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Vol : 08 • Issue : 01 • December - January 2018


Chaitya Shah, Marvel Art Gallery

Pages : 76


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| SCREENTEX | December - January 2018

Vol : 08 • Issue : 01 December - January 2018



Jignesh Lapasia +91 98679 78998 MANAGING EDITOR

Naya Saal; Nayi Soch

Supreeth Sudhakaran ASSOCIATE EDITOR


The Year of Changes. This is how I define 2017 for the print industry. A lot of changes - some good, and some bad - changed the way we did business. However, experts see good days ahead. The Dun & Bradstreet Business Optimism Index for the January-March quarter 2018 touched three and half year high on improving demand conditions and expectation that government sops in the budget will revive consumption. The Dun & Bradstreet Composite Business Optimism Index stood at 91.0 during January-March 2018, an increase of 18.6 percent as compared to October-December 2017. Meanwhile, the GST Council decided to exempt subscription of online educational journals/periodicals by educational institutions who provide degree recognized by any law from GST. Seems like we could expect some better days ahead. Moving on, in this edition we bring you news from Konica Minolta, who state India holds a special place in its strategy. We also break the news of FABRO partnering with Mumbai based AEON. And then, we have a freewheeling chat with Chaitya Shah of Marvel Graphic Studio. In addition, Laurel Brunner returns with her column on setting targets for energy use, as well as another one on colour management. In our technology section, we have Julia Gifford explaining everything you need to know to prepare the perfect print file and Lonnie Brawer who explains why White Ink Is NOT White Paper. I hope you enjoy the issue, do write back to us with your feeback and inputs. As I wrap the edit, I leave you with few lines by Douglas Malloch who compares good men to good timber in this famous metaphorical poem.


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Good timber does not grow with ease, The stronger wind, the stronger trees, The further sky, the greater length, The more the storm, the more the strength. By sun and cold, by rain and snow, In trees and men good timbers grow.


Om Sai Printer, Mumbai MEMBER OF

All material printed in this publication is the sole property of SPRY MEDIA. Reproduction in any manner is prohibited. SCREENTEX is a bi-monthly printed and published by Jignesh Lapasia. All printed matters contained in the magazine are based on information from those featured in it. The views, ideas, comments and opinions expressed are solely of authors, SCREENTEX does not subscribe to the same.

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Industry puts a strong foot forward at Pamex 2017


28 30 34

Digital technology weaves its way into custom design Setting targets for energy use

Colour management in digital textile printing


Everything you need to know to prepare the perfect print file


58 62

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At least 10,000 automatic machines will be sold in India in the next 20 years: FABRO



The world is looking at us: Chaitya Shah of Marvel Graphic Studio



India holds a special place in our global strategy: Yoshinori Koide of Konica Minolta




Cos that ignore culture will fail



White Ink Is NOT White Paper

December - January 2018 SCREENTEX |



HP to bring 3D printers to India in Q1 2018 After sensing tremendous opportunities in both commercial and industrial 3D printing in India, HP Inc recently announced it will start selling its 3D printers in the country by early 2018. According to Sumeer Chandra, Managing Director, HP Inc India, the company is in discussions with various industry stakeholders to help them begin 3D printing in the country. “We will bring our 3D printers in next 2-3 months to India as part of our commitment to contribute to the India growth journey,” Chandra said during an interaction with media in New Delhi. With its Multi Jet Fusion (MJF) 3D printing technology, HP plans to disrupt the $12 trillion global market and hopes to push 3D printing’s prototyping into developing

manufacturing components. “Initially, the focus will be on sectors like automobile and health care in India but the opportunities are immense,” Chandra added. Although in a nascent stage, the 3D or Additive Manufacturing (AM) is gradually taking shape in India. “The HP Jet Fusion 3D Printing Solution will deliver superior-quality physical parts up to 10 times faster and at half the cost of current 3D print systems,” Chandra said. In September, HP had demonstrated the continued growth of customer demand of its Jet Fusion 3D Printing solutions in Asia Pacific and Japan, It had even appointed Metro Systems as the first reseller of its 3D printing solution in Thailand. This expanded the commercial availability of HP Jet Fusion 3D Printing Solution in Asia Pacific and Japan to Australia, Greater China, Japan, Singapore,

South Korea and Thailand. With more than 500,000 3D-produced parts in the 2016 alone, HP claims that its Jet Fusion solutions lead the industry in speed, economics, quality and reliability. HP CEO Dion Weisler states after producing plastic-based products, HP aims to sell 3D printers that produce metal objects. In 2016, HP Inc unveiled the world’s first production-ready commercial 3D printing system to bring disruptive manufacturing solutions to markets. The HP Jet Fusion 3D Printing Solution offers simplified workflow and reduced cost for radical prototyping, delivery of final parts manufacturing with breakthrough economics. In a bid to accelerate 3D printing for industrial production, HP Inc recently announced integration of its ‘Multi Jet Fusion’ 3D printer with Siemens’ Additive Manufacturing (AM) software module.

Gujarat election: Print made it more inclusive A state-of-the-art Braille press at the Blind People’s Association (BPA) worked overtime. Sheets after sheets of Braille printing werer neatly stacked and numbered to be sent to different districts of Gujarat. These 55,000-odd sheets made the 2017 assembly elections inclusive for the visually-impaired. According to Census 2011, Gujarat has 10.92 lakh persons with disabilities (PwD). FJ Porwal, manager, Braille Press at BPA,


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printed the Braille sheets for each booth. “The sheet mentioned the candidate’s serial number on ballot, his or her name, and name of the election symbol of the candidate. The visually impaired voter had the opportunity to first go through the names and other details and then make up his mind to vote. He or she could then approach the EVM which had the Braille numbers against the buttons by default. The person could cast the vote by pressing the button,” Porwal said. Bhushan Punani, executive secretary, BPA, said that the Election Commission (EC) of India

has for long attempted to make the elections inclusive. “In the past assembly election, the Braille sheets were provided to select booths having a high number of voters with visual impairment. But this time, every booth had the sheet so that the person on his/her own could cast vote and be part of the democratic process,” Punani said. Though Braille voting was there during the 2009 Lok Sabha elections, the Election Commission made an extra effort this time to spread awareness among people with special challenges to exercise their franchise.


Industry pays respect to Madhukumar Doshi

Madhukumar Doshi ji has been one of the staunch supporters of screen printing industry. When the news of his demise hit the industry, the unequivocal response was that it’s a huge loss. His energy and charisma, even at this age, that is what I will miss the most. Madhukumar ji was one of the founding members of SPAI and an active member. He was the Founder Secretary of SPAI, and President of SPAI (2003-2005) and he continued to

be a Director in SPAI. His journey from being a stenographer to an owner of a reputed organisation highlights how perseverance and commitment is what leads one to the path of success. He was not one who loved the limelight. He preferred to be the pillar and the man behind the success of the industry and association. He had also started Kesarful Foundation in Mumbai. During the SPAI-FESPA Award 2016 in Mumbai he felicitated the students of PVG’s College of Engineering & Technology, Pune, with a scholarship for their efforts in Printed Electronics project. Born in January 19, his early days were spent in Bhavnagar, Gujarat. He started his career as a stenographer, quickly switching jobs to a career in marketing. This is where he grasped

about the market opportunity in the printing business. He started with a small business focusing on the consumables. As the business kept progressing, he finally took the plunge and set up his company Decorative Products in 1978. The company grew to become a leading name in the field of safety signage, stickers, and posters, as well as photo luminescent signs. Though, he was tested by time yet again, when he lost his son Rajesh. His two sons had been his pillars of strength. They together had made the business reach new heights. Nevertheless, he gathered courage and yet again continued his journey with his son Pankaj. Even while writing this piece, there is a sense of unease in me. It feels that it was only yesterday when I could pick up the phone and speak to him regarding any issue. He was always just a call away for anybody in the industry. The calmness in his voice while dealing with an issue, and his experience will be truly missed. Madhukumar ji made us realise how important it is to work for the industry. How age is just a number when it comes to energy and commitment. I wish I could ever explain the indelible mark he left on me and many other people from the industry. What I can do offer, is a heartfelt condolence to his family and loved ones. I am sure, when he will see all of us, he would say these lines: Don’t cry for me. I will be okay. Heaven is my home now, and this is where I’ll stay. Don’t cry for me. I’m where I belong. I want you to be happy and try to stay strong...

December - January 2018 SCREENTEX |



Unitech strengthen B’desh presence, Echotex installs stretching unit Duratech, one of India’s leading screen printing machine manufacturers, has strengthened its presence in Bangladesh. The company at the recently concluded Garmentech Bangladesh 2018 sold a line of stretching machines and IR dryer to the leading garment company, Echotex. Echotex is a leading Bangladesh vertical setup with facilities for knitting, dyeing, digital and screen printing, laundry and garments. Echotex was started over a decade ago by first generation entrepreneur Masum Chowdhury. The company today has over 70 lines of garment units

including printing units that can churn out 25000 units per day. The company dyes 30 tones of garment every day, and also has a digital textile printing unit. It employs 10,000 people at its factory at Gazipur, Bangladesh. Echotex is currently undergoing a brownfield expansion, adding a unit with 20 lines for denims. In addition, it is also adding a new floor of 1 lakh sqft to the facility to further boost the capacity. In terms of printing, the facility houses 8 printing machines including industrial sublimation printing machine, digital printing machine as well as screen printing machines. Masum confessed that the biggest hindrance to long term growth is the huge gap between

energy demand and supply. “There is a gap in the demand and supply of energy. Alternatively, we are using electric generators. The government is also taking measures to reduce the dependence on LPG. We are confident that it will mitigate the issue soon,” he said. Commenting on the choice of machine, Masum said, “We met with the Duractech team in last Garmentech Bangladesh and have evaluated the technical acumen of the team over the year. This one machine is a beginning in a longterm association with Duratech.” Asked about the management mantra he abides by, he said, “In the game of profit generation, do not forget about your people and planet.” No wonder, the company has been awarded for its environmentdriven operations over the years.

Konica Minolta adds AccurioPrint C759 Konica Minolta Business Solutions Europe has enhanced its production print portfolio with the addition of the AccurioPrint C759. Corporate, local authority and education will be key markets for the affordable and durable Konica Minolta AccurioPrint C759, which is a successor to the bizhub PRO C754e. The Konica Minolta AccurioPrint C759 is equipped with a colour scanner which offers a capacity of 300 sheets and scans documents in one pass up to 240 ipm. Its optional double-feed detector improves


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scanning speed for high-volumes essential to legal offices and educational institutes while its complete scan workflow makes it an ideal system for schools and universities. There is high scalability, too, thanks to Konica Minolta’s own OpenAPI interface and IWS or NFC Authentication. André Statkus Product Manager, Production Printing, Konica Minolta Business Solutions Europe, said: “The top-of-the-class scanning and output speed of this colour MFP combines good print production capabilities with high durability. It is particularly suited to schools and universities while its high input and output productivity meets the sophisticated needs of large offices and CRDs (Corporate Reprographic Departments).”

Packed with features and benefits the small footprinted, easy-to-use Konica Minolta AccurioPrint C759 has a print speed of up to 65ppm in colour and 75ppm in monochrome at a resolution of 1.200 x 1.200 dpi. Paper capacity is up to 6,650 sheets and high media flexibility of 52gsm to 300gsm, is offered with mixplex/ mixmedia and an intelligent paper catalogue. Operation is made simple via a 10.1 inch touch panel furnished with multi-touch capability - a mobile touch area (NFC) to connect to mobile devices - while professional finishing options include stapling, booklet making, z-fold and post insertion Statkus concludes: “This easy to operate system delivers the highest productivity for extremely short turnaround work.”

Kolkata : Mr. Firoz - Mob : +91 9874445151 / 7219664855


Barbieri unveils latest spectrophotometer, Spectro LFP qb Italian manufacturer Barbieri has unveiled its latest spectrophotometer, the Spectro LFP qb. The colour management tool comprises three components. First, the Spectro LFP platform is the measuring stage with an enhanced clamping system and integrated M1 backlighting (for transmitted light measurement). The spectral unit (measuring head) incorporates the latest qb technology and comprises what the company describes as the high-precision spectral core, three light sources for uniform illumination of the media surface from three different angles, and seven LEDs to guarantee real M1 daylight illumination pursuant to the standard.

The spectral unit has another extremely useful feature, explains Barbieri: The measuring head is removable and therefore ideal for fast and reliable spot measurement. The third component, the sensing unit, is described by the company as an innovation in the field of professional digital printing: an integrated camera offering a range of applications never available before. With the help of the camera, the measuring device automatically recognizes the target, performs a precision measurement and communicates the position and the photo to the RIP software for further processing. The new system also includes switchable apertures (2,

6, 8 mm) for measuring different materials, surfaces, inks and resolutions. “We want to turn our customers into top performers so that they can deliver the very best certified quality to their customers,” commented Barbieri director of R&D Markus Barbieri. “Our Spectro LFP qb incorporates the know-how we have built up through 15 years of collaboration with leading international bodies, regular customer feedback and experience on the market. “Now we are satisfied: We can offer our customers not only solutions for existing problems but for the first time also a platform that opens up a world of new possibilities and applications.”

Polyester important as digital textile printing grows With the global digital textile printing market expected to show an unprecedented 18.29 per cent CAGR between 2017 and 2021, use of polyester is likely to grow. This is because printing on synthetic fabrics is a lot cheaper than printing on natural fabrics, according to the report ‘Global Digital Textile Printing Market 2017-2021’, by Research and Markets. Polyester is the most eligible synthetic material endorsed by digital printing experts. Priscilla Wilson, principal director, Exhibit Express, explains the hows and whys. “Polyester is preferred for digital textile printing, owing to its high durability, resistance and strength bettered by low shrinkage and colour fastness”, says Wilson. “Being sensitive to heat, polyester can be manipulated effortlessly with high temperature


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and pressure to create permanent pleats and laser cuts”, she adds. Polyester is also preferred for large format soft signage or custom display printing. Polyester 210gsm is widely used in wall graphics, textile banners, table throws, flags and tension frame systems frequently used in trade show booths. Talking about the best method to print on polyester, Wilson says, “Ordinary dyes cannot alter the colour of polyester due to its high stainresistance. We need disperse dyes to create the expected results. To minimise dye migration, we use a white or grey ink as a base before applying any

other colour. The dye-sublimation method of printing reduces wastes.” “The best thing is that digitally printed sublimated polyester both can be washed and then tumble-dried in a lowtemperature setting. This is another reason to choose polyester”, she concludes. The trade show display printing market will continue to depend on polyester. As more trade fairs are organised, the demand for the fabric will escalate.


Repro India raises Funds, plans to expand operations Commercial printing solutions provider Repro India recently raised funds from high net-worth investor Vijay Kedia and Malabar funds by allocating over 5.9 lakhs equity shares, as it aims to capture a bigger share of the online book distribution market. The company’s Executive Director, Pramod Khera told media it currently has a cushion of around 12000 books a day to reach its production capacity. The company has been printing around 4000 books a day, and expects to reach the 16000-20000 books a day limit by next financial year. The funds raised are to boost its distribution business. Khera said he is also looking at getting into newer formats of print on demand, as it strengthens its capacity by

setting up two additional units in Delhi and Chennai, and scaling up its Mumbai facility. The company has already started investing in the Mumbai facility that will be equipped to churn out 8000 books a day, which will be followed with the plants in Chennai (will be ready by Q1 of FY18) and Delhi (will be ready by Q3 FY18). By end of FY19, Repro will look at establishing a unit in the eastern zone of the country. The funds shall also be used for setting up warehouses for the books. Khera said that while print on demand will keep the company asset light, the warehouses will be used for volumes which are anticipated to churn good demand volume. The company will look

at investing in more machines to bring down the cost of producing colour books in hardbound and POD format. The company has a tie-up with Ingram Content Group, which has been on the lines of virtual inventory and POD. Under the licence, Repro has been receiving digital files of international titles with the permission to print and distribute in India. Repro under this agreement has been churning out more than one million international titles. Repro claims it has reduced debt from its Africa projects to a large extent. Khera also mentioned that exports have picked up in the last quarter. From Q2, the company saw the order books rise to Rs. 16 crores.

productivity. Baldwin will strategically unite QuadTech with two of its existing divisions - Web Printing Controls and PC Industries creating a global platform that will operate as Baldwin Vision Systems. The resulting combination of businesses and technology will represent portfolio available for print process automation, inspection and related services. Karl Fritchen, current QuadTech president, will lead the new Baldwin segment, which brings together the best and brightest global talent and capabilities in the industry. Product technologies will span closed-loop automation for registration, inking, colour management, web handling and 100% inspection for the commercial, newspaper, labels, packaging, converting and

publication gravure industries. Brent Becker, president and CEO of Baldwin, also added, “QuadTech will serve as a catalyst for the formation of our new Baldwin Vision Systems segment, which will greatly enhance Baldwin’s ability. The work QuadTech has done recently on colour within the packaging market clearly places us as the industry leader, and we have aggressive plans to build upon that position. I fully expect that our combined global presence, coupled with a new tiered product offering, will position the company to further satisfy our customers’ needs in an even larger geographical area.” QuadTech is Baldwin’s fifth acquisition since joining the BW Forsyth Partners family of companies in 2012, and the fourth completed in 2017.

Baldwin acquires QuadTech Baldwin Technology - process automation solutions, consumables and services provider - has acquired QuadTech from its parent company, Quad/Graphics. With this acquisition, Baldwin adds all of QuadTech’s highly regarded technology and strategic locations across the Americas, Europe, China, Japan and India. QuadTech is a global player in the design and manufacture of control systems that help commercial, newspaper, packaging and publication gravure printers improve their performance and


| SCREENTEX | December - January 2018

SURYA KIRAN PHOTO PAPER (P) LTD. We Surya Kiran are Only Manufacture In North India for Coated Paper used In Sublimation Printing Available In All Sizes from 13” to 72” Available in Sheets any size upto 72” Available in 60gsm to 100gsm

We also Manufacture Inkjet Coated Glossy Paper Supporting Paper for Roll to Roll Plot no. A-2/34, Site-V, Surajpur Industrial Area, Kasna Greater Noida,Gautam Budh Nagar, (U.P.) 201308. Email : suryakiranphotopaper@gmail.com Mob :- Rajiv Sarin - 9891890913 / Tarun Sarin - 9811755556


Eurolaser presents large format textile cutting German company Luneburg has brought out a large-format textile laser cutting machine. The 3XL-3200 has a 3.2m x 3.2m processing table. Blinds, curtains, shutters and gates require clean textile cuts in extremely large formats. The company says it is the only supplier in the upper quality segment that offers processing tables with a width and length of up to 3.20 metres. The precise roll feeding and the tension-free transport via the specially developed conveyor are

designed to ensure maximum reliability. The company’s consultants will answer all questions on individual processing situations and requirements directly on-site. According to the manufacturer, Eurolaser system tables combine Swiss precision with German engineering. They are fundamentally modular and are configured individually for customers and their applications. Consequently, various requirements for the processing can be taken into account. For example, engravings, markings or labels can be added in just one single production run. Besides, other tools, for example, for optical recognition on printed materials can be integrated. Eurolaser’s durable and high-precision laser cutting systems can process a variety of materials, such as plastics, foams,

textiles, adhesive foils, woods, acrylics, composites and much more. The high-quality components are said to guarantee reliability, extreme long service life and a positive price-performance balance for the user. “By acquiring a eurolaser system, a long-standing partnership with the manufacturer will be established. This ensures competent and fast support, the supply of high-quality materials and spare parts as well as the ongoing option for expansions,” the company reports. The Eurolaser-Academy offers all necessary user seminars concerning efficient and environmentally friendly operation and maintenance on-site. In addition, there are user tips, further developments and new problem solutions so that manufacturing processes can be further optimised or extended.

EFI introduces textile bundle for Reggiani printers EFI has launched the Fiery Textile Bundle, a set of design and production, tools for use with its Reggiani digital inkjet printers. The package includes a set of Adobe Photoshop and Illustrator plug-ins together with Fiery software support for design and workflow in textile printing applications involving its Reggiani range of inkjet printers. The Fiery DesignPro plugins provide tools to facilitate the creation of textile designs and are complemented by version 6.5 of the Fiery proServer


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digital front-end (DFE) software. The suite collectively brings the ability to match colours to the printed result, to share colour palettes across design teams in real time, to design professional repeat patterns and to create multiple colourways from a single design; working within Illustrator and Photoshop should reduce familiarisation time for users. Version 6.5 of Fiery proServer includes support for textilespecific capabilities such as support for multiple ink types and colour optimisation for saturated blacks, fine details and smooth gradients, while its halftoning technology is said to keep pastels and light tones clean.

The new version supports digital production operations in both direct-to-textile and transfer printing, plus it provides the production tools to handle step and repeat, changes in fabric dimensions during production, and brand colour accuracy. The new products are part of a EFI ecosystem that includes EFI Optitex 2D/3D design software, and EFI Reggiani digital printers such as the new Reggiani Vogue directto-textile printer. “The Fiery Textile Bundle brings valuable new tools to further automate and streamline the design and prep process for EFI Reggiani customers,” commented EFI Reggiani vice president and general manager Adele Genoni.

QUICK BYTES IPAMA hosts promotional meet for Printpack India 2019 The Indian Printing Packaging & Allied Machinery Manufacturers’ Association (IPAMA) recently organized a promotional meet for Printpack India 2019. On this occasion, IPAMA had invited Presidents and senior functionaries of different associations affiliated to Indian Graphic Arts Industry. Prominent attendees included AMSG Ashokan, President, All India Federation of Master Printers (AIFMP); B.B. Sen, President, All India Printing Ink Manufacturers’ Association (AIPIMA); Gururaj Ballarwad, President, ALPS; Pradip Bosmaya, President, FCBMI; Kuldip Goel, President, LMAI; Raunak Singh Bhurjee, President, IPCPMA; Chandrakant A. Salunkhe, President, PIAI; Vipin Gaur, General Secretary, News Paper Association of India and Dilip Bhise, General Secretary, SPAI.

CNP to raise printing capacity by 4 mn pieces The Currency Note Press (CNP) Nashik is planning to expand its capacity of printing currency notes.The

CNP Nashik, which is a unit of the Security Printing and Minting Corporation of India Ltd (SPMCIL), is in the process of setting up a new bank note printing and finishing line at an investment of Rs 200 crore. The CNP has invited bids for design, manufacturing, testing, supply, installation, commissioning, training and performance testing of one bank note printing and finishing line. Presently, the press has four lines with capacity of printing 18 million pieces of currency notes per day. After setting up the fifth line, the production capacity will increase by another four million pieces per day.

Printed bacteria used to create solar cells Scientists have printed circuits using cyanobacteria - microbes that can turn light into energy


- to create solar cells using a simple inkjet printer. Unlike conventional solar cells that

the course of a 100-hour period consisting of light and dark cycles.

Lithography Workshop organised in Odisha

operate only when exposed to light, cyanobacteria can generate an electric current both in the dark and in light. The cell may serve as an environment friendly power supply for low-power biosensors and can even be scaled up to print bioenergy wallpaper. Currently one of the biggest challenges facing biophotovoltaic cells is producing them on a large scale. Typically, the organisms are deposited onto an electrode surface from a bulky liquid reservoir. In the new study, researchers showed that inkjet printing can be used to print both the carbon nanotube electrode surface and the cyanobacteria on top of it, while allowing the bacteria to remain fully viable. Researchers showed that nine connected cells can power a digital clock or generate flashes of light from an LED, illustrating the ability to produce short bursts of relatively high power. The researchers also showed that the cells can generate a continuous power output over

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A weeklong workshop on lithography was organised in Balasore Art and Crafts College under the aegis of Odisha Lalit Kala Akademi. Lithography technique is almost on the verge of extinction in India

with the advent of offset printing facilities. Principal of the college Nikunja Bihari Das said: “Twenty blocks and a printing machine were procured from Calcutta to impart training to the students.” Twelve lithography experts, who are working in various states, have been roped in to teach about the technique and how art can be made on the litho stones and prints. Director of the state culture department Amarendra

Pattnaik and president of the Odisha Lalit Kala Akademi Raghunath Mohapatra attended the valedictory function. The Akademi gave a cheque of Rs. 12,000 to each trainer.

Canon India appoints Gary Lee as CFO, VP Canon India has appointed Gary Lee as Chief Financial Officer and Vice President of the company. Lee takes over the responsibilities from Anuj

Aggarwal, who has been elevated as Vice President (Marketing) at Canon, Philippines. Under his new role, Lee will be overseeing the Finance & Taxation, Legal and Corporate Communication divisions at Canon India. According to the company, this transition is a move by the organisation to elevate its leadership across geographies and cultivate globally competent human resources.














QUICK BYTES Nazdar releases new dye sub inks The new Nazdar NDT600 inks replace previous dye-sub inks in the Nazdar range. A completely new dispersion, yet accurately colour matched to the previous Nazdar dye-sub inks, the NDT600 inks offer improved performance and reliability with conversion by QPS. Designed for use on any printer platform using Epson printhead technology, Nazdar NDT600 Series inks deliver an incredibly high print density that ensures strong, vibrant prints, while using less ink. Since their release in 2017, QPS customers have used them to produce output as diverse as sports apparel, including activewear for rugby players and cyclists; display graphics, fabric banners and flags; bar runners; educational equipment, such as play mats; promotional and personalised gift items, and ceramics.

K&B donates EUR 60,300 to Doctors Without Borders

Marking its 200th anniversary, Koenig & Bauer requested guests instead of bringing gifts to make a donation to the global aid organisation Doctors Without Borders / Ärzte ohne Grenzen e.V. The donation sum was then doubled by the printing press builder so that the Nobel Peace Prize holder, honoured for its emergency medical aid, was presented with a donation of EUR 60,300. Doctors Without Borders provides medical aid in crisis and war zones, and in the wake of natural disasters. Around 35,000 doctors, psychologists, nurses, care workers, midwives and logistics experts work for the organisation on a voluntary basis in some 70 countries.

Flint Group announces a global price increase

Inks products. Further to announcements made in March 2017, it has become clear that the raw material markets for many components within Flint Group’s Packaging Inks products have experienced price escalation. Many raw material markets remain highly volatile as 2017 comes to a close.

Mohawk announces organizational changes Mohawk has announced a slew of senior management changes. Bruce Hogan has been promoted to Chief Operating Officer for Mohawk. Bruce will ensure that the needs of oaur business are met with manufacturing capability, scheduling, logistics, IT and business analytics. Paul Biesiadecki has been promoted to Chief Strategy Officer for Mohawk. Paul will be looking at merger & acquisition opportunities as well as take on responsibility for the Southeast.

Uflex gets accreditation

Chemicals Business of Uflex has become one of India’s first NABL accredited entities

Increased, incremental cost escalation forces Flint Group to raise the prices of its Packaging



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in the field of combined manufacturing of Packaging Inks and Lamination Adhesives.National Accreditation Board for Testing and Calibration Laboratories (NABL) is a Constituent Board of Quality Council of India. NABL has been established with the objective of providing Government, Industry Associations and Industry in general with a scheme of Conformity Assessment Body’s accreditation which involves third-party assessment of the technical competence of testing including medical and calibration laboratories, proficiency testing providers and reference material producers.

QIPC continues expand in India

savings and consistency of print quality.

NPES Rebrands as Association for Print® Technologies NPES, The Association for Suppliers of Printing, Publishing and Converting Technologies has changed its name to the Association for Print Technologies (APT). The new identity is both a nod to the Association’s signature annual event - PRINT® - which it has produced since 1968, and also marks a defining moment in the Association’s 85-year history.

Ricoh unveils Ri 100 direct to garment printer


Sristi Graphic has placed two identical orders for its two Naph presses, involving a double order for two mRC3D cameras for colour register control, fitted with AIMS (Automatic Ink Mist Shield). “Prior to this, Sristi Graphic had no automated colour register whatsoever,” ijay Pandya, managing director of QIPC-EAE India said. “Thanks to the exceptional collaboration we enjoy with Naph, Sristi Graphic decided to approach us. They were quickly persuaded by the benefits of automation; waste

Ricoh has launched another direct to garment printer, the Ri100, essentially an entrylevel desktop version of the Ri6000 that was launched last year. This addition expands the company’s DTG portfolio, and allows users to print on demand promotional and personalised items like T-shirts, bags, and cushion covers. It includes an optional finisher to eliminate the need for a separate heat press.


Industry puts a strong foot forward at Pamex 2017

Shedding the months of gloom due to the problems related to adoption of the new tax regime, Pamex 2017 portends a bullish industry in the New Year as the curtains came down on a successful event with unprecedented footfall of over 25,223 visitors and several deals being reported at the venue itself. Pamex was held from 18 to 21 December at Bombay Exhibition Centre, Mumbai. Spread across two halls, 1 and 5, Pamex 2017 was inaugurated by AMSG Ashokan, President, AIFMP; S. Dayaker Reddy, President, IPAMA; Tushar Dhote, President, MMS; Mehul Desai, President, BMPA; Chang Xiaoxia, General Manager, CAPT (China Academy); Neetu Arora, Director, Print-Packaging. Com (P) Ltd.; Pernilla Jonsson, Senior Director, Global Programs, NPES; Balasaheb, Maharashtra Mudran Parishad;


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Yasuhito Nagai, Auditor, JPMA (Japan), and Mustafa Kapadia, Director& President, SPAI. The organizers started sharing reports of onsite deals right from the first day itself. According to the press statement issued by the organisers, the show featured 350+ exhibitors who presented latest innovations and developments from the industry with 75+ product launches, 200+ running machines and several other attractions. Among the several deals closed, Zhongke India sold its ZK-5540OWL paper box making machine to Ma Prints Bengaluru. Mototech Systems sold Scodix Ultra Pro Digital Enhancement Press with Foil Station to United Multiclour Printers (P) Ltd. Autoprint Machinery, which often has a packed house at the exhibitions,

booked an order for Blankmatic 108 2H, an offline stripping machine at Pamex 2017. EFI Vutek, also announced the sale of EFI Vutek GS3250LX Pro wide-format kit. Pratham reported that it booked orders for six paper folding kit of varying configurations. New Delhi-based NBG Tech announced the sale of two machines from Hongming, its Chinese principal. Several events were also happening on the sidelines where parallel meetings and conferences were scheduled. Exhibitors were occupied with the steady flow of visitors throughout the four days. “The show was fantastic. There were many queries for our range of products, especially for the plastic sheets. We are working on closing the deals and converting the leads now,” said Nilesh Savla of AND Global. “It was a good platform to exhibit the products. A steady flow of visitors was encouraging. In fact, the quality of visitors and enquiries too have seen an uptick. We launched a creasing machine at the show, which received a warm response. There was good response for our half-cutting machines. ” added Rohit of Ratan Industrial Engineering. “Printing shows should be about quality. Pamex stood by that commitment. We could see strong signs of revival and optimism in the industry. Since this was one of the last printing show of the year, it was necessary to check the pulse of the industry,” said Mustafa Kapadia, Director& President, SPAI. The next edition of Pamex is scheduled to be held from 6 to 9 January, 2020 at Bombay Exhibition Centre, Mumbai.


Digital technology weaves its way into custom design

Digital technology has changed just about everything in the worlds of design and commerce, from printing to photography to textiles production. But until now woven—as opposed to surface-printed— fabrics could only be milled at large, inaccessible factories, giving independent designers little control over the fabrics they want for small, one-off projects. A new technology, developed by Cornell Professor Steve Marschner and Rhode Island School of Design Professor Brooks Hagan, invites users to choose the quality, color and weaves of the fabric they’re designing and set the size of the repeat, which allows for quick iterations. This dramatically cuts down on the need for sampling, which is a costly and wasteful proposition for independent designers. “We saw an opportunity to provide a way for anyone to put any design into custom woven fabric. You can log into our web application, upload a design, and


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see a visual preview of the fabric while you change the weave pattern, yarn colours, etc. – and then when you like it you click print,” said Steve Marschner. Marschner and Hagan have been working on this technology for a number of years – taking inspiration from Marschner’s research for the digital animation industry and also working with Kavita Bala, professor of computer science, and graduate student Shuang Zhao. To get such a realistic rendering of the cloth, they scan samples in a 3D nano-CT scanner at the Imaging Facility in Cornell’s Biotechnology Resource Center, which is able to produce volume appearance models with extreme detail. “The tech is now fast and accurate enough for us to shift to a virtual product in an industry where appearance, texture and surface quality are key factors for success,” said Brooks Hagan. The researchers founded Computational Textiles in 2015

and received a Small Business Innovation Research grant from the National Science Foundation to bring their website called Weft to market this year. Phase one of Weft is now online, enabling customisation of designs available on the site, and by late this year customers will be able to upload their own designs or photographs as well as customise the designs already available on the site. Future design plans include being able to show the custom fabric on 3D objects like pillows or a chair. The company says it has agreements with several of the largest textile mills in the US to produce the designed-to-order fabric. “This new technology can generate interest, creative activity, and new business opportunities for this industrial sector. This launch is significant as it represents the first-time digital simulation tools have been applied to an ancient manufacturing platform to create easy access for designers,” said Hagan.

Cheran’s Digital / Oval Textile Printing Machine (PIGMENT)

Key Features Print Heads Printing Resolution Rip Software Speed


Sales and Serviced by 2015

Industrial Printing Heads 600*800dpi,600*1000dpi,600*1200dpi Wasatch ,photo Print A4 400pcs/hr , A3 280 Pcs/hr


Setting targets for energy use By Laurel Brunner

From digital prepress through to performance analytics, data is the only way today to get accurate printed output and to measure business performance. The need for greater environmental accountability, either voluntary or regulatory, means that we have a new category of data to worry about. Except that relatively few small to medium sized businesses will want to bother with it which is not so good, because this new data dimension can actually help the bottom line. Companies cite the expense as a reason not to bother with sustainability data. And yet time after time we come across companies with improved profits because of their sustainability and quality management efforts. Sustainability reporting creates an imperative and a discipline which can help make the business more efficient and profitable. It all begins with a structure, the pillars and joists that provide


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the basics for sustainability policies and practices. The metrics are common for most companies, within and beyond the graphics business. Probably the simplest and most common starting point is to set targets for energy usage. Calculate how much energy your business uses today on a monthly or annual basis. Then decide how much you want to reduce it over a certain period of time, compared to that base value. A common goal is to use 5% less within five years, which is hardly onerous. Setting a fiveyear timescale also gives you wriggle room for investing in energy saving measures, such as more efficient equipment or new insulation. You can apply the same model for water usage and volumes of waste, if and how it gets recycled and how much of it goes to landfill. Aiming for a zero-waste target can start immediately. Indeed, any aspect of the business that has an

environmental impact should be considered. There is a surprising number of things you can start doing straightaway, like setting up recycling points in the company and asking staff for suggestions that could contribute to improved environmental impact reductions. Many companies have developed road maps to help them gradually phase in sustainability initiatives. For small businesses, this can be an easier means of grappling with greenhouse gas emissions (GHG) relating to energy, transport and product use. The roadmap should address products and processes separately and set targets, even if the target is just to consider eco-efficiency improvements and how the business is structured to promote best environmental practices. The graphics industry is the same as other industries in that it is on a journey. The sustainability route starts with a couple of small steps that are easy to take and that can lead to a greener future.


Colour management in digital textile printing

At the heart of any print project is the desire to achieve the highest possible image quality, and especially getting the colours right. One of the most rapidly growing segments of digital printing is printed fabrics. As in every other area of digital printing this means that it won’t only be textile production experts who will provide artwork for and initiate print projects on many types of fabrics. At the heart of any print project is the desire to achieve the highest possible image quality, and especially getting the colours right. But to get there all the involved parties need to cooperate fully, and each does their part to ensure a successful and pleasing result. As with any printing technology digital print quality, and the colours that can be achieved, depends on three main factors: the


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print technology used, the inks and, not least, the substrate used. There are some technical factors to consider when it comes to image quality, and for pixel-based images (photos) the two major concerns are resolution and sharpness. The images need to be of a high enough resolution for the images to be scaled up. The rule of thumb says you need twice the resolution in terms of pixels per inch (ppi) relative to the screen ruling you will use in print. In commercial print conventional screens are still common, and a screen ruling of 150 lines per inch (lpi) used to be very common, and while higher screen rulings are more common nowadays, an image resolution of 300 ppi is often stated as the required resolution for images. But in digital printing many types of screening technologies

are used, and the calculation of necessary image resolution is not always as straight forward as it used to be. And if the printed product will be viewed at a distance, you may get away with a lower end resolution of the image, maybe down to around 100 ppi, after scaling. If in doubt, ask the print service provider what image resolution they recommend for the type of print you are planning. Logos and other vector based artwork can be scaled up and down freely, and aren’t restricted to a certain resolution as can be the case with photos. But this means that these types of images and illustrations need to be created using software such as Illustrator or similar, which defines the artwork as spline curves (often called line art or vector graphics). How many colours do you need? Not all spot colours can be

GUEST COLUMN reproduced in the colour space available when using the CMYK process colours. The coloured cubes in the illustration represent single spot colours, while the inner sphere represents the colour gamut of offset print on coated stock. About 40% of the spot colours are found to be out of gamut, non-printable, in CMYK. All printing devices are limited as to how many colours they can reproduce. So, when you plan your print production you will need to ask yourself what colours are most important in your artwork. One of the most well-known manufacturers of spot colours is Pantone, which offers over 1000 special hues in the Pantone colour system. If you try and reproduce those special spot colours using CMYK you will find that only about 60% of the spot colours can be accurately colour matched using the CMYK ink set. So, if one or several spot colours are critical for your print, you will need to pay extra for the printer to use these special inks. The problem is that few digital printing systems, if any, can load all the Pantone spot colour inks in the press. For this reason more and more printing systems have started to use what is called an extended colour gamut, which means that the traditional CMYK base colours are complemented with Orange, Green and Violet. Using an extended colour gamut ink in the printing press, around 90% of the Pantone spot colours can be reproduced faithfully, depending on what substrates are used. If you have used the Pantone colour guides you will have noticed that they come in at least two base versions. One guide is printed on glossy paper, and will show the most saturated and rich colours. Another colour sampler is printed on uncoated paper, and the

same colours will now look less saturated. This is just how it is, a physical phenomenon, and every type of printing substrate has its limitation in terms of what colour gamut it can reproduce, given a specific inkset. So, if certain colours in your design are crucial for you, make sure the printer can reproduce them in a colour accurate way, and ask for printed, colouraccurate proofs beforehand, so you are not disappointed when you receive the final prints. Hard or soft proofs? The beauty of using a digital printer for print production is that you can then normally use that printer as the proofing device. It should be possible to print an example of your artwork in the very same printer that will be used for the final print run. But there is a way to simulate the printed result on other digital devices, including a monitor. This is by using the ICC profile created to calibrate and characterise the digital press. This technology has been around for many years now. The International Color Consortium which introduced the technology was founded in 1993. But for some reason this colour management technology is not entirely understood or used in all parts of the graphic arts industry. Correctly implemented it means that every device that is used to create, modify or reproduce colours can be calibrated and characterised using ICC technology. At the core of this is the ICC profile, the data file which describes what colour gamut the device is capable of reproducing. So, if you save your images (photos) in Adobe RGB, for example, you work in a colour

gamut of around 1.2 million colours. If you save them as sRGB (very common in consumer cameras and images prepared for web publishing), instead, you work in a smaller colour gamut of around 800,000 colours. Every printing press has limitations for how big a colour gamut it can reproduce, meaning how many unique colours there are in its colour space. A common reference colour gamut is the offset gamut of colours printed on good quality coated stock, using standard CMYK process inks. This colour gamut covers about 400,000 colours. It may sound like this is far from sRGB or Adobe RGB but, since the primary colours for a monitor are RGB, while in print the primary colours are CMYK, the visual result is not so different because those two colour systems work in a completely different way from each other. The monitor (and camera) colour system use an additive colour system, since different wavelengths of light are added to produce the colour by emitting light directly into the eyes. When all wavelengths are present at full strength, we perceive this as being white. In print however the CMYK colour system is based on a subtractive process, where light is projected to the surface, and then reflected through a thin layer of ink film. When we add colours to the printed surface the reflected light will give the appearance of different colours depending on the mix. If all

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GUEST COLUMN colours are present we get black (or almost black, because of impurities in the CMY pigments). So, we add a pure black ink and call it K because it is the “Key colour”. It is also practical when printing black text. There are some colours in the CMYK subtractive system which are not present in either sRGB or Adobe RGB, especially the saturated Yellows and Cyan. Visually however, the Adobe RGB colour gamut matches the gamut of high quality offset quite well, and this is in part why the offset gamut is used as a reference colour gamut when using many other printing processes. When you set up a proofing device, and this could be your own colour printer, you need first to calibrate it to a set status, for a certain type of paper. You will need a spectrophotometer to do this, but there are quite affordable solutions


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on the market, for example the X-Rite ColorMunki. In order to colour manage print you need a spectrophotometer. One of the most affordable is the X-Rite ColorMunki, shown here. The ColorMunki can also be used to calibrate a monitor. The ColorMunki can by the way also be used to calibrate your monitor, so you’ll get a long way using it. After you have calibrated your device you print (or on a monitor project) several colours and measure them with your spectrophotometer. Those measurements are then used to create the ICC profile for the device. When you apply colour management you use the necessary ICC profiles to either convert colours between colour

spaces, or simulate colours on one device using the ICC profile for another device. Once you have understood how this works you can manage all colours in your printing project, and have serious discussions with your print service provider if you think that they should be able to manage the colours better. If you use the Adobe Creative Cloud or similar when creating your artwork, you can set the colour settings to use the correct ICC profiles to either make hardcopy proofs on your calibrated printer, or do what is called softproofing on your monitor. From now on there shouldn’t be any nasty surprises when you get the final prints because you have checked that the colours are what they should be early on in the process using hard or soft proofs.

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Speciality Products Pvt. Ltd. Advt. Agency.

August - September 2013 | SCREENTEX |



At least 10,000 automatic machines will be sold in India in the next 20 years: FABRO as well as good and widespread local network has been the key reason. We have known AEON team from sometime and I feel we couldn’t have found a better partner. Our strong mutual understanding made this decision easier. What is the opportunity of growth you see in the Indian markets? We see a huge potential on automatic printing market in India for next 20 years. Turkey has a population of 80 million and purchased 6,000 automatic machines in the last 20 years. In case of India, we believe the market is growing and has huge potential – especially for automatic machine. Thus, we believe that the number in India would be much more than that. In an exclusive interaction with ScreenTex, Tolga Oktay, Sales Director of FABRO, Turkish manufacturer of automatic oval printing machines and equipment for T-shirt printing spills the news of its plans for India. A few years ago, when this writer met Tolga at FESPA Asia he was quite abuzz with the growth opportunities in India. During the chat, Tolga revealed that Feteks, a sister concern of FABRO, has appointed Mumbai based AEON as its partner for promoting the business in India. Excerpts from the interview: FABRO will utilise the three decade old expertise with ink business, but what are the difficulties you predict in India? After all, it’s a very different


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market. Every country is a different story. Nowadays all kind of consumables like inks, screen emulsions and others widely produced in India locally. That’s why as the sister concern of FABRO, we have chosen to produce locally with our partner AEON in Mumbai under the brand name of EVRA INDIA –An Alliance of Feteks and AEON. However the equipment business is different than consumables and there is a huge room for imported high tech products mainly from Europe and USA. What prompted you to choose AEON as you partner? AEON has a great reputation

We believe the next three decades will see a lot of traction for automated machines. What is your assessment of the same? How many automated systems do you foresee hitting the Indian shores in

SPOTLIGHT the next year or two? The market is currently hard to forecast; especially for the next two years. However, I personally predict at least 10,000 automatic machines will be sold in India next 20 years. The tussle between the oval versus table and carousel machines continue, how stiff is the competition and which type will finally win the battle? If the trend of water-based technology continues on at global textile markets, the oval printing machines will be the best choices among the printers. Water based inks are gaining prominence in the market. Oval systems tend to perform better with aqua based inks in comparison to carousel machines. Moreover the oval machines

bring you more versatility since you can print multiple jobs at the same time. You can also adapt/use any unit like digital, flock and foil much easier than on carousels. One of the major points is that you have enough system to cool your water-based prints which is a big challenge on carousels. Your oval system has some stiff competition, what would be the USP of your product? We have a lot of experience in the chemistry and have been one of the leading names in the segment. Thus, when we ventured to the printing machine segment, we focused on perfecting registration and engineering. Are you in talks to find a beta customer in India or would you

rather begin with a FABRO-financed machine installation strategy? We are in discussion with several players. However, we will choose the first installation very carefully since it should make a buzz in the Indian markets for FABRO.

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The world is looking at us: Chaitya Shah of Marvel Graphic Studio In a freewheeling chat with Supreeth Sudhakaran, Chaitya Shah, curator and managing director, Marvel Art Gallery Pvt. Ltd. and Marvel Graphic Studio speaks on making art affordable and the inexplicable feeling of winning laurels for India in the field of serigraphy. How has been the performance of your company this year? We are fortunate that since we have started Marvel Graphic Studio we have been blessed with good partners in terms of artists, collectors, team members and distributors across India and selected countries in the world. With the help of this strong ecosystem, we are able to bring in new serigraphs every year with different subject and price range. Over these years we have seen strong growth year on year, and this year too, fortunately, was no different. Business was good, irrespective of GST and demonetization. With our long-term vision, we have been acquiring new artists, adding more first-time buyers and retaining the loyalists. What have been the key trends that you observed in the industry? This year, we saw a lot of corporate companies showing interest in serigraphs as a gifting option. Earlier it was limited to personal gifting for housewarming or wedding gifts etc. though it took us a lot of time to single-handedly create that market. But, corporate makes a huge difference because of the brand associated with it and to the audience it reaches out. It inspires the influential to collect, gift or invest in art. We also engaged with several young couples and first-time art


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buyers. This shows that the youth is slowly gaining affinity towards serigraphs. It is an encouraging trend for us. The Artery India consultancy says art sales more than doubled from about $44 million in 2011 to over $95 million last year, and that 47 world records for Indian artists were recorded in the 19 months to August. How optimistic are you of fetching a share of this market? I believe the major factor that will play role in coming decades for any industry to grow and develop is ‘Brand India’. As a nation, we are growing strength to strength with our leadership

and the demographic dividend we have. The world is looking at us. With foreign investments, bullish stock markets, manufacturing industries, corporate jobs, the rise in small and medium business all coming in together will create ecosystem resulting in better income per capita and a better standard of living for every Indian. With rising income and the need to improve the quality of life, today consumers are more likely to look at ‘affordable luxury’. I see fine arts to be the utmost priority of people. It offers everything for a nice life - cultural element, feelgood factor, beautify dead walls and investment clubbed together.


Most of the urban class has been widely exposed to the internet, international museums, and now has started showing interest in Indian fine arts. All they want is Indian art to be at their home or workplace. The only thing we lack currently is awareness in the masses. By next five years, I think that gap to will decrease. Though, if we compare Indian art market, we are still in formative years. While the European and American masters sell in billions while our masters sell millions. The Andy Wharol serigraphs sell in billions, while our Husain and Raza sell in millions. The art of serigraphic requires a penchant for printing, colours, art and most importantly a heart of an artist. What promoted you, Marvel, to stick to this? At Marvel, quality comes

before commerce. We thrive on excellence. For us, the art of serigraphy is just like an artist painting on canvas. In fact, while the artist paints one work, we create 125 similar works. Moreover, each and every work will be uniform in colour, registration, effects, and quality. We balance on an average 80-90 in serigraphs for 125 editions. I would like to mention here that the dedication and experience of our chairman and my father, Dhanvi Shah, makes a difference. He personally looks at every aspect and process in the studio. How has been the ‘printed art’ industry faring in India? You know when I entered this industry I felt this is one of the most media-shy or rather low-profile maintaining industry. But, with the second and third

generations I see, this industry is expanding. It is becoming more professional, and ready to challenge the world. Though, it’s my desire to see a few more faces who would represent the industry. As an industry, we are doing some exceptional work. When I visit international printing and art fairs, I feel our work is superior compared to other countries. The only thing we lack is communication with the end consumer. There are consumers who don’t understand the difference between posters and prints. There are a lot of issues involved as far as printed art is concerned. The importance here lays in the passion-- it’s a time-taking process, requires a lot of investment, eye for art and the penchant to market it. The only threat we had a few years back was the printed posters from China. I was shocked to hear

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LIMELIGHT van Berlage which is more than 100 years old. Print experts and top company executives from around the world were present at the venue. At that juncture, to hear “And the award goes to Marvel Graphic Studio, India” was priceless. Winning it for India is always an indelible experience.

that lot of architects -- that too leading ones -- were giving their consent in buying the prints from China and hanging in a millionaire’s home. Hence, the awareness needs to be there. And I am glad that it is picking up at a faster rate than we expected. We have distributors who inform us that people are candid when they purchase Indian arts. They want Indian art as they wish to support Indian artists. And they are aware that they are limited in numbers. So eventually the market will witness a rise in price because they consider it as an investment. The most optimistic sign is that they do not want posters anymore. They need art that lasts forever and they can connect with. You have won many awards, does it get boring and repetitive? Winning is never boring. In 2016, I went to Amsterdam to attend the FESPA Awards. The award ceremony was at the Beurs


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From serigraphy to art gallery, what is next in line? E-commerce? Actually, it’s the other way round. We first entered the gallery business. In fact, we are the first professional art gallery owners in the state, we started 15 years ago. We saw a huge rise in art collectors wanting to collect young and masters in their portfolio. However, after few years we realized that there are people in the art buying spectrum looking to invest in art but require something that is affordable and accessible. It is then that we launched Marvel Graphic Studio as an independent company focusing on producing high quality limited edition serigraph collection. A few years ago, we ventured into online space targeting the first-time young buyers. We are now preparing ourselves to dive into book publishing and distribution business. We see a huge potential as art awareness has become the top priority and

people do not have access to affordable and quality books on Indian artists. Apart from that, we are also looking to venture into the industrial and public art space which again is very new in India. We would like to explore these opportunities in the coming years. Art is still perceived to be an indulgence for HNI customers... When we started Marvel Art Gallery, we realized that there exists an audience for artworks of upcoming and masters. But that segment was very small in size. On the other hand, we had people who were scared of entering an art gallery. They loved art the high price and uniqueness of work was creating an illusion of unaffordability or inaccessibility. We realized the potential of the huge market in front of us. The Marvel Graphic Studio business model is to create serigraph in form of limited edition signed and numbered print of a reputed artist with the highest quality in terms of colours, screens, registrations that match global standards. These serigraphs are accessible and affordable for the entire art spectrum. Our consumers see these serigraphs as a medium of décor, gift, and collection. We want Indian art to be in every home and office. We want to create and drive a culture of collecting, gifting and buying art for décor in the country.

Spread across a big space of 2500 mtrs with one coating machine and two slitting machines, Zibo Paper Tech came into existence in 2016. We are manufactures and exporters of DYE Sublimation Paper. We export to Nepal, Sri Lanka, Bangladesh, South Africa and looking forward in global market. In just a year of our operations we extended our operations in South India with a new Dye Sublimation paper unit at Erode by name Champion Paper Industries.





UV DRIER 2” - 30”




India holds a special place in our global strategy: Yoshinori Koide of Konica Minolta

Yoshinori Koide: At Pamex, we have launched the AccurioPress C6100 and C6085 Colour Digital Production Press Series featuring the new IQ-501 Intelligent Quality Optimizer and up to 400gsm stock weights. Globally, there have been 10 installations of the Accurio Press, and we expect to increase the footprint in the coming few months.

Konica Minolta has always been a player who we believe fits the term ‘dark horse’. It’s one of the least noisemakers in the market, and yet the number of installs keeps on at a steady flow. During Pamex Yoshinori Koide, director business strategy and project management, Konica Minolta (India) and Manish Gupta, deputy general manager, PP and IP marketing, Konica Minolta (India) spoke to ScreenTex on the plans ahead for India market. How have been the three quarters of 2017 for Konica Minolta? Manish Gupta: It has been a good year so far. Though we did face a slight slug during the mid-


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quarters due to the regulatory changes, growth has started picking up. We expect to grow in healthy two-digits in this year. How has been the response and adoption of Accurio Series? Manish Gupta: Accurio is an umbrella brand that we have created which stands for accurate, advanced and automated. All of our automation based products including prepress, press and postpress will be brought under this umbrella brands. Accurio Press is our fleet of electrophotography technology, for inkjet we call the machine Accurio Jet.

What is your strategy to expand the base of MGI? Yoshinori Koide: We are looking to grow the business into the postpress segment also. We have been playing in the printing segment. MGI will primarily expand with more offering in the postpress segment. In the coming years, we see a lot of traction in the market for postpress systems for the digital printing setups. At the show, we have MGI Jet Varnish 3DS, a solution that features a revolutionary technology with astounding spot UV and 3D tactile varnishing capabilities. The machine can transform a standard printed output into a high-quality spot UV printed sheet or further into a high margin 3D embossed output with a varnish of up-to 100 microns, making the colours look more vibrant. With respect to your APAC strategy, where does India stand? Yoshinori Koide: India holds a special place in our global strategy. It is one of the most promising markets for Konica Minolta’s global business. We do not account India under our APAC strategy and have independent plans for the country. While the

WALKTHETALK APAC region is governed by the APAC region head based out of our Singapore office, India is directly managed under the supervision of our headquarters in Japan. We also have a full-fledged team here is India looking at increasing our business in the region. This proves the importance of the market in our global business strategy. India is a futuristic market where there is consistent growth and enough room for sustained growth in the near future. Indian economy faced a slightly sluggish growth in the midquarters; do you anticipate it to pick up? Yoshinori Koide: I concur with Manish’s statement that we did face some inertia in the first half of the year due to the regulatory changes. However, there is formidable

bounce back witnessed in the market already. The growth in the last quarter was better and we seem to make up for the sluggish growth faced in the previous two quarters. It’s said that the biggest growth of next phase will come from the rurban (rural+urban) areas in Tier 2 and 3 markets in India... Yoshinori Koide: Our strategy in India hasn’t changed. We are still buoyant about our growth figures. We will continue to expand our reach in these markets, clocking a double-digit growth. Manish Gupta: We will be utilising all the events to reach these markets. We have 17 offices and a team of 50 sales executives we plan to tap these markets. Sooner or later everybody will

need to have a digital system to cater to short-runs. Since India is a price conscious market, we see this trend to gain more pace in the coming years. A lot of buzz generated in the 3D printing space by your competitors, what’s the outlook for KM in this technology segment? Yoshinori Koide: We have been keeping an eye on 3D printing. So far, we aren’t confident that the market is ready for us to venture into this segment. Though, we are doing our due diligence and research on the matter at our headquarters. It’s an opportunity. We do not contest or deny that fact. But there is still time for this to mature. There are other competing companies which have ventured into the segment, but we will adopt a wait and watch approach.

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Cos that ignore culture will fail

Organisational culture is an essential focus for HR, senior leaders and line managers. If you fail to nurture it, you won’t survive into the future. Many factors influence organisational success, but Desson and Clouthier (2010) say that culture is “widely acknowledged to be among the most important determinants [PDF] of how effective or successful the organisation will be.” This is because culture disproportionately influences other success factors, like process and strategy. In fact, ‘culture eats strategy for breakfast,’ as the widely-cited Peter Drucker quote goes. This means that culture can hijack strategy, even if the strategy is great. You cannot outstrategise a poor culture. But a great culture can help you cope with a poor strategy and also assist you in fixing that strategy. Culture stimulates action and dictates what that action looks like, its speed, direction and longevity.


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It is something embedded, intangible and sticky, affecting everything it touches. Why is culture more important than ever? Tănase (2015) calls organisational culture an issue of “escalating importance” [PDF] due to the structural changes organisations are facing: there are also new challenges and forces bearing down on organisations that are forcing them to pay more attention to culture. Culture-driven processes are increasingly important to organisational success. In the knowledge economy, competitive advantage comes down to the efficiency and efficacy of key processes. Whether these processes yield positive, neutral or negative results tends to be strongly influenced by culture. There is a clear trend of people judging companies’ suitability as employers based on the relative attractiveness

of their cultures. These processes include cognition (how well employees process information and act on it), communication (how well information flows through the organisation, allowing people to make better decisions) and innovation (how well employees are able to constantly improve ideas and processes in order to become more productive over time). Cognition is very energy intensive, so cultures that prevent employees managing their energy levels risk hampering cognition across the company. Embedding innovation is also highly dependent on culture, according to research: if employees aren’t given the space to incubate ideas, for example, innovation is much harder to achieve. Organisations face a constantlyshifting marketplace There are so many forces now bearing down on organisations, such as globalisation and an increased risk of technological

BUSINESS disruption, that marketplaces are inherently unstable. Organisational agility is therefore a crucial quality for organisations looking to stay relevant. As we discussed above, culture disproportionately affects other parts of the organisational machine, all of which must adapt quickly if the organisation wants to be agile. What does this mean? The more that culture is misaligned with the rest of the business, and the more the culture is change-averse, the less the organisation will be able to adapt all its moving parts to meet new challenges. Markets are in transition, but so are workplaces, which are being disrupted in many ways: increased geographical distance

between teams, a greater number of generations in the workplace, broader job roles and more. “You cannot outstrategise a poor culture.” These forces are culturally disruptive, making a continuous focus on cultural nurturing and improvement crucial to prevent these forces causing interpersonal and individual challenges and reducing the focus and momentum of teams. It’s becoming harder for employers to find available talent, making employer branding a key focus. And although, it’s difficult to generalise on what people look for in new jobs, there is a clear trend of people judging companies’ suitability as employers based on the relative attractiveness of their cultures.

Employees want work to provide richer, more fulfilling experiences - and better work-life balance - and expect the culture to drive this experience, making the creation of an inclusive, progressive culture a key goal for organisations looking to attract talent. Ultimately, culture has and always will be a crucial cog in the organisational machine: a good culture helps accelerate positive outcomes and reduce the significance of negative events, while a poor culture negatively impacts every part of the organisation. Organisations that fail to focus on positively influencing culture will struggle to keep up with those that do: due to the forces now bearing down on organisations, this is truer now than ever before.

December - January 2018 SCREENTEX |



White Ink Is NOT White Paper By Lonnie Brawer

At Inwork, over the past 10 years, we’ve executed hundreds of designs on clear and metalized substrates, for nearly as many brands. What always amazes me is how little white ink and its variables are considered in the design process, in spite of a designer’s best intentions. At Inwork, over the past 10 years, we’ve executed hundreds of designs on clear and metalized substrates, for nearly as many brands. What always amazes me is how little white ink and its variables are considered in the design process, in spite of a designer’s best intentions. Often, artwork is offered for concept and design review using unrealistic renderings, either onscreen or printed using high-end inkjet printers on very white papers. Subsequently, upper management and marketing partners fall in love with a concept bound to disappoint upon commercialization because it fails


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to be producible on press, and falls far short of the idealized expectation set. I’ve said this before and it bears repeating… “White ink is not white paper.” As it turns out, few factors affect the perception of color more than white. The “whiteness” of the viewing light, the white point of a computer screen, paper, plastic or ink, are all completely different animals. In the end, nothing kills a beautiful design faster than not having enough white ink supporting color on a clear or metalized substrate. The simple illustration below simulates how color appears when printed over various opacities of white ink. The simple illustration below simulates how color appears when printed over various opacities of white ink. Description: IDROP - White ink is NOT White Paper As you can see, color is

altered radically by the amount of white support. So, what is required to render the proper outcome on-press? First, consider, what is your intent? Do you want bright, strong colors popping off a dark product? Does your design require soft tonal color areas that need to have white behind them to be seen? Another is, how does the design interplay with the label substrate, the primary structure, and the product color contained within it? All these factors will have bearing on realizing your design as intended. A white with soft tonal detail might work well enough on a metallized substrate, but fail completely on a clear one. Then consider what kinds of whites and how many stations are available to you on press. Our clients are often surprised to learn artwork they intend to execute as 7/c+ varnish, requires 10/c (or more) plus

TECHNOLOGY varnish to render properly in a production environment. For example: This looks like an 8 color job “on your monitor:” •


+ 1 Spot

+ White

+Cold foil

+ Var

But to render a design properly your printer may need to “split” whites and spot color elements into “line and tone,” and add a station for a primer over the foil to capture your design intent accurately, which in production reality could be many more print stations than you originally anticipated. Your “print feasible” spec may look more like this: •


+ 1 Spot (Line*)

+ 1 Spot (Tone**)

+ White (Line*)

+ White (Tone**)

+ Cold Foil/Adhesive

+ Primer

+ Var

• Line (100% laydown of white/color) • **Tone (percentages/ tints of white/color) Too often, this necessary “splitting ” gobbles up available

press stations quickly, and compromises your printer’s ability to render your intent within quoted specifications and budget. A pre-pro call with premedia and print partners to assure a design will have as few issues as possible is optimum to knock out many of these factors proactively, but this isn’t always an option, particularly when regional/global print partners are involved. So it pays to have a basic understanding of white ink and it’s general implications in production. Because as we all know, disappointment is an ugly, time-consuming, expensive fix once a design hits a press for a trial, or final run. To make matters worse, every print process has limits, and strengths that will need to be considered in order to successfully create a winning press outcome. Although this is a greatly simplified example, Lithography holds the most transparent white within it’s print process, and would be on one end of the spectrum. Silkscreen, the most opaque process, would be on the opposite end. I’ve included these two print processes for reference, but there are many variables and exceptions when it comes to white coverage. (Particularly in the print methods that fall inbetween Litho and Silkscreen— like Flexo, Letterpress and Gravure.) To compare Silkscreen versus Litho whites, the illustration below shows this general point. If you take away anything from this article it should be this. Description: PrintThe general principal concerning

white ink is this, the more ink you put down the less detail can be rendered. Silkscreen printing can lay down a very thick, opaque white. Great for solid areas underneath color, or for type on top of other colors, but it won’t hold those lovely wispy tones under and around your illustration. Litho can print halftones beautifully, but ink laydown is so minimal that your tones may look washed out or gray compared to the eye-popping white you’d intended. So, as a designer, you say, “Can’t the printer just figure this mess out? The answer is yes, and no. A printer will help find a way to make the design happen, but you empower them to provide you with a less than optimum outcome if you don’t do your due diligence understanding realistic outcomes based on what’s technologically feasible from the start. Far worse, you design something your client falls in love with, sells into upper management and at the end of the day; they don’t have the budget to print in production. So, study. Do your homework. If you have doubts, look at similar package format examples of what’s currently in-market to develop a realistic aesthetic baseline for what’s doable in any given print process you may need to engage. The writer is Inwork VP of Innovation

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Duratech Automation Pvt. Ltd. Plot No. 74, VMC Industrial Estate, Umela Phata, Vasai (West), Maharashtra, India 401 210. Tel.: +91-250-6555034, 93215 27113, 93215 27131 e-mail: info@unitech-india.net or www.unitech-india.net


Everything you need to know to prepare the perfect print file By Julia Gifford

You’ve set up your store and you’re ready to start earning a profit. But your entire business hinges on this one element – getting the print file just right, so that your design can be displayed in its full glory that your customer will then bask in for the remainder of that garment’s lifetime. And just when you think you nailed it, an order has come in and it goes to processing, and the unimaginable happens. Your order’s put on HOLD! Printing is delayed, and you have to tinker with the design to get the right print file. I’m here to say you can get it right the first time! You can identify the most common errors with print files and avoid them the first time around.


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These tips focus on print files for our most popular product: DTGprinted t-shirts. Graphics basics To get started, here are some general rules of thumb to keep in mind when thinking about print files: · Max printing area: 12×16 inches and we scale print files down depending on the t-shirt model and size. · DPI: Files have to be a minimum of 150 dpi (digital pixels per inch) to ensure optimal quality. Any lower and the print will be blurry and pixelated. · Do submit these file formats: .png, .psd · Don’t submit these file

formats: .ai, .pdf, .eps · Our sublimation shirts have a different set of guidelines, which you can take a look at here. File & image size is the top offender Top reasons your order is on hold 1. Overall image quality One of the most common issues is low-quality images, or images that are too small to be qualitatively scaled up. So the best thing you can do right off the bat is submit a large, high-quality print file. This section walks you through what that looks like! When it comes to size, make sure the image you’re submitting is actual size, and that it reflects how big you actually want it on your garment. All submitted images


should be no less than 150 dpi. If your image has fine details, we suggest submitting the image at 300 dpi. And it’s always best to submit a larger print file that we can scale down instead of vice versa. If we do print out a lowresolution file that’s scaled up, then it will be blurred, stretched, and the edges will be pixelated. Generally it is not what highquality online stores should be aiming for. When you upload a bad file in the mock-up generator it’ll look like it’s 150 DPI and then you’ll think it’s fine. But the root of the problem is still that you’re submitting a bad print file. Even 300 dpi does not guarantee a quality print if you use a low-quality file in the first place. If you uploaded a bad quality photo or just typed in a different resolution in Photoshop, then the quality may still be poor. Tip: To quickly find out if your image is large enough to be printed in a good quality, upload it to the mock-up generator and see if you can scale it to the desired size. We don’t recommend scaling the file to a point where resolution drops below 150. Pixelated edges and blurry image are the top signs of a poor quality print file.

2. Transparencies Another common problem is when print files include semi-transparent pixels/values/ elements. These are not recommended in DTG printing because the white underbase will be showing through those semi-transparencies, creating a very speckled look, which can often look poor quality. We suggest using 100% opaque (solid) colours only. To avoid this, use half-toning to achieve a similar “glow” effect. 3. Backgrounds Always remove backgrounds! Even if you’re printing on a white garment and you think it’ll be fine if you leave the white background – don’t. It may cause quality issues. If you’re printing a black background on black, then you’ll be left with a greyish rectangle around your design. That’s because these prints on dark garments require a white underbase, and as a result, the printed black will be a lighter shade than the actual garment. Orders are frequently put on hold because the backgrounds haven’t been completely

removed. If any residue at all is left over, it will be visible when the shirt gets printed. The way we test this (and you can, too) is by opening the file in Photoshop, adding a different colour background, and duplicating the layer several times to make any residue show up. Bottom line: we suggest you avoid solid backgrounds entirely (unless it’s an express part of your design). If you’re printing on a white t-shirt, we suggest removing any white elements in the design. This is because we don’t print white ink on white shirts. If your artwork includes white, it won’t print. 4. Missing or incorrect inside label info If you’ve decided to print a custom inside label on your shirt, there’s info you’re required by law to add: · Garment’s country of origin · Size · Fabric info These details are different for each shirt model, so make sure you have the right info before you submit your print files. Also remember that the print area is 3×3, and the minimum font size is 6 pts. One layer of ink is best for tiny

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TECHNOLOGY graphics like inside labels. This is because the white underbase can sometime show around the letters. For the cleanest results possible, we recommend submitting white only graphics for collared and dark shirts, so graphics can be printed with one layer of ink (white) only. For white shirts any colour will work, except white. A word to the wise – dark inks can be see-through on lighter garments. This is something to keep in mind if you’re not into that look! Bonus tips Make sure the colours on your screen match the printed colours The colours you see on your screen are not always what you see when the garment has been printed. It’s a good idea to order our RGB swatches onto the garments you want to print to see how they’ll show up in real life. You should submit your print files in .png or .psd. You should avoid PDF files, Illustrator files, and other vector formats because don’t always convert properly (they end up printing hidden layers, or there can be missing fonts). Vector files are typically created within the CMYK colour space while we require RGB. Also, CMYK files can’t be exported as .png. You can work within CMYK, but before saving your file, change it to RGB. This is actually recommended because the


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RGB range is wider and you can go crazy with neons, magentas etc. However, printers will never be able to reproduce these colours, as they use the CMYK colour gamut. Get in touch with our design services if you need help with colour correcting. Choose the right garments for the best possible outcome Your designs will look different depending on the fabric blend you print on. For example, ink is more spread out and looks more faded on sweatshirts since it’s a thicker fabric. The best way to find out how your design will look on the garment you want to print on is to order samples! You can get a sample for 20% off and free shipping, so this is great if you want to test out a product before offering it on your

store. Tip: When printing on totes, don’t design with white. Because of how the white underbase reacts with the fabric, the ink tends to scrape off, so we don’t print white ink on Natural totes (black totes are fine). Conclusion Keeping an eye out for these most common mistakes is a must – it’ll speed up the time your order goes from submission to shipping, and it’ll lead to happier customers (aka more moolah for you!). If there’s anything to remember from this post is – check the guidelines, use high quality graphics, accurately size your files, and voila – you’re set to start making that uber cool independent online store that just happens to be raking in the cash.


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December - January 2018 SCREENTEX |


OFFSET PRINTING CHEMICAL RANGE VIVID CHEM IS COMMITTED TO QUALITY, SERVICE AND TO ADVICE OUR CUSTOMERS.” “VIVID CHEM printing chemicals is the popular face in the world of manufacturing printing chemicals. Now VIVID Chem had introduced high end Photo Emulsions for Graphic Art & Textile Printing Industry. We have strong technical backup with the experienced technocrats from the graphic art industry. VIVID CHEM photo emulsions is a fusion of western and Indian technology to fulfil the needs of the Screen Printing Industry ( Solar, Electronics PCB & Membranes, Automotive Decals, Dials & Glass, Textile, UV and Graphic Industry ). Our technocrats have vast experience of the requirement of Indian graphic art industry and based on their experience our research and development team had formulated the wide range Photo Emulsions focused to meet out the International quality to take complete care of the customer satisfaction and also be cost effective to save for our customers in this ever competitive graphic art industry environment,where every penny counts.


Screen Stretching Device Mechanical Unit The fabric (mesh) is tensioned against the frame hence no loss of tension. Minimum wastage of fabric (mesh). Adjustable size- any size of frame. Gang strecth 2/4 frames

Roll to Roll & Sheet Heating System and Temperature control The cylinder is heated by heating element in an open oil bath. The temperature of the cylinder is set by the touch screen and regulated by an electronic sheet with tolerance ±10°C. The temperature control is equipped with an alarm system and a limitation system of maximum temperature (230°C). NOMEX felt with tension adjustment system and automatic felt-centering device.

Screen exposing system

Double-Position Heat Transfer Machine The Pneumatic Press is perfect for high volume users with automatic press and release. Digital electronic timer and temperature control Power supply – 10.5 A/2500W Interchangeable Platen Heating and temperature control. The temperature of printing plane is adjustable up to 230°C and controlled by electronic thermostat.

Aluminium Screen Frames

OMKAR omkarengineering@gmail.com


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| SCREENTEX | December - January 2018

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ìskeÌveesuee@peer nw, Jeeuì keÀer ieefle keÀes keÀce Deewj iejceer ceW Je=ef× keÀj oW~ cesìeefuekeÀ FbkeÀ ìefve&Me Deewj [ue nes mekeÀlee nw Henueer yeeLe mes ner~ DeefOekeÀlece ÒeefleYee kesÀ efueS, Hetje ke̳eesj megefveef½ele keÀjW, Deewj keÀHeæ[s keÀes Deboj mes OeesS~ ³en megPeeJe efo³ee peelee nw efkeÀ DeeHe 320 ef[ûeer HeÀejsvene@Fì Hej ke̳eesj keÀjs~ uesefkeÀve ®ecekeÀ DeHeveer ogkeÀeve keÀer pe©jleeW keÀes Hetje keÀjves kesÀ efueS kegÀí Òe³eesie keÀjves keÀer DeeJeM³ekeÀlee nes mekeÀleer nw~ HeHeÀ FbkeÀ, Dev³e FbkeÀ efJeMes<e FbkeÀ keÀer leguevee ceW Leesæ[e Deueie nw~ efpelevee DeefOekeÀ DeeHe [^e³ej ceeO³ece mes Meì& Hej yeæ[e HeHeÀ ®eueeles nw, Fme Jepen mes, DeeHekeÀes DeHeves DeHesef#ele HeefjCeece Heeves kesÀ efueS Òe³eesie keÀjvee nesiee~ meYeer ÒekeÀej keÀer íHeeF& kesÀ meeLe -meeLe HetCe& efÒevì pee@ye ®eueeves mes Henues SkeÀ efÒebì Hejer#ee keÀjW~ ³en keÀjves kesÀ efueS ìsmì Meì& ³ee ìsmì Hesuevme SkeÀ Meeveoej lejerkeÀe nw~ DeHeves Jeebefíle HeefjCeeceeW kesÀ efueS mece³e Deewj leeHeceeve kesÀ meeLe Òe³eesie keÀjW~ Fmemes Fve DeefÜleer³e FbkeÀ kesÀ meeLe SkeÀ yesnlej DevegYeJe efÒebefìbie nesiee~ SHueerkesÀMeve Deewj Òeesmesefmebie cesìeefuekeÀ ÒeYeeJe jbie kesÀ efJeefJeOe ÒekeÀej, keÀCe DeekeÀej, ®ecekeÀ keÀer cee$ee ef®eHekeÀeJe iegCeJeÊee, efHeiecesvì keÀer iegCeJeÊee, Debeflece uesefkeÀve keÀce mes keÀce cetu³e keÀer efJeefJeOeleeDeeW, keÀebm³e cegêkeÀ FbkeÀ keÀer meercee kesÀ Yeerlej Deveefievele ÒeYeeJe Òeoeve keÀjles nw~ FmekesÀ DeueeJee J³eeqkeÌleiele jbieeW Deewj ®eeBoer, meesvee Deewj leeByee, keÀeBm³e pewmes kegÀí ÒeYeeJeeW keÀes HeejoMeea jbie kesÀ jbieeW keÀes peesæ[keÀj efJemleeefjle efkeÀ³ee pee mekeÀlee nw~ Gef®ele cesMe keÀe ®e³eve keÀjkesÀ m³eener pecee keÀer Deemeeveer mes ìîetefvebie keÀer Devegceefle os, m¬eÀerve efÒebefìie Ssmes SHueerkesÀMeve kesÀ efueS yeveeF& ieF& nw~ G®®e ®ecekeÀ OeelegF& Hesmì SkeÀ yengle ®ecekeÀoej GHeefmLeefle Deewj De®íer jieæ[ ÒeeflejesOe efJeMes<elee nw~ ®ecekeÀoej ye´sue Hesmì m¬eÀerve Deewj Hew[ efÒeefìbie kesÀ efueS efJeuee³ekeÀ DeeOeeefjle ye´ebpe yeeF[me& ³ee Jeeefve&Me kesÀ meb³eespeve kesÀ efueS mener nw~ yengcetu³e OeelegDeeW keÀer DekeÌmej G®®e GlHeeoeW keÀer mepeeJeì kesÀ efueS GHe³eesie efkeÀ³ee peelee nw~ ueieeleej megOeej kesÀ yeeJepeto keÀeye&efvekeÀ meesvee Deewj ®eeBoer keÀer FbkeÀ cebnieer keÀerceleer Oeeleg lekeÀ Hengb®eves ceW me#ece veneR nw, efpevnW G®®e leeHeceeve Hej HekeÀe³ee peevee ®eeefnS~ efcejj FbkeÀ Henues efcejj FHesÀkeÌì yeveeves kesÀ efueS

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December - January 2018 SCREENTEX |


ìskeÌveesuee@peer HeejoMeea mes De®íe Deewj ogefOe³ee nes mekeÀlee nw~ HeejbHeefjkeÀ m¬eÀerve efÒeefvìbie SHueerkesÀMeve mebj®eveelcekeÀ Hejle kesÀ efueS ceWcye´sve mJee®e nesles nw~ ³ee Dee@ìesceesefìJe mHeer[esceerìj nesles nw~ DeHeves keÀþesj Deewj m¬ewÀ®e (Kejes®e) cegkeÌle melen nesves kesÀ keÀejCe, cetJeer ke̳eesjsyeue Jeeefve&Me FmekesÀ efueS Henues mes yeves nw~


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| SCREENTEX | December - January 2018

iueeme ÒeYeeJe (®ecekeÀ ÒeYeeJe) G®®e iueeme ÒeYeeJe m¬eÀerve efÒebefìbie kesÀ Je®e&mJe nw~ meyemes GÊece ÒeYeeJe ³etJeer ke̳eesjsyeue FbkeÀ efmemìce Üeje ÒeeHle keÀef³ee pee mekeÀlee nw~ 3-[er FHesÀkeÌì 3-[er FHesÀkeÌì [esce keÀesefìbie Üeje De®íer lejn peeve peelee nw~ m¬eÀerve efÒebefvìie ûeeHeÀerkeÀ keÀe efmebyeue keÀe ûeeefHeÀkeÀ ®eefj$e 30-250 ceeF¬eÀes ceeF¬eÀeve ceesìeF&Jeeueer kesÀ efueS Òe³egkeÌle neslee nw~ HeefjCeece ceW Deeves Jeeues kewÀjskeÌìj mHeä ©He mes HejmesHìer yeue nesles nQ~ Deeceleewj Hej HeejoMeea nesles nw~ efpemes efJeefJeceer³e GlHeeo megj#ee, ceevekeÀ, Hen®eeve. ye´sue efÒeefvìie ³ee otmejs ûeeefHeÀkeÀue ÒeYeeJe ceW peevee peelee nw~ Leesæ[e mee Mes[

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NATIONAL FEBRUARY 2018 02 - 04 February 2018 SIGN INDIA 2018 MUMBAI Leading Show on Advertising & Signage Industry. At : Bombay Exhibition Centre, Goregaon (E), Mumbai. www.businesslive.in 03 - 06 February 2018 KNIT VISION Leading Show on Garment Machinery Technology Exhibition. At : Dana Mandi, Bahadue Ke Road, Ludhiana, Punjab. www.knit-vision.com 22 - 24 February 2018 MEDIA EXPO 2018 ( MUMBAI ) Leading Expo on Advertsing & Signage Industry. At : Bombay Exhibition Centre, NSE Complex, Goregaon (E), Mumbai www.mediaexpo-mumbai.com 23 - 25 February 2018 PRINT FEST 2018 ( RAIPUR ) Leading Show on Printing & Packaging Industry. At : Raipur, Chattisgarh. www.printfest.in 23 - 25 February 2018 GARFAB TX 2018 ( SURAT ) Leading Show on Apparel, Digital & Garment Industry. At : SIECC, Surat, Gujarat.

MARCH 2018 07 - 09 March 2018 INDIAN CERAMICS 2018 India’s Leading Show on Ceramics Industry. At : The Exhibition Centre, Helipad Ground, Gandhinagar, Gujarat. www.indian-ceramics.com 09 - 12 March 2018 PACKPLUS SOUTH 2018 Leading Show on Packaging Industry. At : HITEX, Hyderabad, Telangana. www.packplussouth.in

21 - 23 April 2018 PRINTEX 2018 Exhibition on Printing, Packaging & Signage Industry. At : Auto Cluster Exhibition Centre, Pune, Maharashtra. 27 - 29 April 2018 GLOBAL MEDIA EXPO 2018 Leading Show on Printing & Packaging Industry. At : Ganesh Kala Krida Manch, Swargate, Pune, Maharashtra.

MAY 2018 04 - 06 May 2018 PRINT & PACKTECH EXPO 2018 Leading Show on Printing & Packaging Industry. At : Prabhakar Kore Convention Centre, Bangalore, Karnataka. www.printandpacktechexpo.in

JUNE 2018 07 - 09 June 2018 NON WOVEN TECH ASIA 2018 Leading Show on Non Woven Industry. At : Bombay Exhibition Centre, Goregaon (East), Mumbai 400 063. www.nonwoventechasia.com 08 - 10 June 2018 PRINTEXPO 2018 South India’s Leading Fair on Printing & Packaging Industry. At : Chennai Trade Centre, Chennai, Tamilnadu. www.intelexpo.com 27 - 29 June 2018 HEIMTEXTIL INDIA 2018 Leading Expo on Home Textiles Business. At : Pragati Maidan, New Delhi www.heimtextil-india.in

JULY 2018 23 July - 20 Aug 2018 GARTEX 2018 Leading Show on Garment Machinery & Accessories.

APRIL 2018 06 - 08 April 2018 GARKNIT TIRUPUR 2018 Leading Show on Garment, Knitting & Printing Industry. At : Velan Hotel Fair Grounds, Tirupur, Tamilnadu. www.tradeindia.com

At : Pragati Maidan, New Delhi. www.gartexindia.com 25 - 28 July 2018 PACKPLUS 2018 Total Packaging, Processing & Supply Chain Event. At : Hall 7-12A, Pragati Maidan, New Delhi. www.packplussouth.in


| SCREENTEX | December - January 2018


INTERNATIONAL FEBRUARY 2018 01 - 04 FEBRUARY 2018 FOOD PACK ASIA 2018 Leading Show on Food & Beverage Industry. At : BITEC, Bangkok, Thailand. 06 - 09 FEBRUARY 2018 IMI DIGITAL PRINT 2018 Leading Conference on Strategic Inkjet Technology. At : Hilton San Diego Mission Valley, San Diego, CA, USA. www.imiconf.com 08 - 11 FEBRUARY 2018 DTG 2018 International Expo on Textiles & Garments. At : BICC, Dhaka, Bangladesh. www.bangla-expo.com 22 - 24 FEBRUARY 2018 FESPA ASIA 2018 Leading Show on Digital, Textile and Screen Printing Industry. At : Bangkok, Thailand. www.asia.fespa.com 22 - 23 FEBRUARY 2018 INTERNATIONAL AWARDS & PERSONALIZATION EXPO 2018 Leading Expo on Awards & Personalisation Industry. At : Las Vegas, NV, USA. 26 - 28 FEBRUARY 2018 PRINT UV 2018 Worldâ&#x20AC;&#x2122;s Best Information on Print with UV. At : Encore by Wynn Resort, Las Vegas, NV, USA. www.printuv.com 27 FEBRUARY - 01 MARCH 2018 IPC APEX EXPO 2018 Leading International Expo on PCB Industry. At : San Diego Convention Center, San Diego, CA, USA. www.ipcapexexpo.org

MARCH 2018 01 - 04 MARCH 2018 PRINTING & PACKAGING EXPO 2018 Leading Show on Printing & Packaging Industry. At : IMPACT Muang Thong Thani, Nonthaburi, Thailand.


| SCREENTEX | December - January 2018

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PRODUCTS Coated Polyester Film Glitter Powder Metallic Yarn Metalic Fibre COATED POLYESTER FILM Coated Polyester Film available in 12, 24, 36, 50 to 135 microns for various application viz Metallic Yarn, Glitter Powder, Chain Sequence (CD), Loose Sequence, etc.

GLITTER POWDER Glitter Powder is Made from 12, 24 micron polyester film in size 0.05 mm (0.002â&#x20AC;?) Hex/square by German Technology in many beautiful colors namely Metallic, Holographic, Irridiscent, Florescent and Formaldehye free coated color as per specific requirements of consumer.

METALIC FIBERS Metallic Fibers are cut length of Metallic Yarn from 0.3mm x 1.5mm length or as per customer requirement

ADVANCE SYNTEX LIMITED 233/2 & 238/2 GIDC Por, RamanGamdi, Dist.: Vadodara â&#x20AC;&#x201C; 391243, Gujarat, Phone : (0265) 6536463 , (0265) 2831400. Fax : (0265) 2831848 Mobile : 09824 050782 Email : midas1002003@hotmail.com / midasglitter@midasglitter.com website : www.midasglitter.com SOUTH DISTRIBUTER : M/s Honnex Inc. - 21, Easwaramoorthy lay-out,1st street , kuruvumpalayam, Tirupur- 641604, Tamilnadu. Phone : (0421) 4342588 Email : sales@honnexinc.com

SUN SHINE GRAPHICS Poly Carbonate Films PVC Rigid Sheets Metalised Polyester Films Surface Protection Film (Low Track) Application Tapes Film & Paper Self Adhesive PVC Vinyls D/S Tapes Tissue / Polyester / Foam Polyester Films Reflective Films Ultra Destructive Film / Void Films

SUN SHINE GRAPHICS 5/44, Siddharth Nagar No 5, Near Maharshtra Medical Store, Goregaon West, Mumbai 400 104. Tel : 93213 35502 / 9920135530 sanjay335550@yahoo.com


| SCREENTEX | December - January 2018

AD INDEX Advance Syntex (P) Ltd.


Kunal Enterprise


Aeon Commercial India (P) Ltd.


Maa Shakthi Group


And Global Sales Corporation


Mac Dermid Autotype Ltd.


Arrow Multimedia


Meetesha Enterprises


Astra Chemtech


NBC Japan


Balaji Chemicals


Omkar Engineering


Balaji Trader


Paper N Film


Beauty Flex


Print Pack 2019


Blue Coat India Pvt. Ltd.


Ratan Industrial Engineering


Chaiyaboon Chemicals


SAI Enterprise



Sefar Switzerland


Shriram Enterprises


Cheran Machines I Pvt. Ltd. Duratech Automation (P) Ltd.


Dakota Chemicals India Pvt. Ltd


Smilex International India


Epta Inks India Pvt. Ltd.


Sneha Enterprises


Febchem Pvt. Ltd


Sparkle Foil N Film


Fespa Asia 2018


Spoorthi Technologies




SunShine Graphics


GTE 2019


Surya Kiran Photo Paper P ltd.


Hari Impex


ZIBO Paper


J N Arora & Co. (P) Ltd.


Vivid Manufacturing co pvt ltd


Kumar Textile Industries


Vee Jain Dyes N Chemicals


This AD INDEX is provied as a free service to our advertisers. We regret that we can not be held responsible for any errors/omissions.


| SCREENTEX | December - January 2018

Introducing wholesale Sublimation Paper in Rolls / Sheets & Sublimation Inks.

Authorised Distributor / Agent for Water / Oil / Liquor Reppelent, Coatings from Mitsui Chemicals. Heat Sealable Paper for Printing and Packaging Industry. Replace LDPE & PLASTIC FILMS with our Eco Friendly Coatings. Dealers in Speciality Papers / Films / Foils.

M: +91-9833997772

M: +91-9920997772 MUMBAI, INDIA

O: +91-9833997776 | pb7772@gmail.com www.texprints.com

Mob+917400451521 arvind.singh@sefar.com

Profile for Jignesh Lapasiya

December - January 2018  

December - January 2018