacture structural polyurethane parts, the machine factory developed and built the necessary moulding equipment, but it wasn't until some years later, in l976, that it began producing complete screenprinting systems. Today, Thieme remains active and successful in both areas and the two divisions, Polyurethane and Screenprinting Equipment run in tandem, employing between them 500 people worldwide and boasting an annual turnover in excess of 70 million Euros. Referring again to the development of the Dambach machine, Peter Geiger remarks that at the time the development of multi-colour presses represented a huge leap forward. He says: "Although multi-colour lines are now standard equipment at screen-printing companies, and indeed are a must for any company that wishes to remain competitive, they represent a true innovation since they introduced the first element of automation to labour-intensive screen-printing operations. By using modern systems to enable things like easy configuration or format changes, we have greatly reduced machine set-up times and automated tasks that had been performed manually. Ten years ago screen-printers were rightly proud when they accomplished the entire process chain – from the photograph through film development and screen production to the finished printed piece – in five hours, now thanks to modern CTS systems or projection cameras that time has been cut right down." When it took on the Dambach commission, Peter Geiger admits that Thieme was entering uncharted water. He continues: "One of our main concerns related to the drying process – we weren't sure


FACE2FACE

Peter Geiger, Director of Thieme's Screenprinting Division

whether it would be able to operate continuously with the UV inks that were available at that time. We decided to build in a combination UV/air drying system so that solvent based inks could also be used if necessary, although as it turned out, the machine has operated in UV mode almost from the beginning." He adds that now, ten years on, almost every mechanical component has been refined and enhanced and that Thieme's multi-colour systems continue to evolve in line with customer demand. He says: "The Dambach machine was capable of printing placard sizes of up to 1.50m x 1.80m. But our latest machine THIEME 5000 XĂ–, which is currently under construction for the Austrian company Arian, will be able to handle sizes of up to 2.02m x 3.05m to satisfy the growing tend for ever larger format applications. We have also seen a lot of changes in the type of substrates which are being used, such as polypropylene and polystyrol plates, which are more difficult to transport due to the greater weight of their scratch-prone surfaces. Then there are very thin films, which are extremely flexible and thus present their own problems." But Thieme thrives on such challenges and its ability to produce a machine that will meet the differing demands of specific areas of application is one of the reasons for its success. "Just as every

customer is different so is every machine," states Peter Geiger. He goes on to explain that as a matter of course, Thieme initially spends a lot of time with its customers, so that it can learn what their precise requirements are. He says: "We arrange for them to meet face to face with our designers and engineers and then, depending on what they tell us, we design a machine that will be able to cope with all eventualities as far as their businesses are concerned. This meeting is also supplemented with a lengthy site visit to ensure that any logistical work which needs to be undertaken can be completed satisfactorily in time for the eventual installation." Once the machine is finished it undergoes its first test run at the Thieme facility. Peter continues: "All of the machines are designed on a modular basis and prior to installation we literally build them in our factory and do a long test run to ensure that everything is in full working order." He goes on to says that, thereafter, it is carefully dismantled, shipped to site and rebuilt. "This process generally takes around a fortnight and our engineers remain in full attendance during that period during which time the customer also receives full training. For the experienced screenprinter this usually takes around three days. Then comes the day the customer has been waiting for, he is ready to produce his first FESPA WORLD 09/04 35


FACE2FACE

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saleable output on his new machine and thus begins to realise the return on his investment. That's always an exciting moment!" And that exciting moment is constantly repeated. Thieme's machines are justly celebrated for their consistent reliability. "They are built to go on for ever," agrees Peter Geiger, adding a little ruefully that such reliability obviously has its effect on return business. However, as he is quick to point out, this is outweighed by the fact that many of Thieme's customers do complement their original line with the addition of a second and third machine as their businesses expand. I ask whether reliability is something that Thieme will be bringing to its latest venture - earlier this year the company announced that it had entered into a collaborative relationship with Agfa, which will result in the launch of a new digital inkjet flat bed printer that combines Agfa's digital know-how with Thieme's proven skill as machine makers. It would be fair to say that until now, not all-digital printers have attained the same gold standard as Thieme! "Obviously we want this machine to meet all of our usual standards," agrees Peter adding that it will undergo a period of stringent beta testing before it makes its debut at FESPA 2005 next year. This brings us on to the whole area of digital printing and the continuing screen vs. digital debate. Not surprisingly Peter Geiger feels that screenprinting will hold the advantage for the foreseeable future. "Digital printers are useful for short run work and for the type of complex items that would be too expensive to produce using the screen method," he says. "However at present speed still remains a big issue. One of the reasons that printers invest in a multi-colour line is because it provides them with tremendous productivity – up to 3,000m2 of output in an hour. Screen is also more versatile – although digital printing is now moving further than the graphic sector into textiles and some industrial applications, it doesn't always compete successfully as far as quality is concerned. But having said that, we recognise that there is a growing demand for digital equipment and as 36 FESPA WORLD 09/04

b

equipment suppliers it is up to us to provide the customer with the right machines for his needs." This brings us to other future developments. "Most of our innovations are customer lead – we listen to what our customers tell us they need and try to provide it for them. The work we are undertaking for the new THIEME 5000 XL reminds me very much of the process we started all those years ago with Dambach – we are working very closely with our customers so that we will be able to deliver exactly the kind of performance they need. The machines might change but our relationships with our customers don't and I think that is one of the most important things that we can offer." The UK has more than its fair share of Thieme machines – of the l00 multi-colour lines the company has installed, 30 of them have been bought by UK companies. Bill Kippax, Managing Director of Kippax and Sons and a Director of ThiemeKPX explains how he became involved with the company. Bill Kippax is a real printing enthusiast and it shows. What's more, after spending 40 years supplying screenprinting equipment he is also an extremely knowledgeable one. Bill is the Managing Director of Kippax, a family run business operating in Huddersfield in the UK, which was originally started by Bill's father in l955 and is now run by Bill and his daughter Sarah. Specialising in the manufacture of a range of flat bed screenprinting machines, which range from small manual printers to 3/4 automatics, plus a full range of ancillary equipment, Kippax also the sole UK distributor of Thieme's multi-colour printing lines too. Bill remembers first seeing Thieme at an exhibition in 1976 and thinking at that time that its products were complementary to his own. "We continued to bump into each other at various shows and I became very friendly with the various Thieme personnel," he says. So when Thieme decided to appoint a UK distributor in l978, Kippax was the obvious choice. In fact so successful has the collaboration been that in 2000, a new company ThiemeKPX was created and in recognition of his


FACE2FACE

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The Thieme / Augustus Martin installation.

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Thieme multi colour press. Bill Kippax (2nd from right) with Lascelle Barrow (left), Barrie Dix (2nd from left) and David Hamilton (right) of Augustus Martin, the proud new owners of a Thieme machine.

contribution to the company, Bill was appointed as one of its Directors. We start by talking a little about the development of screenprinting as a process and Bill relates that in his view, it was a direct spin off from the post war retail boom. "In the old days, shop signs were hand painted," he says. "But come the retail revolution, signwriters couldn't keep up, they needed to produce more signs, more quickly than was possible using manual methods and that's when screen printing really came into its own. Of course it went on from them to be used in all sorts of other industrial areas and its uses continue to grow. " Today the majority of the machines that Bill sells are used for what he terms as classic graphic applications, such as point of purchase materials and promotional displays, although there is also an increasing demand for machines which will screenprint on to glass and ceramics too. When I ask Bill why Thieme has become so successful and why it inspires such loyal devotion amongst its customers, he responds that it is all down to two things: the quality of the equipment and the level of customer service. However it quickly becomes clear that as far as the UK is concerned, Bill more than matches the latter requirement by providing an equally high level of customer care. He says: "When a company expresses serious interest in purchasing a Thieme printing line, they are whisked over to Thieme's factory, all expenses paid so that we can find out precisely what they need. All of Thieme's machines are tailored to suit the individual – a real bespoke service. Customers like the fact that they are designed to facilitate quick and easy set up, achieve high print speeds, and are then equally easy to reset, thus allowing the whole process to start again with the next job without any fuss. Once the machine is installed, our service continues on a 363 day a year basis, which means that if ever there is a glitch, there is someone on the end of the phone to help. In fact the only days we don't work are Christmas Day and New Year's Day, simply because we assume that no-one else is likely to be working

then either!" And if this seems a mite over over the top, Bill is quick to explain that the UK is unusual in this respect. He says: "In this country most of the large printers who have a Thieme machine operate a three shift system and expect it to run continuously over a 24 hour period. Not an unreasonable expectation when you consider that they will have spent upwards of 1 million euros on it and it's our job to ensure that there is as little unplanned downtime as possible." He continues: "Despite its size, Thieme is still a privately run family business and tend to regard its customers as an important part of that family too. When the machine is first installed the engineer responsible for building it will often accompany the installation team so that he can keep a watching brief and ensure that everything is done in precisely the right way. Thieme engineers always take a great deal of pride in their work and I think they gain a tremendous sense of satisfaction when they see it up and running once its in situ – it gives them a real buzz." When I ask what he thinks the next development will be, Bill replies: "The thing our customer always want more of is speed. Nowadays time is always of the essence and our customers' customers, who include many of the big spending multi national consumer companies tend to allow shorter and shorter lead times. Once a customer knows it can be done within a certain time frame – that’s how quickly he wants it! And of course he also expects a very high quality too. These are the demands our customers face on a daily basis and so productivity becomes increasingly important to them. As to other developments – well, these are usually customer lead. Thieme takes customer feedback extremely seriously and is always looking to improve every aspect of the machine's performance. It's one of the things that makes it such a pleasure to work with them, and that the confidence a customer feels when his new machine is installed and begins to run without a hitch. It's one of the things that helps to make my job really satisfying." FESPA WORLD 09/04 37


SHOWCASE

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

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Niggemeyer Bildproduktion GmbH & Co. KG, of Bochum, Germany printed a striking and unusual 540m2 graphic as part of an arts project funded by the Hauptstadtkulturfonds, the federal cultural foundation of Berlin. Designed by Manu Kumar and Tom Heneghan, the 180 separate pieces ofthe 'Fata Morgana' mural were printed on a VUTEk UltraVu 3360 EC and mounted on the underside of the Eiserne Bridge, which leads to Berlin's 'Museum Island,' and spans the flowing waters of the Kupfergraben, 'Copper Canal.' The under-bridge graphic is the first of its kind in the world and is currently enjoying tremendous success, attracting pan-European attention. By day the visually stimulating image is naturally reflected in the water, while by night a sophisticated backlighting system produces a stunning effect. Primary Color Systems, of California, produced indoor textile banners and rubber floor mats as part of a campaign to upgrade Nissan's US showrooms. Using its VUTEk UltraVu 5330 EC printer, Primary Color printed 4800 graphics in total. The company decided to use fabric banners rather than vinyl, since they hang better and don't crease, thus retaining their pristine good looks for longer. Before acquiring the UltraVu, it would have had little 38 FESPA WORLD 09/04

choice but to use the dye sublimation method to print the mats, however this time it was able to print direct on to a pre-laminated rubber to produce attractive and hardwearing graphics. Meanwhile Max Print of Bergen, Norway, has used its UltraVu 3360 SC to print graphics for an 8m by 2m inflatable drinks bottle direct to PVC. Used to promote a new soft drink for manufacturer Lerum, the graphics were produced in six sections – the largest measuring 3.12m x 4.22m. Each section was then welded together before the bottle was inflated in a similar way to a balloon. The bottle made its debut appearance at Norwegian Sogndal soccer stadium, for a match against Sogndal and Brann. and provided a colourful focal point for spectators when the footballers were off the pitch. It has since made 'guest appearances' at sports shops, events and supermarket car parks throughout Norway. Reykjavik-based Icelandic large format printer, Frank and Jói, used its VUTEk UltraVu 3360 FC to print vinyl graphics installed on glass, in celebration of Iceland's 100 years of independence from Denmark. Jói Johannesson, a Partner at Frank and Jói comments, " The fine text and detailed black and white photos featured on the graphics


SHOWCASE

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Max Print's giant inflatable drinks bottle.

Two views of the striking bridge graphice produced by Niggemeyer Bildproduktion GmbH & Co.KG.

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Primary Color's graphics were part of a re-image for Nissan's US showrooms.

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FESPA WORLD 09/04 39


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Frank and Joi printed an atmospheric graphic on to glass to celebrate Icelans's l00 year's of independence.

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This vibrantly coloured and unusual 'underwater' design was the work of Mare Floors.

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These exhibition

panels from Sema4 Signs commemorate the 60th anniversary of the D-Day

proved a real challenge, but we eventually produced over 80m2 of print, totaling 24 graphics ranging in size from 1.5m x 2m. Individually installed on glass sheets, each graphic was independently lit and designed to be easily read, while also helping to create an atmospheric environment." Documenting the events leading to Iceland's independence from Denmark, the graphics were installed by Frank and J贸i at 'The Culture House', a government building which was the focus for Iceland's centennial celebrations.

landings.

Mare Floors GmbH, a German-based large format printer, has used its VUTEk UltraVu 2600 EC to print a vibrantly colored and unusual underwater floor design for leading Madrid advertising agency, Estudio Cruz. This commission is part of Mare Floors' plan to maximize new opportunities within the worldwide floor covering market and has already generated keen interest from Asian customers. For this application Mare Floors printed a 20m2 montage made up of different water motifs. Incorporating a new special effect patented floor covering. The installation, one of the first in Spain, has proved a huge success. To install the new floor, Mare Floors first applied a plastic layer to the 40 FESPA WORLD 09/04

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existing concrete, and then bonded the selfadhesive vinyl graphics to the base layer. Glass beads and crystals were adhered to the printed image and a matt covering overlayed. The final touch was the implementation of a special hardwearing transparent film, which helps to create the effect of shimmering water. The floor is now a key focal point in the main reception area at Estudio Cruz. Spectacular results can also be achieved using smaller printer as proved by Sema4 Signs, based in Bristol in the UK. The company used its new Gerber Elan, an eight colour, wide format solvent inkjet printer purchased from Spandex, to create a series of exhibition panels to coincide with a TBBC Television program commemorating the 60th anniversary of the D-Day landings. The exhibition highlights the experiences of ordinary people who lived through that dreadful time and memories, whether tragic, touching or humorous, unfold across a series of massive, double sided exhibition 'walls' with a 6metre radius, each comprising 16 printed panels, measuring 2500mm x 1200mm. In all, Sema4 Signs produced 128 foamex panels covered with over 350m2 of print.


FOCUS ON MEMBRANE SWITCHES

Screen printable adhesive's in the spotlight

Focus on membrane switches In this issue, Fespa World catches up with the latest developments in the world of membrane switches.

42 FESPA WORLD 09/04

Nor-cote and 3M have combined their expertise in UV printing technology and advanced adhesives respectively to produce a new UV-cured, screenprintable adhesive for applications including electronics manufacture, membrane switches, nameplates, automotive dashboards and signmaking. 3M SP-7514 is an innovative liquid PU-acrylate based material, suitable for both flat-bed and rotary screen-printing, that can be processed faster and more consistently than solvent or water based alternatives. 3M SP-7514 has been optimised to give a balanced combination of peel and shear strength and for durable long-term performance in arduous environments. It is ideal for intricate adhesive application such as that required in the manufacture of keypads or automotive instrument panels. Accurate outlines with thicknesses of less than 25mm can easily be printed and, unlike die-cut adhesive films, no tooling is required and thus no cutting waste is generated during processing. The material's 100% adhesive composition – without recourse to organic solvents or water – eliminates shrinkage, improves the processing environment and makes 3M SP-7514 extremely economical in use. As the adhesive will not dry on the screen, the need for periodic cleaning of equipment is eliminated. Combined with the fast UV curing, this can increase overall productivity by as much as 40%. As well as allowing high-speed processing, 3M SP7514 also gives the user the ability to control the performance characteristics of the adhesive by definitive curing. Altering the intensity of the UV light allows the shear, peal and tack properties of the adhesive to be matched exactly to the application. Curing stops when the UV source is switched off, and the adhesive properties remain constant and repeatable regardless of changes in temperature or humidity. After curing, the material behaves like a typical pressure-sensitive adhesive tape. It can be laminated straight away or protected with a release liner for later use. "This new adhesive technology gives manufacturers exactly what they have been looking for in terms of processing speed, control and environmental performance," says Dr Chris Howitt, technical manager of 3M's UK Industrial Business. "When maximum throughput, minimum waste and optimum quality are all priorities, SP-7514 is a superb solution." "This new 3M adhesive is the perfect complement to our range of UV-curable graphic and electrographic inks," says Mike Bain, Managing Director of Nor-Cote UK. "We can now provide a complete package of UV products to our industrial graphic customers while our extensive expertise in


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3M SP-7514 UV adhesive, supplied by UV screen-printing specialist Nor-Cote, allows faster processing and better control in a wide range of applications.

UV screen-printing technology will help them find the best solution to all their printing, processing and assembly needs." For further information E-mail: bondingsolutions.uk@mmm.com or info@nor-cote.co.uk

Ruwel and Fuba join forces Ruwel AG and Fuba Printed Circuits GMBH, respectively the second and third largest producers of printed circuit boards (PCBs) in Europe in terms of European production, have agreed to enter into a cooperation relating to major corporate functions. The two companies have a combined turnover of €270m and employ approximately 2,200 staff. Following the difficult economic situation in the electronics industry during the last three years, this forward-looking initiative aims to further strengthen and expand the positions of both companies on the international PCB market. RUWEL currently has an annual turnover of around €170m and employs a total of 1,300 people, while FUBA boasts a turnover of around €100m and a workforce of 900. Both companies manufacture a wide range of products which cover virtually all

technologies and applications. For example, their PCBs can be found in almost all electronic household appliances, in medical and industrial equipment, in cars, airplanes and spaceships, and also in the networks of the telecommunications industry. Computers all need printed circuit boards, as does practically every other electronic device. The range of the products extends from simple single-sided and double-sided boards, e.g. those used in consumer goods, to highly complex multilayered boards, which are equipped with special functions used for purposes such as highfrequency circuits for UMTS technology in the mobile phone network. The two companies have a total of eight plants in Germany, each of which specialises in a particular group of products for a different technology. RUWEL has a subsidiary in Denmark and thus also has a production site in northern Europe. FUBA has a capital interest in both a Tunisian PCB manufacturer and an Indian PCB manufacturer, which also increases the number of international production sites involved in the cooperation. These producers operate in environments with competitive cost structures, and the involvement in India

FESPA WORLD 09/04 43


FOCUS ON MEMBRANE SWITCHES

additionally offers favorable conditions for exploiting opportunities in the rapidly growing Indian market, which is widely tipped to develop in a similar way to China in the future. Both companies already have sales structures witin the most important global markets. These include not only the major European countries but also the USA, South America and China. The cooperation will mean that these structures will be significantly strengthened in line with the developing global market. And places the two companies in an optimum position to provide their customers with even better international support than before, in terms of both technology, and customer service. For further information visit: www.ruwel.de and www.fpc.de

Hytech expands UK facility Hytech Forming Systems World Wide is a plastic converting and engineering company with facilities in Phoenix, Arizona and Newbury, England has recently announced the expansion of facilities and services at its UK facility. The recent expansion is part of a company wide capital expenditure program to boost capacity, increase product diversification and reduce lead times for current services. In an effort to prepare for the addition of new equipment and an expanding customer base, the company has moved into new 8,000ft2 premises which has effectively tripled its manufacturing capacity. It has also invested over ÂŁ290,000 in equipment and technology, including the acquisition of an AccuForm forming machine, a Universal CO2 laser cutter, RMT punch presses and new CAD/CAM work stations. The AccuForm equipment was developed and built by Hytech World Wide, specifically for inmold decoration applications and was installed to provide in-mold decoration services to the European market. In addition to providing a service, the Accuform equipment is also available under license. The upgraded facilities and clean operating environment make it an excellent showcase for customers who may want to purchase the technology for use within their own facilities. The laser, match metal and steel rule die cutting equipment was purchased to support both Hytech Euro's in-mold decoration customers as well as the core business membrane switch and screen printing customers. The new laser equipment is suitable for prototyping and producing runs of material, which are too brittle for traditional die cutting methods. For further information visit: www.hytecheuro.co.uk

44 FESPA WORLD 09/04

A new generation of spacer tapes Avery Dennison, Specialty Tape Division has introduced a new generation of tapes, which allows a reliable long lasting product, and demanding designs of membrane touch switches (MTS). Avery Dennison Specialty products has a long tradition in supplying tapes for the membrane switch market, beginning in the early eighties. In fact, according to Business manager Rien Repriels, one of the original products – FT 397 – is still a topseller. "This is because it has proven to be a very good double coated mounting tape for all kinds of substrates and inks", he says. Spacer tapes, which are used in contact with the electrical circuits, and most of the time in combination with metal domes, must continuously meet the increasing needs in the market for design freedom, reliability, ease of conversion and traceability. The Spacer Tapes from Avery Dennison have been updated in all their components: adhesive, liners and polyester carriers. The result is a complete range, of easy-to-use products, which are consistently reliable over an extended period and can be used with even the most challenging of designs. "The last, but certainly not the least step was the upgrade of the adhesive", explains Jos Vorsselmans who is responsible for Product Development. "The adhesive upgrading is focused on cohesion to meet the requirements in areas of continues stress", he continued. The tests show a higher resistance to the continuous static forces that are applied to the tape around the domes and at the tail. This makes the tapes very reliable for long term performance, but also allows customers to make more demanding designs (more domes/area, domes closer to the edge of the MTS, incorporation of small components etc.). "The adhesive has been tested and approved to comply with a wide range of inks and plastic components which are used in the MTSconstructions. Apart from in-depth lab testing, we have approvals from several big players in the membrane switch market as well", adds Rien Repriels. In addition to Avery Dennison's standard product range, customisation in the thickness of the spacer tape is possible. Following the release of this new spacer tape, Avery Dennison is now able to meet the requirements of all the companies active within the membrane switch market For further information visit: www.stde.averydennison.com


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The Avery Dennison Specialty Tape Division's Heaquarters.

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Avery Dennison's space Tape.

FESPA WORLD 09/04 45


FEATURE – PHOTO MAGIC

Photo Magic The arrival of digital printing has opened up many new areas of application within the whole graphic arts sector, since it is now possible to achieve effects that wouldn't have been viable previously. Intelicoat Technologies believes that it has now pinpointed a new niche and with the launch of its latest Magiclée range is all set to target it. Val Hirst reports

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46 FESPA WORLD 09/04

As a manufacturer of coated paper, film and speciality substrates, Intelicoat Technologies is always looking for new markets for its products and has already enjoyed success within the lucrative and growing area of fine art reproduction. Indeed, the launch of its new Magiclée range, which comprises a carefully edited selection of paper and canvas, that have their own unique feel, thickness and texture, is targeted at companies operating within that area. But perhaps more excitingly, Intelicoat believe that it has also pinpointed another niche market – that of the photographic sector. During a recent Open Day in Amsterdam, which was designed to launch the Magiclée range, the company shared its latest intelligence. Sales and Marketing Director Mark Chappell explains: "The popularity of our specialist materials with those involved with fine art reproduction has encouraged us to think laterally. Nowadays most professional photographers use digital cameras for at least part of their work, yet at the same time, many of the old style photo labs are closing. This means that it is becoming increasingly difficult for photographers to find some one to process their film, both in terms of logistics and cost."


FEATURE – PHOTO MAGIC

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He continues: "However, at the same time, digital printers are becoming more affordable and just as importantly, they are also becoming much more user friendly. The acquisition of a printer could effectively enhance a photographer's profitability, since it would enable him to greatly extend his repertoire. For example, instead of merely producing the usual set of prints, he also has the capability to enlarge his work significantly and to print it on all sorts of different materials and to achieve the same value added benefits that the fine art sector are already enjoying." So far so sensible, but Chappell is quick to acknowledge that it is a plan which might meet from some resistance from photographers themselves. "Obviously, no one relishes the prospect of splashing out on new equipment, let alone negotiating the subsequent learning curve," he admits. This is why, in line with its policy of always selling through a relevant distributor chain, Intelicoat are selecting companies who already have a foothold in the photographic market and are fully conversant with the aims and aspirations of professional photographers. Very often these companies are also able to offer a comprehensive bureau service too. One such company is Art on Demand,

Intelicoat's Benelux distributor who has already persuaded at least one customer that digital is the right way to go. Jeroen Meijerink is both the road manager and the official photographer for Kane, one of the Netherland's top rock bands, who are now also gaining a dedicated following throughout Europe. Meijerink comments: "Kane is a great visual band and their sets are always bright and exciting." Unsurprisingly, the demand for reproductions is always very high and it far exceeds requests for straightforward medium sized prints. Large format reproductions of Meijerink's photos are used in concert halls and museums and also become collectors' items amongst the band's many fans. He continues: "I work closely with Hans Moret of Art on Demand who have been reproducing my work using digital print technology and I have been really knocked out by some of the end results. The photos can look entirely different depending on the materials used – and its really great to see them enlarged in a way that wouldn't have been possible using traditional developing techniques." Customers for Meijerink's works are able to view photographs at special events, concerts or even on-line and then order reproductions in a huge range of different

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The Dutch rock

group Kane in action.

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InteliCoat's new range of substrates helps to give fine art reproductions an authentic look.

FESPA WORLD 09/04 47


FEATURE – PHOTO MAGIC

options, for example framed like a photo or as a painting on stretch canvas. He concludes, "With my photographs of Kane, it is important to create an atmosphere in keeping with their reputation and style. We want the viewer to gain a 'feel' for the nature of the band. The range of effects and moods that Art on Demand can generate on Magiclée media is very impressive and is, I believe, an important

reason for the success of the reproductions." In fact so inspired has Meijerink been, that he now wants to learn everything he can about digital printing and to make photography his full time career once his rock days are finally over! Chappell hopes that once they become aware of the results that can be obtained, other photographers will feel similarly

inspired. He says: "All of our research leads us to believe that digital printing technology will enjoy the same growth in the photographic market as it has in fine art reproduction. This means fresh opportunities for photographers and also for existing digital print companies and bureaux who will be able to use the Magiclée range, to help them attract a whole new customer base."

resistant reproductions. This natural white fine art paper is acid-free, which results in a high archival quality. Verona is a mould-made, cold-press, fine art paper specifically designed with a water resistant coating that is free of optical brightners, which delivers digital giclée with superior colour fidelity. These products are available in 210g, 250g and 310g versions of both fine art paper and canvas. Developed in conjunction with leading exponents of fine art reproduction applications, the Magiclée Fine Art range is ideally suited

to the specific requirements of the fine art reproduction industry. The Magiclée Fine Art range also includes Firenze matt presentation paper, Sienna instant dry photobase paper and MuralPro wall covering substrate for fine art applications. The Magiclée Fine Art range is available immediately and includes 210g, 250g and 310g versions of both fine art paper and canvas. For further information, please visit www.intelicoat.com or www.magicinkjet.com

The products The new range of fine art papers, marketed under InteliCoat's new Magiclée brand, comprises: Magiclée Torino: An inkjet stretch cotton/polyester blend canvas for dye and pigment printers. Torino has a subtle texture and is pliable enough to be stretched and framed. The product is ideal for portraits, fine art reproduction, museum art and heavy-duty indoor signage, photography and displays. Magiclée Verona: A digital fine art paper is a textured paper with a traditional matte finish designed for long term fade

48 FESPA WORLD 09/04


INFORMATION – EVENTS

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Big events in Bombay! Following his recent visit to Screenprint India, Michel Caza shares his experiences of the show and his insights into the growth of both screen and digital technology in India. Bombay, or to give it its Indian Name, Mumbai, which in Hindi means 'gate', is the main gateway into India, both literally and metaphorically as it is this city which will play a vital role in India's future growth and development as a major international trading nation. Following the ASGA Exhibition in Shanghai last year, I predicted that after the Chinese boom, we would see a similar expansion in India's economy and the Screenprint India Exhibition, which was held during August, and the events surrounding it, did everything to reinforce that prediction.

The Indian Screen-printing Exhibition Officially opened by Michael Robertson, the SGIA-DPI Executive President, this show was similar to the one which preceded it two years ago. European manufacturers such as Encres Dubuit and Fimor, had taken stand space, whilst many other European suppliers were represented by their local distributors. The show was unusual in that it was purely dedicated 50 FESPA WORLD 09/04

to screen and tampo-printing – there was no digital element at all. In some ways it was comparable to some of the national screenprinting shows which are still held in Europe, although of course there were many more visitors, a reflection of the growing demands of the vast Indian market.

The keynote address Michael Robertson, was the main speaker at an event which was designed to examine the growth and predicted popularity of the screen and digital markets in India. Robertson focused on 'the state of the art' and I followed with an outline of what I consider will be the main developments in the future. Mike Young covered the necessity of technical training whilst Mrs Pei, Chinese SPAI VicePresident, presented a comparison with Chinese developments. Other speakers included several members of the Board of the SPA India, including the President and Vice-president, Mr Doshi and Mr Mistry. I also had the privilege of announcing the launch of a big new event – FESPA WORLD

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EXPO - India 2005 for which will take place at the beginning of December 2005 in Delhi, a few months after FESPA 2005 in Munich.

FESPA WORLD EXPO - India 2005 This announcement received a very enthusiastic reception, and the Indian members of the SPA India, the FESPA Board, and the majority of the suppliers who make up ESMA are all convinced that the show will be a resounding success. Everybody is very conscious of the fact that it is extremely difficult, both logistically and practically for many of the new screen and digital printers in both India and adjacent countries to attend a European show. Add to this the fact that FESPA is now well equipped to organise events of all shapes and sizes, and the new show becomes the next logical step. Michael Ryan who is FESPA Exhibitions' Sales Manager was delighted by the response he received in Mumbai and everything suggests that India will follow a similar pattern to China in terms of the expansion of the screen and digital sectors.


EVENTS

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Gate of India. Dubuit stand. Caza-Robertson-Young-Doshi. In view of FESPA India. Awards. First Degrees. Caza's conference.

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The awards competition This was very interesting and I was extremely impressed by the quality of the entries representing many different areas of application. Many of them would have been worthy winners of similar competitions run by FESPA and the SGIA. The quality and regularity of the printed images, fineness of halftone in process printing and quality of colour management, marked a fantastic improvement when compared with the entries for the 2002 competition.

The technical forum of questions and answers At this event, the "experts", Mike Young, Michael Robertson and myself, together with some members of SPAI India had to answer many, many questions, ranging from the simplest to the most sophisticated, including some that would have needed several hours to answer fully! This simply goes to illustrate the high level of demand for technical training in India. The Vice-President of the SPA India, Bhargav Mistry , who also runs the largest

Indian press and equipment manufacturing company, as well as being a screen-printer in a highly technical segment of industrial application, is committed to providing training and will shortly be opening a School devoted to the teaching of the screenprinting technology. He already teaches at the Graphic Institute of Mumbai. FESPA's new Department for Technical Training and Information intends to support the efforts of SPA India to improve the training facilities, since it feels that Europe and USA have to supplement sales of screenprinting equipment and materials with proper technical information and training.

The impromptu conference Bhargav Mistry invited me to spend some time at the Government Institute for Printing technologies so that I could meet the Principal, Mr Ashok Desai and present diplomas to the eight students who graduated following their participation in an accelerated course in screen-printing. However, when I entered the room, I discovered that 150 students were

expectantly waiting for the "Guru" (which actually means 'teacher' in Hindi) to arrive. They expected a speech about the growth of visual communication in India and a technical conference. I had nothing prepared but as luck would have it, I always have my laptop with me, so I gave a little talk on how to prepare files properly for screen- and digital printing!" I actually spoke for two hours, and greatly enjoyed demonstrating how the screen and digital technologies can offer a lot of new opportunities for worthwhile and satisfying careers!

Plant visits The first visit was to Classic Stripes, an important Indian screen-printing company, which is ISO 9002 accredited, employs 120 people and specialises in the production of automotive decals. It is equipped with ATMA flat bed presses, Sakurai cylinder presses, which will be upgraded from solvent to UV ink next year, and operates from a huge new plant. The next visit was to Spectrum, an award winning POP specialist who FESPA WORLD 09/04 51


EVENTS

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a Spectrum. b Grafica Flextronica. c Press at print, Caza and the manufacturer, Bhargav Mistry.

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Starting the press at Yogi Displays.

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achieves an excellent quality of work, which is comparable to anything I have seen in Europe. It is equipped with the modern machinery and presses (Atma and solvent systems, although the plant itself offers less than ideal working conditions – lots of awkward, narrow rooms on many different levels, which makes it particularly hard on those doing manual jobs such as finishing and mounting. It provided the perfect illustration of an Indian screen-printing company in "state of flux": Next year, Spectrum will move into a brand new plant, start to work with UV inks and thus all of the employees will enjoy more congenial working conditions. Finally, I visited Grafica Flextronica, and Grafica Display company, the latter of which is a screen-printing company that operates in the highly specialised field of providing decorations for motorcycle helmets. This company intends to establish a school in its premises in order to improve the quality of training. 52 FESPA WORLD 09/04

First formed in 1989, by the father of the current owners, the Mistry brothers, it also manufactures a wide range of flat bed presses (more of which, later) and all sorts of drying-curing systems for its mono and multi colour presses plus all the equipment necessary for tensioning and stencilling the screens. Both the concepts and the quality of manufacturing are very impressive. The company will exhibit for the first time at SGIA in Minneapolis and have also taken a large stand at FESPA 2005 in Munich.

The first Indian four-colour automatic screenprinting press! This was truly fascinating! An entirely home grown Indian four colour press and I was awarded the honour of officially starting this brand new machine for the first time! This press – the Multi-Speed -which is manufacturer by Grafica Flextronica, has just been installed in Yogi Displays Art company, which is owned by Ravi

Phulsundar, Yogi Display Arts is dedicated to prepress work and film imaging as well as digital solvent ink-jet printing. The new screen-printing press will be used to print decorative panels of 2.4 x 1.2m and POP applications in fine line halftone screenprinting, up to a thickness of 5mm and at a maximum speed of 400 sheets/hour. This is the first time that such a fourcolour press has been designed and built in a country other than Germany, Italy, USA or Sweden! Even the Taiwanese manufacturers, with their years of experience, have not achieved such a press! What's more it is so competitively priced that it is going to become a 'must have' and Grafica Flextronica is already working to build a network of agents all over the world for all of its equipment. The subject of an affordable high tech multicolour presses, is one which I will cover more fully in the future, since I believe that such presses will enable screenprinting to continue to compete effectively with digitally based technology.


INFORMATION – INNOVATIONS

The best jumbo scanner I ever saw! When in Paris recently, Michel Caza discovered the best scanner ever for use in the graphic, textile and fine art fields! In fact, this device could more properly be described as a "high definition digital multi-spectral scanning camera". The true beauty of it is that it can scan even very large images – up to 2 x 5m – and the six band model, which uses a 240 megapixels CCD can obtain incredibly high definition and resolution (12,000 x 20,000 pixels), as well as near perfect colour reproduction (95%). The acquisition can be in Grayscale, RGB or Multi-spectral. The camera can be mounted in either fixed or portable environments, using a monopod, tripod, wall-mounted motorised column or a ceiling bracket to scan objects on walls, floors, easels, copy-tables, book cradles, vacuum frame and light boxes, with total geometric accuracy. It is also possible to scan a wide range of documents such as paintings, fine art, maps, plans, tapestries, carpets, books,

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drawings, bound volumes, illustrations, textiles and more. The JumboScan Multispectral 6 band model outputs to RGB, sRGB calibration file, multi-spectral raw and L*a*b* file with different illuminations. An Infrared filter is available for comparison with the visible image. Colour management software is included to facilitate the production of completely calibrated output files that are ready to use with a calibrated printer. Special display software enables statistical analysis and pigment recognition, plus predictive art restoration, which includes a varnish removal option, providing a simulation of a painting before varnishing took place. The six filters (instead of the usual three in RGB) provide an image with up to 95% of colour accuracy against the more usual 50% – 70% accuracy at best, provided by the standard RGB.

The JumboScan scanning camera.

Another good feature is the lighting. The elliptical mirrors concentrate the beam on to a narrow band, which moves along the painting in perfect synchronisation with (at high speed) the movement of the CDD bar. The source of lighting can be HQI, HCI (metal halide) or tungsten with a colour temperature of 5,400 or 3,200 Kelvins. In addition, there are light beam projection, heat and UVB filters, which prevent damage to any fragile piece of art. A special colour chart has been created by Pebeo to calibrate the scanning. Finally there is a "Laboratory model", which has 13 bands (10 in visible and 3 in UV and IR). Unfortunately, this one is a very expensive piece but definitely something to add to your wish list! For further information visit: www.jumboscan.com

JumboScan Museum Model

ColorSoft Multispectral Image Management

Sensor: Resolution: Pixel Ratio: Sensor area: Sensitivity: Tinted filters: (6-7):

Reconstruction method: Direct learning based and Interpolation (patented) Dedicated charts: Painting, drawing, textile, flora, fauns and specific applications Spectral database: Historic and modern painting pigments Special functions: Detection of cracks, Recognition of pigments, InfraRed visualisation, Virtual varnish removal and Colour palette analysis Output image format: TIFF or JPEG assigned sRGB profile, L*A*B* with differing lightings and Multispectral RAW file

Color depth: File size: Scanner Interface: Optics:

Mono-linear Atmel CCD 12,000 pixel 20,000(H) x 12,000(V) 6.5 x 6.5mm 130 x 78mm 380 x 1050Nm Blue, Turquoise, Green, Yellow, Red, Near IR, IR (optional) 72 bits – 6 x 12 720Mb (L*a*b 8 bits) and 2,88Gb (Raw- 16 bits) LVDS Ultra speed connection Schneider 150 and 180mm lenses.

JumboLux Synchronized Lighting System (patented) Source lighting:

HQI or HCI (metal halide) or Tungsten illumination Color temperature: 5,400 K or 3,200 K Light beam width: 70mm (3") Intensity: 70,000 Lux (Total illumination) Energy received: <52 lux per hour b (A0 size/E-size at 300dpi) Temperature change: <1°C/F over the entire document with optional heat filter UV output: all UV-B is block

54 FESPA WORLD 09/04

Recommended configuration: Macintosh G4/G5 Dual Processor, OS9 or OSX.3, 2Gb RAM Other models available: GIS (Grayscale Geometric precision EMQ: 0,005%, RGB (standard), Laboratory (Multispectral 13 bands: 10 visible, 3 UV and IR filters)


INNOVATIONS

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The TFC-9000. The principle behind the TFC-9000

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Measuring the level of curing in UV printing Michel Caza introduces a tool for which screen printers have been waiting for 25 years! A technical article published in the last issue of this magazine confidently stated that: "No simple, cost efficient and exact evaluation method exists to measure the level of polymerisation of an UV ink". It also opined that the "suitability of the calorimetric method for usual screen layer thickness is 'questionable'." In fact, there is now a tool that accurately measures the level of polymerisation. It is very new and is the result of an interesting conference, which took place during the last Rad-Tech seminar, and discussed the measurement of polymerisation using a "thin film calorimeter". This in turn reminded me of a conversation I had with Dr Bourne from the National Research Council of Canada, when we met eighteen months ago at FESPA 2002 in Madrid. We agreed that the "calorimetric way" was certainly the easiest and the cheapest way to obtain such a measurement. As a matter of fact, I was complaining that we had to choose between either a simple but inaccurate test or extremely expensive laboratory methods, such as real-time spectroscopy or the analysis of changes in the physical parameter. At that time it seemed as if anyone using a UV printing technology, whether screen or digital, had no simple and cheap tool, which would help us to achieve the relevant measurement.

Calorimetry is advantageous because it offers a direct measurement of the polymerisation rate, which is calculated on the basis that the amount of heat released is directly proportional to the number of monomer and oligomer units which are converted to polymers. The thin film calorimeter, which was introduced at the beginning of the 80s and now perfected, (TFC) allows us to quickly measure the exothermic heat reaction from a polymerising sample through a highly sensitive sensor. My old friend Stephen B. Siegel, from the well known American Company UVPS in Chicago, recently built the TFC-9000™ a CONTROL-CURE system to test UV inks and other UV coatings and evaluate their degree of polymerisation. In principle, this device is a giant step forward. So far it is a "simulation" tool, which calculates the level of polymerisation reached by an ink under specific conditions, and displays the result either via its own LCD display, or on a computer screen, when it is connected to the serial port. Of course, it can be interesting to know how cured an ink is under these simulated conditions, which deliver an output from UV LEDs of 395 or 370 Nm for example. But you will find extremely big differences in the result, according to the LED output! You must also take into account that

each UV curing unit in your plant will use one or two different makes of lamp, operating at different distances, different intensities and many other variables, all of which will give different results in terms of polymerisation level. And this is precisely why we need to use this marvellous TFC9000™ tool with our own equipment – we are unable to replicate the exact conditions of our equipment in a simulator. Well aware of my desire for a specific tool, which is able to travel through "our" UV curing units at an affordable price, Stephen is now working on the second generation of his system and is preparing three different models: 1. a basic stripped down version at a very affordable price; 2. a good laboratory system, which has all of the basic functions, including storage for multiple tests within the unit, and which can also subtract the heat of the lamp itself from the test; 3. an upgraded model that will include additional functions. The test station comprises an aluminium plate measuring 12.5 x 7.5 x 0.6cm under a copper plate with a 3m wire, which is long enough to pass through any classical UV curing unit. These enhanced tools will enable us to gain a precise curing measurement when used in conjunction with a specific ink passing through the curing unit at a certain speed and under a certain lamp output. Further, using our own knowledge and experience we will be able to judge if the level of curing is the good and proper one after taking into account secondary and post-polymerisation, two elements which were totally ignored in the above article, but that's another story! For further information contact: info@uvps.com or visit: www.uvps.com FESPA WORLD 09/04 55


INFORMATION

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

Telephone

Fax

E-mail

Ricardo Rodriguez Delgado – President

34 914 85 28 70

34 916 71 02 73

rrd@panorama-sa.com

Michel Caza – Past President

33 1 34 67 16 79

33 1 34 67 28 89

michelcaza@aol.com

Hellmuth Frey – President Elect

49 408 50 40 21

49 408 537 18 12

siebdruck@aol.com

Lascelle Barrow

44 207 537 42 00

44 207 531 12 77

las.barrow@amartin.co.uk

Gyorgy Kovacs

36 28 51 66 15

36 28 51 66 16

imago@vnet.hu

Anders Nilsson

46 493 130 40

46 493 121 20

info@gamlebyscreen.se

Enrico Steijn

31 79 343 5353

31 79 343 5354

enrico@imaba.nl

Kurt Sperisen – International Ambassador 41 19 10 51 50

41 19 10 38 66

kurt.sperisen@bluewin.ch

Nigel Steffens – General Secretary

44 1737 22 53 21

44 1737 24 07 70

info@fespa.com

Frazer Chesterman – Exhibition Director 44 1737 22 97 26

44 1737 24 07 70

frazer.chesterman@fespa.com

Val Hirst – FESPA Magazine Editor

44 1623 88 23 98

44 1159 81 81 99

val.hirst@fespa.com

Rudi Röller – ESMA Chairman

49 62 22 57 80

49 62 22 57 82 00

rudi.roeller@kiwo.de

David Parker

44 12 35 77 11 11

44 12 35 77 11 96

dparker@autotype.com

Pedro Rodriguez

34 944 02 27 47

34 944 71 11 82

rodriguezpj@sunchem.com

ESMA board

Eckhard Napp – TDS Ctee Chairman

49 21 53 71 901

49 21 53 71 917

e.napp@hurtz.de

Sem Seaborne – HSEP Ctee. Chairman

44 12 35 77 11 11

44 12 35 77 11 96

sseaborne@autotype.com

Heinz Brocker – IA Ctee. Chairman

41 71 24 28 686

41 71 24 28 989

Heinz.brocker@gallus.ch

Bryan Collings – General Secretary

44 12 27 28 25 73

44 12 27 28 25 74

bryan@brycol.demon.co.uk

Ralph Roschlau

49 71 41 69 11 26

49 71 41 69 11 03

ros@marabu.de

Daniele de Rosa – EPP Ctee. Chairman

39 03 19 711

39 03 19 33 392

DDerosa@saatiprint.com

Bob Watson – Digital Ctee. Chairman

44 1843 87 21 10

44 1843 87 21 26

bob.watson@sericol.com

FESPA secretariat 44 1737 22 97 23

44 1737 24 07 70

mandy.goldfinch@fespa.com

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

Mandy Goldfinch – PA to Nigel Steffens

44 1737 24 07 70

michael.ryan@fespa.com

Karen Pooley – Operations and Marketing Manager, FESPA 2005

44 1737 22 97 25

44 1737 24 07 70

karen.bentley@fespa.com

Lorraine Harrow – Sales and Marketing Assistant, FESPA 2005

44 1737 24 07 88

44 1737 24 07 70

lorraine.harrow@fespa.com

Ruth Fahie – Sales and Marketing Assistant, FESPA 2005

44 1737 24 07 88

44 1737 24 07 70

ruth.fahie@fespa.com

Ken Chan – Accounts Department

44 1737 22 97 24

44 1737 24 07 70

ken.chan@fespa.com

Secretaries of FESPA national associations

Telephone

Fax

E-mail / Website

Franz Kimberger

43 15 12 66 09

43 15 13 28 26 19

verb.druck.u.medientechnik@aon.at

Austria

www.druckundmedientechnik.or.at Isabelle Lefebvre

Belgium

32 25 12 36 38

32 25 13 56 76

isabelle.lefebvre@febelgra.be / www.febelgra.be

Eugeny Ivanov

Bulgaria

35 96 082 39 48

35 96 082 39 48

ett@popovo.net

Mirjana Bjelan

Croatia

38 51 45 52 327

38 51 45 52 327

mirjana.bjelan@zg.htnet.hr

Vladimir Havel

Czech Republic

420 487 71 27 12

420 487 72 63 55

vladimir.havel@sca.com

Finn Obbekaer

Denmark

45 63 12 70 00

45 63 12 70 80

fo@ga.dk / www.ga.dk

Regina Aas

Finland

35 89 71 72 99

35 89 73 84 52

regina.as@kolumbus.fi

Arnaud Couvreur

France

33 1 53 89 25 31

33 1 53 89 25 26

gpsfr@noos.fr / www.gpsfr.org

Torben Thorn

Germany

49 611 80 31 15

49 611 80 31 17

tt@bvdm-online.de / www.bvdm-online.de

Kimon Papas

Greece

30 210 52 39 41 6

30 210 52 48 23 7

papath@ath.forthnet.gr

Janos Buranyi

Hungary

36 28 51 66 15

36 28 51 66 16

mszsz@vnet.hu

56 FESPA WORLD 09/04


INFORMATION

Oreste Baiono

Italy

39 06 44 18 82 71

39 06 44 24 95 15

siaf@cna.it

Marius Gort

Netherlands

31 20 5 43 55 56

31 20 5 43 55 35

zso@kvgo.nl / www.zso.nl

Jon Halvorsen

Norway

47 33 07 15 30

47 33 07 15 31

jeh@ahml.no / www.serigrafer.org

Wojciech Kwinta

Poland

48 12 29 60 385

48 12 65 60 132

biuro@ssp.com.pl / www.ssp.com.pl

José Carragosela

Portugal

35 12 18 49 10 20

35 12 18 43 87 39

geral@apigraf.pt

Marius Codirla

Romania

40 722 28 21 22

40 264 59 71 39

viking@mail.dntcj.ro / www.arsitd.homestead.com

Artem Nadirashvili

Russia

7 09 53 65 38 96

7 09 52 32 18 66

info@midiprint.com / www.rspa.ru

Dusan Golubovic

Serbia and Montenegro 38 11 63 21 23 49

38 11 13 61 50 23

tehnologika@beotel.yu

Ludovit Bartos

Slovakia

42 1 32 74 43 589

42 132 74 30 434

bartos@bartos.sk / www.sietotlacovyzvaz.sk

Mateja Skrl

Slovenia

38 65 36 66 010

38 65 36 66 022

info@efekt.si

Pablo Serrano Cobos

Spain

34 91 307 74 44

34 91 307 76 08

pserrano@aspack.es / www.asibnet.org

Else-Britt Lindeborg

Sweden

46 87 62 68 17

46 86 11 08 28

else-britt.lindeborg@grafiska.se www.screentryck.org

Hans Peter Weiss

Switzerland

41 18 37 10 40

41 18 37 10 42

hp.weiss@wemedia.ch / www.vss-apss.ch

Ibrahim Demirseren

Turkey

90 21 22 22 83 30

90 21 22 21 69 46

ared@ared.org.tr / www.ared.org.tr

Michael Turner

United Kingdom

44 1737 24 07 92

44 1737 24 07 70

info@spauk.co.uk / www.spauk.co.uk

SGIA

1 70 33 8513 35

1 70 32 73 04 56

miker@sgia.org

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 www.fespaworld.com to members and subscribers. I enclose my cheque for €63.00 payable to FESPA for issues 38, 39, 40 and 41.

Future issues Issue 38 December 2004, Issue 39 March 2005, Issue 40 June 2005 (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 09/04 57


AND FINALLY… 5 52-5 36 P sue ld Is Wor espa ks, F UV-in g of curin g or Dryin

Don't believe everything you read!

Even a so-called 'qualified committee of experts' are capable of getting it wrong and can give incomplete, or worse, inaccurate technical information, cautions Michel Caza…

I want to use this space to take issue with something published in the last edition of Fespa World, an inexactness which appeared in the article entitled "The Drying and Curing of UV inks," which, despite being written under the auspices of ESMA, unfortunately contained some serious technical mistakes relating to screen and digital UV technologies. For the last 28 years I have been deeply involved in UV printing technology, and actually developed the practice with regard to both the theoretical and practical elements. In my company, we print with UV inks – and UV inks only since 1979 – onto all types of substrates, including plastic, for both the POP and industrial sectors. In the above-mentioned article, the author completely forgot a major fact in relation to the reactions of UV curing, namely post-polymerisation. Once poly-

58 FESPA WORLD 09/04

merisation is initiated, it will continue for the next 24 hours and possibly, even up to 48 hours. If the curing is already high at the beginning, as recommended in the article, the ink will be 'over-cured' the day after. And over-curing is the printer's worst enemy: In the first application of UV inks the cross linking will continue until the links between the molecules of the oligomer film reach the end of their total potential reactivity. If you 'cure' at a too high level from the start – and remember that, when you make the curing of the first colour, it will burn only 75% of the photo-initiators – this 'primary curing' will be further activated during the secondary curing, which takes place when you add the second colour. Further, there will also be some 'post curing'. Ink that is cured at a too high level will become over-cured, with the net result that it will be too hard, become brittle, and therefore liable to crack during folding or die-cutting. Alternatively, you will experience inter-coat adhesion problems and even "postadhesion" on a supple substrate. You can check this process yourself by simply applying the 'fingernail test'. When applied to a freshly produced print it will reveal a rigid surface, which none the less, has a soft inside. However, if you repeat the test again after curing, you will find

the print will 'smear'. Try again a day later and you will find that the ink is "cured at heart". This "minimal curing" also prevents the heating of thin thermo-plastic substrates. After the thermal shock due to the IR produced by the UV lamps (they deliver energy from 230 to 400Nm (near UV) – visible light from 400 to 700Nm – and IR up to 5,000Nm), I generally apply a "cooling" shock. I prefer to add a "cooling unit" after the UV lamps (blowing air at 5°C and 80% of humidity, on 2m) which allows the plastics substrates to recover their size and flatness and paper a part of its humidity. This means that I have no register problems, even in large format printing on polypropylene, polyethylene or PVC sheets of 200µ. I am neither in favour of the unfocussed light, nor of the dichroic systems (deviation or filtering of the IR), as it often prevents good curing for some colours. A wide "cocktail" of radiation is needed for perfect efficiency, especially when using dark and metallic or opaque UV inks. One other point: the measurement of the energy emitted by the lamp is unimportant because it does not translate the level of polymerisation (or "curing"). This "level of polymerisation" is what the screen-printer (or digital printer using UV piezo ink-jet)

needs, and, despite the author's affirmation otherwise such a tool exists, in the shape of the CONTROL-CURE's® TFC-9000™, which was conceived and manufactured by the American company UV Process Supply, The only problem is that its first version, which is priced at approximately $4,800 remains too expensive for many small companies, although a simplified and more affordable version will soon be available. (For further details on this, see the previous page). My feeling then, is that it is up to the printer to judge, once he has taken account of both the secondary and, most importantly, the post polymerisation, whether he needs to have the UV ink cured at 70%, 75%, 85% or more or less just after printing. This is something that takes time and practice to ascertain, but eventually becomes second nature to the experienced printer. I could make many other comments about this article, but I think that the points raised here are really of the highest importance for anyone using UV inks. Have you got something you want to say about any of the articles that appear in Fespa World? If so address your comments to Val Hirst at val.hirst@fespa.co.uk


FESPA WORLD Issue 37 - English  

FESPA WORLD Issue 37 - English

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