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Vol : 07 • Issue : 02 • February - March 2017

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INKJET SOLUTIONS

The complete Sublimation Printing Solutions Dye Sublimation Printer

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DYE SUBLIMATION PRINTING SOLUTIONS

Roll-to-Roll Transfer Machine

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


SBT

Shri Balaji Traders

Screen Printing ink P.v.c / Vinysheen Ink Scratch Reduser Scratch Silver / Black Ink Medium Ink Eva Ink / Eva Premier N.C. Silver / Pearl Ink P.V.C Fluorescent Silever / Gold Paste & readymix

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Screen Printing Mesh Nylon / Polyester

87/149 (Near Raipurwa Thana), Dev Nagar, KANPUR-208003 U.P. Email : riteshagarwal635@gmail.com Contact No.: +91- 9335589233 / 9454897984

Member of

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1/2, Dhariwal Avenue, Plot No.343, Road No. 18, Jawahar Nagar, Goregaon (West), Mumbai - 400062. I N D I A Tel: + 91 22 28771440 / 9320781115 E-mail : info@andglobal.in / sales@andglobal.in


Silky, soft, tactile finish Anti-reflective flat matt surface, hides tails and gives a uniform flat appearance to the switch Exceptional optical clarity of printed display windows - using Windotex Fully embossable to create highly tactile switches Scratch & abrasion resistant Solvent & chemical resistant


Vol : 07 • Issue : 02 February - March 2017

FORWARD

PUBLISHER / EDITOR IN CHIEF

Jignesh Lapasia +91 98679 78998 MANAGING EDITOR

Supreeth Sudhakaran ASSOCIATE EDITOR

Sonal Shah LAYOUT DESIGNER

Difference between ‘Vision’ and ‘Sight’ There is a lot of difference between vision and sight. Often people misunderstand that these can be invariably used. A person who is visually impaired may have a vision. But its not necessary that a person with sight would have a vision too. This year, let’s pray and strive towards aquiring a vision. The year bygone has brought in lot of disruption. The economy saw two of the biggest moves from the present Union Government. In fact, the print media faced one of the biggest brunts. A 30% cut in advertising budgets saw over 1500 journalist getting a pink slip. Ironically, while these very journalists could write volumes on why startups are unethical in cutting staff, there was no murmur from any media when they were forced to take the decision. But then, in the last two months, we hear that revival has already begun. So it calls for inspriing stories to help us get back in form. In this issue, we continue to present you with stories that will educate you, inspire you, and maybe give you the required nudge to adapt to change. JN Arora’s Vimles Jain undoubtedly gives the most candid interviews of his time talking about history, failures and the future. We also have in this issue, snippets from a recent paper on thermoelectric screen printing,. In our guest column, we discuss how to select the right laminator, and Simon gives his take on the digital foiling machines. And wrapping it off with few lines by Maya Angelou, one of the most celebrated American poets:

Pravin Gohil GRAPHIC DESIGNER

Preetam Shetty Vivek Vishwakarma WEB SUPPORT

Pratik Shah REPRESENTATIVES HYDERABAD

Arihant Sales Dinesh Chauhan +91 93469 51232 KANPUR

Sandeep Keshari +91 98391 23611 +91 93363 32742 Ritesh Agarwal +91 93355 89233 DHANBAD

Roshan Agrwal +91 93340 49625 NAIROBI - KENYA

Darshit +254 722 737413 +254 733 621761 PRINTED AT

Om Sai Printer, Mumbai MEMBER OF

You may write me down in history With your bitter, twisted lies, You may tread me in the very dirt But still, like dust, I’ll rise.

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.

SPRY MEDIA 702, Jugal Apartment, Liberty Garden, Road No 3, Malad (W), Mumbai 400 064, Maharashtra, India. Mobile : +91 98679 78998 E Mail : jignesh@screentex.in • Website : www.screentex.in

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CONTENT REPORT

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Dr. Babasaheb Ambedkar Marathwada

University hosts Print-Pack Confo 2017

ADVERTORIAL

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SAi celebrates 25th anniversary of Flexi signmaking software

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GUEST COLUMN

32 36

Affordable foiling without dies

Which is the best laminator for your print Business ?

TREND WATCH

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What is thermoelectric screen printing ?

48

LIMELIGHT

44

Digital will pave the next wave of growth for us : Vimlesh Arora

TECHNOLOGY

48 52

Dean, tell me the answer: Climate and technical printing problems

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Challenge of fine line screen printing for printable electronics

BUSINESS

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7 Rules For Effective Shop Planning

ìskeÌveesuee@peer

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NEWS

Marabu to unveil new range of printing inks at FESPA 2017 Ink manufacturer Marabu is set to present its latest range of inks for screen, digital and pad printing at FESPA 2017, from May 8-12 at the Hamburg Messe, Germany. Marabu will present a completely new range of inks which includes advancements in ink technology for the efficient production of touch screens, and as well as recent additions to its portfolio, such as the Mara Jet DISX and DI-MS digital ink lines. A further highlight is the brand-new Ultra Pack UVFP system for screen printing, a UVcurable, low-migration system for food packaging. There is also a pioneering product for pad printing: Tampa Tex TPX, with a remarkable range of applications.

“At FESPA 2017, we will be showcasing two completely new and user-friendly eco-solventbased whites of the ink systems Mara Jet DI-SX and DI-MS.” commented Marabu. “The special feature of the whites is the high opacity and the excellent chemical and mechanical resistance. A further strength with the highly advanced formulations is that neither of the inks forms sediment while in the printer, ensuring seamless production processes.” Also on display at FESPA 2017 will be the new Texa Jet DX-DTE digital printing ink based on pigmented resin that boasts all the major advantages of transfer technology. In addition, the Screen Truepress Jet W3200 UV II, suitable for graphics, will be showcased, as well as the Spyder Xi digital printer from Inca Digital. The company will also present the Tampa Glass TPGL developed on the basis of state-of-the-art raw materials specifically for pad printing

decorations on 3D objects. It offers ease of use, brilliant results, and exceptionally high chemical and mechanical resistance. This ink is suitable for glass and ceramic items, metals, chrome-plated and varnished substrates, and thermosetting plastics. Finally, the company will show the Mara Shield UV-CGL system that offers brilliant colours, and dries quickly for efficient, reliable production processes. These liquid coatings can also be employed to produce opaque blocking layer for digital wall prints, for interior wall panels, kitchen work surfaces and splashbacks, and glass doors. “FESPA 2017 provides a perfect platform for print professionals to exchange information and insights. Marabu will be amongst the exhibitors to present its new product portfolio and to get in touch with prospective clients. The popular trade show is going to be a perfect place to get into deeper discussions with the experts, so no one should miss it,” the company concluded.

Kodak calls off sale of prosper inkjet business Ink Eastman Kodak Company today announced it will retain its PROSPER inkjet business. The decision was made following in-depth management review of business operations and multiple discussions with prospective buyers. “This is a pragmatic decision given the improvements in the business and the offers received,” said Jeff Clarke, Kodak Chief Executive Officer. “PROSPER performed well in 2016 with a 40 percent increase in annuity sales for the full year. We expect our

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Enterprise Inkjet Systems Division (EISD) to be profitable this year, including our next-generation Ultrastream investment.” Kodak will continue to invest in its Ultrastream program and has entered into letters of intent with partners which will create new applications that drive market demand for the technology. Kodak will begin delivering Ultrastream evaluation kits to 17 companies, including Fuji Kikai, GOSS China, Matti, Mitsubishi Heavy Industries Printing & Packaging Machinery

(MHI-PPM) and Uteco, to explore the integration of Ultrastream into their future printing solutions. Kodak expects products built on Ultrastream technology to go to market in 2019. Kodak will recast financial results to reclassify PROSPER into continuing operations of the company within the Enterprise Inkjet Systems Division. Kodak has been accounting for PROSPER in discontinued operations as an asset available for sale and will provide an update of this reclassification on its next quarterly earnings call.


NEWS

EFI’s launches VUTEk 3r and 5r Printers Electronics For Imaging has launched two new UV LED inkjet printers offering one of the fastest throughputs available in their product class. The EFI VUTEk 5r and VUTEk 3r printers are two of the new technologies that EFI is discussing with customers at upcoming tradeshows. The new printers are the most technically advanced LED roll-to-roll printers on the market.

The printers are equipped with a powerful LED curing technology that delivers both cost savings and environmental benefits. It offers resolutions up to 1200 dpi and comes with the native EFI UItraDrop Technology sevenpicolitre printheads with true multi-drop. It also has a unique colour distribution algorithm that provides superior economic advantages with ink usage, with a single litre of ink covering up to 1,600 square feet, on average, across all print modes. The 3-meter-wide 3r model offers print speeds up to 3,715 square feet per hour, and the 5-meter 5r model offering speeds up to 4,896 square feet per hour.

Inline roll-to-sheet cutting, slitters and a sheet collector kit are key additions that help users improve throughput by reducing or eliminating altogether the need to handle printed jobs on separate finishing tables. The VUTEk 3r and 5r also offer optional features for automated double-sided backlit and blockout printing; a mobile app for remote printer monitoring; multi-layer white ink imaging; additional light colours for extended-gamut imaging and more. Strong initial demand for the 3r and 5r printers has resulted in early installations to customers in North America, Europe and the Middle East who wanted to replace slower, less-efficient, roll-to-roll printers.

Epson rallies behind PaperLab; claims market worth €2 bn Epson has developed what they call “the first ever in-office paper recycling machine”, which takes used documents and turns them into clean, white, blank sheets, in just 3 minutes. The PaperLab, which Epson claim will “revolutionise recycling” is capable of reusing 14 sheets of A4 paper per minute, meaning 6,720 sheets could be produced in a regular eight hour day. It can also produce different kinds of paper, A3 sheets, thick paper for business cards, coloured paper and even scented paper. The machine looks like a large photocopier and pulverises printed sheets into individual fibres using a process Epson calls defibrating. The process removes inkjet inks and toners, reducing the printed

sheets to their naked paper fibres. Water consumption is also minimal and the technology incidentally saves the trouble of shredding documents. There is a considerable carbon footprint attached to the shredding process, which generally involves secure and expensive transport to dedicated offsite shredding facilities. The recycled material is turned into new sheets of paper through the addition of a special binder and a little water. The binder adds strength and chemicals and can also colour the sheets or enhance their whiteness. The mix is pressed and calendared to produce new sheets, and can even be scented. PaperLab uses far less water than conventional papermaking and although it is initially intended for office environments, the

technology can be scaled up. Minoru Usui, Epson’s global president says that PaperLab will transform workplace behaviours and practices. “PaperLab can recycle waste paper in the office using a dry process, therefore creating an office ‘eco-system’ that reduces CO2 emissions, increases savings on collection, disposal and logistics, ensures secure disposal of confidential documents and saves water, which is used in huge volumes in traditional recycling processes.” It takes about three minutes for PaperLab to produce its first new sheet of paper once the machine is loaded with waste. The machine can also produce A3 sheets and in a variety of weights from office sheets to business card stock. Epson reckon it will take a year or so to ready PaperLab for the commercial market, a market they estimate to be worth €2 billion.

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NEWS

FESPA announces 2017 Awards shortlist The expert judging panel of the FESPA Awards 2017 has announced its shortlist hailing the innovation, high-quality and creativity of this year’s entries. Hundreds of entries were submitted for this year’s FESPA Awards. And although the final winner will not be announced until May 10 at the FESPA’s Dinner Gala in Hamburg, Germany, recently there was a small group of experts that were very busy carefully studying each piece of work and having the tough task of picking out the best projects. Graeme Richardson Locke, sales and operations

director at Vektor, who served as a judge for this year’s FESPA Awards commented: “As so many submissions were of such a high quality it made for a very difficult job for the judging panel to differentiate on technical execution alone. Fortunately with a range of criteria to be scored we managed in all cases to reach a consensus without too much argument.” “With 14 categories and hundreds of entries the sheer volume of entries to be evaluated was challenging we certainly needed the two full days to review everything. Even with more than 30 years of printing experience the scope of techniques employed presents difficulty in appreciating the methods used.”

The judges, who FESPA handpicked based on their specialist knowledge and experience within their own print fields, highlighted the amazing range of creative applications of both, screen and wide format digital print, seen in the entries. Expanding on the importance of the Awards not only to entrants but also to the wider industry, Graeme said that they can help companies from around the world gain valuable promotion, with the global market looking to the Awards to see the best in print talent. All the shortlisted entries for each category are being profiled on the FESPA Awards website so their projects and techniques can be shared with the rest of the sector.

Canon launches UV gel wide-format printer Océ Colorado 1640 Canon has announced its long-anticipated UV gel wideformat printer, the Océ Colorado 1640, a 64-inch roll-to-roll printer. Designed for large-format graphic-arts and print providers, the Océ Colorado 1640 is designed for producing indoor and outdoor graphics, including roll-to-roll signage and displays. The company claims that customers will be able to easily handle peak periods with fully automated media loading of multiple online rolls, confidently print unattended with on-the-fly quality assurance, produce instantly cured prints on a wide variety of media including heat sensitive media, and help cut expenses with low operating costs.

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At the heart of the new Océ Colorado 1640 is Canon’s recently announced UV-gel technology. This technology combines a new UV curable ink that gels immediately on contact with the media, with Canon’s latestgeneration piezoelectric printhead technology. The system uses acoustic sampling to monitor nozzle performance on-the-fly, whilst the LED UV curing system works without applying any heat to the substrates meaning ultra-thin and heat-sensitive media are suitable. The LED UV curing system operates independently from the printing system, which the company said ensured identical jetting to curing for every droplet and gave better control of accuracy and size. The Océ Colorado 1640

features a heavy-duty drawer mechanism that holds up to two rolls of media at one time, each weighing up to 110 lbs. The two rolls can be of the same media type and size or different media, and once initialized, the print engine can switch jobs between rolls without operator assistance. If an unknown media is loaded, the printer will automatically measure its thickness and adjust the print gap accordingly. This information is then stored in the media library along with other media parameters so that the next time this type of media is loaded, the printer knows exactly how to handle it. The UVgel printheads also incorporate patented continuous nozzle monitoring to detect and correct any underperforming nozzles.


TECHNOLOGIES

www.roqinternational.com


NEWS

Roland DG releases new ErgoSoft Roland edition 2 RIP Roland DG has announced that ErgoSoft Roland Edition 2 RIP software will now be available for its Texart dye sublimation transfer printers. Existing software and print settings can still be used after updating to the ErgoSoft Roland Edition 2, which has more than 40 new features/enhancements. A new dithering method increases rasterisation speed and improves dot placement accuracy resulting in 40% faster RIP times and smoother gradients. ErgoSoft Roland Edition 2 also includes up to eight simultaneous RIP servers to drastically reduce processing time.

Also included, the Hot Folder feature makes batch printing of images with the same specific print settings easier to further enhance printing efficiency. Image Add-Ons functions support several new effects such as barcodes, rulers and drill holes. Multiple effects can also be applied to a single set of data. Specific editing functions support file formats that are commonly used for textile printing. The ‘Step and Repeat’ feature to create flawless repeating textile patterns from a single image is now available for PDF and EPS file formats. The ‘Color Replacement’ feature for creating multiple colour variations is also now available for TIFF and PSD file

formats. Variable data printing is now included as standard. Roland DG product manager Hirotoshi Naruse. said, “In response, we launched the Texart brand in 2014 exclusively for use in digital textile printing with a firm commitment to deliver exceptional value to this market now and in the future.” The company currently offers two Texart 64 inch (1625 mm) models. For fast, high volume printing with dual staggered printheads to maximise productivity, the XT-640 is built for continuous production on long print runs. The RT-640 is designed to provide superb quality, productivity and value with ease of operation that will please both experienced operators and beginners.

Mimaki launches hybrid TX300P-1800 range The Tx300P-1800 and Tx300P-1800B direct-to-textile printers have been updated to simultaneously load both textile pigment and sublimation dye inks for flexible textile printing. This enables the use of a single printer to print directly on a wide range of textiles without the need to change out ink systems. “Recently, in the textile and apparel markets, quick deliveries and short, customised production are becoming increasingly important. This new system is specifically designed to address this need for costeffective short run printing of textiles for products or samples,” said

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Mimaki Europe general manager Ronald van den Broek. “It means that producers can switch fabric types quickly and easily, selecting the appropriate ink system for each fabric. And these inks do not require usage of water or steaming in the posttreatment process, making them environmentally sustainable as well.” Mimaki offers five different ink types for textile printing, including sublimation dye ink, dispersion dye ink, textile pigment ink, reactive dye ink and acid dye ink. In the normal course of operation, one ink per printer must be selected. But now textile producers will be able to use the two most popular ink types in one single printer. The Tx300P-1800 and Tx300P-1800B direct-totextile printers will be able

to simultaneously load TP400 textile pigment ink for cotton and hemp materials as well as Sb420 sublimation dye ink for polyester material without changing inksets for each run. Since neither ink type generally requires steaming or washing in the post-treatment process, there is no need for a large space, a huge quantity of water, or special expertise in handling the printed fabric. All that is required is the printer and colour fixing equipment, making these entrylevel printers suitable for use by designers, fabric workshops, and educational and research institutions. The hybrid ink system for the Tx300P-1800 and Tx300P-1800B direct-to-textile printers will be commercially available in summer 2017.


NEWS

AVT to be acquired by Danaher Advanced Vision Technology, a leader in automatic print inspection, process control, quality assurance and colour control for printing applications has entered into a definitive merger agreement with Pelican Merger Holdings Israel pursuant to which it will be acquired by Danaher Corporation’s Product Identification Platform. Pelican Merger Holdings Israel will acquire all of the outstanding shares of AVT for Euro 14.50 per share in cash. AVT’s in-line inspection systems are used by some of the world’s top packaging and label converters to improve product quality and efficiency of their operations. Many of the same customers are served by X-Rite and Esko, market-leading companies within

Danaher’s Product Identification Platform. Combining AVT’s strong position in print inspection and quality control with X-Rite’s colour inspection capabilities, and Esko’s packaging workflow will enable all three companies to offer solutions that simplify management of complex packaging value chains for both packaging converters and CPG brand owners. Jaron Lotan, AVT’s CEO, commented “This is an exciting next step in the development of AVT, both for our customers and for our associates. Being part of Danaher’s Product Identification Platform will strengthen our ability to continue to execute our existing strategy and will enable us to bring more innovative and connected solutions for the

packaging and label value chain.” “We are thrilled to have AVT join Danaher’s Product Identification Platform, which includes X-Rite, Pantone, Esko, MediaBeacon, Videojet, Linx, Laetus and Foba,” said Joakim Weidemanis, Group Executive for Danaher’s Product ID platform. “AVT is an outstanding business characterized by innovative products, a strong brand, dedicated team and excellent growth prospects. We see AVT as a natural complement to our platform of businesses serving packaging and label production value chain.” AVT’s Board of Directors has unanimously approved the transaction and has unanimously recommended that AVT shareholders approve the transaction.

Ricoh launches new feed inkjet platform VC40000 Ricoh has launched Ricoh Pro VC40000, its next generation continuous feed inkjet platform, designed to empower transactional and direct mail customers. This newest addition to Ricoh’s market-leading inkjet portfolio complements its Ricoh Pro VC60000 and InfoPrint 5000 range. At the heart of this solution lie the Ricoh TotalFlow Print Server R600A, its digital front end (DFE) that has been optimized to deliver advanced workflow management and to make the production of complex, data-driven direct mail and transactional output even easier than before. It operates at speeds up to 120 meters/minute, making it capable of producing more than 100,000 letter images per hour, offering the productivity and quality needed in today’s

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production print environments. With paper support from 40 to 250 gsm, application possibilities range from lightweight books to high coverage postcards. The RICOH Pro VC40000 features separate black and colour printhead arrays, allowing cost-effective printing of colour and monochrome applications. An optional fifth printhead array enables the use of additional fluid choices, such as MICR or security inks. Additionally, the RICOH TotalFlow Print Server R600A provides native support for PDF, PDF/VT and AFP together with JDF and advanced color management support. This advanced controller provides an easy-to-use operator interface and advanced workflow management capabilities that

benefit from Ricoh’s extensive experience in mission-critical variable data processing. Offering added flexibility, the RICOH Pro VC40000 supports a variety of configuration options, including compatibility with a number of different workflow monitoring and management software tools. To help make this decision, Ricoh’s experienced team works with customers to identify and implement the configuration that best suits their unique needs while also continuing to meet service level agreements (SLAs). Further aiding flexibility is the assurance that this platform was designed with future enhancements and field upgrades in mind to protect customers’ investments in hardware, software, and infrastructure as their business grows and requirements change.


NEWS

Nazdar Ink Technologies to reveal latest ink innovations Nazdar Ink Technologies will exhibit brand new and established digital inkjet and screen-printing inks and examples of its special effects portfolio at the upcoming FESPA 2017 show. This year, Nazdar will introduce the new Nazdar 130 Series and Nazdar 183 Series Digital Solvent Inks, its latest additions to its range of market-leading ‘plug and play’ high-performance alternatives to OEM inks. The company claims that the series offer exceptional colour and chemistry compatibility, quality and cost effectiveness combined with a seamless conversion process, enabling users to switch one colour at a time to save time and money. The Nazdar 130 Series ink is specifically designed for use in Mimaki JV33, CJV, JV300 and JV150 printers using Mimaki SS21 ink, handling the speed demands of each system superbly thanks to enhanced dot control and drying features. The Nazdar 183 Series, meanwhile, is ideal for users of Mimaki BS3 ink looking to benefit from a high-performance, great

value alternative with improved odour and a convenient range of packaging sizes and options. Also on show will be the recently launched Nazdar 730 Series, a flexible UV inkjet ink with market-leading adhesion on a wide range of flexible and rigid substrates such as banners, window graphics, pressuresensitive vinyl, POP displays and backlit acrylic signage. It is ideal for both indoor and outdoor applications and especially substrates that require router, knife- or die-cutting, thanks to its superior edge-chipping resistance properties. As one of the experts in screen printing inks, Nazdar will also be debuting the new Nazdar 2800 Series 5-year Durable Graphic Screen ink. One of the first durable UV LED inks specifically formulated to be cured with a 395nm, 4watt or higher LED lamp, the 2800 Series is designed to be thermal die-cut without edge chipping and to accept pre-mask adhesives, and should

be of particular interest to the environmentally sympathetic EMEA customers. The Nazdar 2300 Series UV and UV LED Screen Inks have been developed for the container market, for printing on various glass and plastic bottles used in the packaging of cosmetics, household chemicals and other similar applications, while offering energy savings and a smaller environmental footprint. Nazdar 3500 Series and 3529/3539 Screen Inks, also on display, are designed for long-term outdoor durability on premium pressure-sensitive vinyl films. In addition, the brand will present Nazdar 2400 UV-LED and 3400 Series Screen Inks for membrane switch applications with a focus on the new durable texture clears, and will have the latest Nazdar Texture Clears Ink sample prints available for review. Nazdar will also promote its new Special Effects Inks binder, to show customers creative uses for its speciality inks.

SPG launches 914mm version of its rotaLEN direct laser engraver SPGPrints has launched a 914mm version of its rotaLEN direct laser engraver for imaging nickel screen cylinders. Featuring a sealed CO2 laser that ablates the printed areas without film, chemicals or water, rotaLEN images SPGPrints’ non-woven nickel re-engravable RotaMesh screens with highdefinition resolutions of up to 5080dpi in a single step. A narrowweb version of the engraver, used primarily by label converters, accommodates screens up to 660mm width. Capable of applying ink

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or varnishes of up to 250µm thickness in one pass, the rotary screen process is a productive way of creating high-impact embellishments. Examples include raised, coarse and textured varnishes, rich and opaque colours, metallic finishes and functional tactile features like Braille and warning triangles. The process can provide an alternative to embossing for tactile features. Laser-imaged rotary screens can also be used on a wide range of paper grades, including tissue, and for highquality long production runs.

Depending on the application, printing speeds up to 150m/min (490fpm) can be achieved. The company’s printing units, with UVcuring or hot air drying systems, can be integrated inline on almost all web presses up to 914mm width, alongside flexo, offset or gravure processes. The new 914mm width engraver ensures that rotary screen technologies are at the same advanced levels of development as the presses they are used with. In this way, converters are assured of high performance levels throughout the workflow.”


QUICK BYTES Epta Inks launches digital inks and DTS screen engraver Italy-based company Epta Inks recently launched digital inks for sublimation, reactive, pigment and acid process. The company also launched DTS machine for screen engraving. The Verojet DTS 5070 (computer-to-screen) imaging system includes an industrial HP printhead and an adjustable screen clamping system. It can accommodate any size screen up to 50 cm x 70 cm. The Indian branch of EPTAINKS was inaugurated on April, 2016 in Tiruppur, Tamil Nadu. EPTA India covers a building area of 10,000 square meters and consists of a production site, a laboratory for the testing of finished products, a deposit and several administrative offices, taking up a total of over 1,000 square meters.

Epson to highlight SureColor range at FESPA 2017

At FESPA 2017, Epson will demonstrate the versatility and efficiency of its latest wideformat SureColor SC-S ecosolvent and SC-F dye-sub and direct-to-garment printers. Six different SureColor models will be action at the show and all have been developed by Epson to give print service providers a choice of flexible systems that tick all the boxes in terms of quality, running costs, flexibility, performance, ease of use and ability to maximize profits. Highlights include the successful 10-colour 64inch SureColor SC-S80600, which uses the UltraChrome GS3 inkset, including red, white and metallic for accurate corporate colour matching and exceptional print quality, even on the cheapest monomeric vinyl.

X-Rite’s first immersive 3D visualization environment At the Autodesk Automotive

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Innovation Forum in Munich, Germany, X-Rite Incorporated, and its subsidiary Pantone, announced the industry’s first immersive Virtual Light Booth (VLB). The Virtual Light Booth combines the X-Rite’s SpectraLight QC professional light booth technology with a high-resolution, colorcalibrated LCD display and a real-time color management engine. Part of the company’s Total Appearance Capture (TAC™) ecosystem, the VLB ensures a new level of consistency between digital prototypes and final physical products. This helps companies reduce approval cycles and accelerate time to market.

Agfa Graphics launches Asanti 3.0 workflow software Agfa has introduced Asanti 3.0, the latest version of its automated production hub and workflow tool for sign and display printers. The new version is said to offer wide-format printers new functionalities, more integration possibilities and

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added automation. One of the new features in Asanti 3.0 is IntelliTune, which automatically analyses and improves image quality by optimising skin tones or eliminating noise or blurriness.

Also new is proofing support with QuickProof, which helps to avoid waste, an improved digital alternative for see-through graphics on clear material, optimised automation with the use of new parameter presets, and smart image repetition possibilities to further increase productivity. Additionally, Asanti Color Management, the advanced mode that allows printers to use a wizard for managing colours and shortening throughput time, now features new white printing options.

Fujifilm and Alfa CtP partner on printing plate technology for newspapers Fujifilm North America Corporation, Graphic Systems Division has announced a partnership with Alfa CTP

Systems. The deal is inspired by a collective desire for more efficient and environmentally safe options to produce high quality offset printing plates for newspaper printers throughout the Americas. Fujifilm and Alfa CTP have agreed to a sales and support cooperation, combining Fujifilm plate technology.

Global Imaging unveils Massivit 1800 3D Printer Global Imaging introduced its newest portfolio partner, Massivit3D, at its recent Workflow Studio VIP Event. The event was attended by over 70 printing and textile business owners and manufacturer’s reps from 18 states across the country. The event was a great way to introduce Global’s

newest piece of equipment in their Workflow Studio Demonstration Facility, the Massivit 1800. “The Massivit 1800 is a real showstopper. Not only is it huge and fun to watch in action, but it gets the creative juices flowing. We were part of many exciting conversations


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QUICK BYTES RhinoTech launches SureCure Conveyor Dryer system RhinoTech has launched its wSureCure Conveyor Dryer and 4-Color – 2-Station Combo set. The company claims that this textile screen printer with 5-ft conveyor dryer is a space saving dream. It offers a creative solution for shops, studios and home based businesses with limited floor space. And, it resolves the discussion on expansion when embroidery or digital printing businesses want to return out-sourced screen printing projects back in-house. The system has is equipped with a 60 X20 inch variable speed belt, heat resistant Teflon coated belt and comes with independent belt tracking adjustments. about the potential to reinvent POP and display advertising with this amazing printer”, Greg Lamb, CEO of Global Imaging said.

SAi International’s Flexi software has been certified by leading colour communication systems manufacturer, ColorLogic, for use with its Process Metallic Color System for the wide format and sign markets. As Color-Logic’s flagship product, Process Metallic Color System allows users to easily incorporate complex metallic colours into wide format prints. With the certification of SAi Flexi 11 and 12 for use with all metallic-capable inkjet printers, print providers can produce a host of applications, including posters, billboards and premium signage. This represents a haul of benefits, in particular the assurance of accelerated productivity, higher-quality output and reduced production costs by reducing mistakes.

customers, Goss International has acquired Graphic Automation Controls (GAC) in an asset transaction. “Goss is focused on growing our aftermarket and service business for our installed base,” says Stan Blakney, Chief Operating Officer of Goss. “This is the first of many expansions of those capabilities we see in the near term.” GAC focuses on full PLC integration and control systems upgrades for printing and packaging presses. GAC also provides onsite service support, fill in plant maintenance, and press audit services. Additionally, GAC specializes in obsolete and hard-to-find electrical parts for the printing and packaging industries.The acquisition will provide benefits for both Goss and GAC customers by unifying its aftermarket services network. It also serves to enhance Goss’ drive and controls upgrade capabilities while strengthening its ability to provide service and parts to OEM equipment other than Goss.

Goss acquires Graphic Automation Controls

Xeikon establishes direct presence in India

As part of its ongoing strategy to establish industry partnerships that deliver valueadded solutions for its

Xeikon is continuing its strategic review of how it works with customers on a regional level by establishing a direct presence in India. This move follows Xeikon’s decision to create a direct to

SAi Flexi software gets Color-Logic’s stamp

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market approach in Australia and New Zealand. Beginning of March 2017, Xeikon will build on the strong market presence through its parent company FlintGroup to support and servicing the label, folding cartons and commercial printing segments of the Indian market. Bent Serritslev, Managing Director Xeikon Asia Pacific, says: “Previously, we selectively addressed the market through

its 3D business, consisting of the development and sales of 3D milling machines, 3D printers, engraving machines and photo impact printers, to a newly-established, whollyowned subsidiary, DGSHAPE Corporation, which starts operation on April 3, 2017.

Malayala Manorama gets a QuadTech boost

sales partners but customers in India are increasingly looking for unique and special applications to differentiate their business... At the same time, the Indian market is investing in high quality and high performance digital printing systems driven by growth in shorter run production, brand security and variable content demanding direct relationship with the manufacturer.”

Roland DG spins off its 3D business Roland DG Corporation, a leading manufacturer of wide-format inkjet printers and 3D fabrication devices worldwide, today announced that it has decided to transfer

Malayala Manorama, one of the leading media groups in India, has purchased a suite of QuadTech print quality control solutions: the ICONT Integrated Platform, Register Guidance with MultiCam® and Ribbon Control with MultiCam. With installation already completed at the company’s headquarters in Kottayam, Kerala, the QuadTech solutions are expected to significantly reduce makeready times, minimize errors and reduce waste. By the end of 2017, the phased installation will deploy QuadTech automation on 42 towers on 11 presses, across 7 different locations.


REPORT

Dr. Babasaheb Ambedkar Marathwada University hosts Print-Pack Confo 2017

The Department of Printing Technology & Graphic Arts of Dr. Babasaheb Ambedkar Marathwada University (BAMU), Aurangabad recently conducted its second national conference. The theme for the Conference was ‘Printing for Packaging: A Multi-dimensional Approach’. This conference was organized in association with Western India Corrugated Box Manufacturers Association (WICMA), and was attended by around 150 participants from industry and academia. Along with students of Printing Department of BAMU, students from Dhule, Jalgaon and Beed also participated in large numbers. The convener of the conference, Prof. Parag Hase, Head of Dept. of Printing Technology & Graphic Arts said, “The purpose behind this gathering was to explore and provide a platform

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to all stakeholders; students, researchers, professionals, technical crews in the field to discuss, dialogue regarding changes, trends and developments in printing processes.” The conference was inaugurated by President of AIFMP, Professor Kamal Chopra. Sunil Gupta, President of WICMA was the Guest of Honour for the conference. Gurpreet Singh Bagga, President and Dushyant Patil, Vice-President of Chamber of Marathwada Industries & Agriculture (CMIA) also guided the gathering in the inaugural session. The Registrar of the University Dr. P V Jabde chaired the session. Professor Chopra urged the youngsters to join printing technology as career as there is a lot to perform in this

field more than ink and paper. The second session was full of technical knowledge sharing, exchanges and panel discussions. Dr. Rajendrakumar Anayath, the Director, Technological Institute of Textile & Sciences, Birla Colony, Bhiwani, Haryana presented on the infra-red based applications with live demonstrations. He conversed with the gathering with his inspiring thoughts for the soon-tobe printers by profession. Dr. Anjankumar Baral, Associate Professor, Guru Jambheshwar University, Hissar, Haryana shared ingishts from his research work regarding packaging design. He urged packaging professionals to update themselves with the changing time and with the changing needs of the consumers. Dr. Laxmi Priya, HOD, Avinashlingam University for Women, Coimbatore made an interesting presentation on the theme: printing, packaging and online shopping. She said electronics and computerization have modernized every bit of our life. Printing cannot be exception for it. The printers must adapt with the electronics and information technology tools. From the industry side, Sunil Kokane, Product Manager, Flexo Division, Technova Imaging Solutions Ltd. Gave very userful information regarding flexo printing, especially for the corrugation industry. The conference concluded with a vote of thanks by Dr. Satish Patil, Director of Board of Colleges and University Development.


ADVERTORIAL

SAi celebrates 25th anniversary of Flexi signmaking software

SA International (SAi), one of the leading providers of software solutions for the professional sign making, wide-format digital printing and CAD/CAM for CNC machining industries, marked the 25th anniversary of its marketleading SAi Flexi signmaking solution, with the launch of its new performance-improving mobile app. Working in conjunction with SAi FlexiSIGN and FlexiPRINT

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version 11 and 12, the MyFlexi mobile app is specifically designed to provide print shop employees with efficiencyenhancing tools to improve throughput and minimise overall job production time – from set-up to completion. Integral to this is remote access to FlexiQuote, which extends the benefits of SAi’s innovative web-based tool, by allowing sign and print businesses to quickly and effectively create quotes for new jobs remotely when visiting customers. The quotes instantly appear in FlexiQuote and can be viewed in the workshop, ensuring improved capacity management, smoother workflow and greater productivity. The web-version of FlexiQuote features a simple, user-friendly design, which comes pre-loaded with a database of standard media and costs to rapidly and accurately configure pricing, while factoring in materials, labour, commissions, discounts and taxes. As such, the handy FlexiQuote ‘wizard’ overcomes the occasionally troublesome and timeconsuming job quoting process faced by sign and print providers, and can give a customer quote within 30 seconds. Another valuable feature within MyFlexi is the MyFlexi QR and Barcode Tester, which enables print shop employees to quickly test the QR codes generated in Flexi’s QR Code Creator. This improved functionality enables print shop

employees to quickly validate QR codes and crucially, accelerate their production. The web-based QR Code Creator allows print shops to add an interactive element into their signage by automatically converting text into a QR code of the user’s requirements, such as web links, email addresses, phone numbers or SMS messages. MyFlexi mobile app users also have access to useful resources in multiple languages, including informative training videos. The free MyFlexi app is available now on IOS iPhones and iPads and Android mobile phones and tablets and can be downloaded in the Apple App store and Android Google Play store respectively. “As the first and only wideformat RIP software boasting not one, but two companion mobile apps, SAi is leading the way when it comes to delivering efficiency-enhancing tools,” says Dean Derhak, Product Marketing Director at SAi. “Which provides those using Flexi in their production workflow competitive advantages with customers as well as invaluable production trends and insights.” This latest mobile app builds on the success of the company’s first app, SAi Cloud, which offers business owners greater production overview and productivity management. Most notably, this includes remote access to valuable production information and job reports while on the road or away from the office.


SR INDIA Coimbatore Office : Mr. Ramesh Ganduri : rameshganduri@gmail.com: +91 9994455149


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Affordable foiling without dies By Simon Eccles

Metallics, foils and raised imaging effects are starting to appear for digital production, with benefits of low setup costs, short runs and variability. Simon Eccles looks at what’s here and what’s coming. Eye-catching metallic effects are one of the latest beneficiaries of the digital revolution in print.

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You can now use ordinary digital printers and laminators to apply standard spot or pattern foil that adhere to a digitally printed pattern image. This brings the usual digital benefits of easy artwork, nomake-ready, no waiting, economic short runs, one-offs or variable data between copies. Most importantly, there’s no need for conventional metal dies, which take time to order in, cost money and, though they can be re-used, need setting up every time. While metallic inks have been available on a few large format eco-solvent inkjets since about 2010, the limitations on particle sizes through inkjet nozzles means that their reflectance isn’t anything like as bright as a true metallic foil. Foiling allows the creation of a range of effects that embellish print. It means the application of a thin layer of decorative material that might be a mirror finish metal foil but can also be a diffraction or

holographic effect. It can also be a plain colour that’s difficult to achieve with standard printing colours (fluorescents or pearl effects for instance). Apart from the visual attraction of foils, there’s also a security aspect. They are almost impossible to scan or photograph properly, which helps to protect counterfeiting by simple copying, and creating them requires relatively specialist equipment and consumables, which again deters casual counterfeiters. In fact, the first idea for using foils with laser printers was apparently originated by security printer Harrisons in the UK. Foil is supplied on a roll of plastic carrier film in a range of widths (the narrowest rolls are usually called ribbons). When the foil-carrying film is pressed onto the receiving medium, the thin foil layer detaches from the carrier film and adheres to the target area. “Hot foil” has a layer of heat-activated adhesive and was originally developed for heated metal dies, while “cold foil” has no adhesive and relies on a sticky ink or coating that is applied separately to the target media. Applying an overall foil to media using a laminator is nothing new. It’s how off-the-shelf metallised papers and boards are made in the first place. You can apply these to your own media with a standard laminator. What’s relatively new is the ability to use an almost standard laminator to apply a spot foil that only adheres to printed shapes and letters. Mostly this is done by adding a new feeder attachment for hot foil that then goes through the


GUEST COLUMN standard heated pressure rollers of the laminator to activate the adhesive and transfer the effect layer onto the receiving substrate. The laminator can still be used for normal film application too. With hot foil the effect works by controlling the temperature of the laminator so that a layer of ink (usually black as it absorbs most heat) heats up enough to activate the adhesive, but the underlying substrate doesn’t. Then when the foil is pressed onto the medium, the adhesive is only activated by the hot ink/toner area, and the foil peels off. Digital printing means that every image can be different. If you want an overall foil laminate you simply print solid black over the whole thing. Entry level foiling At the very basic level you can buy rolls of foil from hobby suppliers that will work with low cost desktop laminating and encapsulating machines, which are commonly available for a few tens of euros in widths up to 300 mm or so. If you only need a few (and small) foiled copies at a time, it’s worth exploring the market that way with very little outlay, though user reports suggest that dedicated heat-foiling machines work best and the foil itself works out quite expensive this way. The entry point for professional digital foiling would be something like the small US built FoilTech hand and autoloading machines, for widths up to 340 mm. In the UK and parts of Europe these are sold by Caslon, with UK prices ranging from around €2,300 to €5,000. Japanese company Uchida U-Coater system is similar to Caslon’s but has a slightly different transfer principle, it claims. It

says it partly melts the toner surface, applies the foil and then burnishes it for a very smooth finish. A U-Coater costs about €4,000 and is manually fed with sheets up to 320 x 600 mm. A fully automatic version is planned for about €12,000. Modified laminators Korean laminator maker GMP was one of the first companies to adapt the idea for a commercial laminator with a process it calls ‘sleeking.’ You can print black dry toner or HP Indigo ink over offset print and the foil only adheres to the digital image. You can also laminate the print, print a toner image onto that, and foil over that. Alternatively, you can print the job first with any process (analogue or digital, full-colour if needed), then laminate GMP’s special toner-receptive film over the whole sheet, which protects the initial image. Then you run the laminated sheets through a toner press to add a foil-receptive image, and finally run them back through the Sleeking laminator to apply the foil. GMP’s Sleeking process is available on most of its current laminators, with the widest currently being the roll fed Excelam Plus 685 series, with 685 mm laminating width. GMP also sells the foils, with a good range of metallic, glitter, diffraction, holographic and coloured effects. Other laminators makers have broadly similar foiling options. Vivid offers foiling attachments on its Matrix range of sheetfed laminators, with maximum widths of 330 mm. Last year it showed a prototype version of its Easymount Air 1.6 metre wide format laminator (which features pneumatic pressure rollers),

called Airfoil. This has foiling attachments and is expected to reach the market later this year. There’s no price yet but a standard Easymount Air costs about €9,500. Vivid’s Boss range of laminating consumables includes toner-receptive laminating film to protect the underlying print as well as a choice of foils to go on top of toner print. The foils themselves can be overprinted, broadening the range of possible effects. Toner printing Most lamination foilers work with dry toner from copier/printer or digital production press or with liquid toner from an HP Indigo digital press. These contain quite a lot of plastic material that soaks up heat easily. Inkjets, which use much finer pigment or dye particles, unfortunately don’t work the same way, except for some UV inks that

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form a polymer layer. Using dry and liquid toners imposes a size limit. Most dry toner printers are limited to A3+ formats, up to about 330 mm wide. Exceptions include the 500+ mm width length Xeikon roll fed models, or toner based roll fed CAD/GIS/ plan printers such as the KIP range with media widths up to 914 mm. HP Indigo liquid toner presses are also mainly SRA3 format, but there are some B2/500+ mm width roll and sheet fed models. These are all good machines and can be used for POS and POP signage, but not for large formats. Some high speed industrial class laminators can be adapted for foil application, for instance the UK’s Autobond and Germany’s Leonhard Kurz have models for either hot foiling onto toner or coldfoiling together with purpose-built inkjets. However these are built for high volume work and priced accordingly, so aren’t really designed for the relatively low volumes that most

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Larger formats I-Sub Digital which uses a variation of the UV method in its Digi-Foil system, designed for use with Mimaki’s series of flatbed UV inkjets. Here the Mimaki primer ink is used as an adhesive and foil is applied on top. A hand-held roller can be used for small quantities, but the company can also supply DFPro thermal laminators (based on Vivid models) in 460 mm, 650 mm and 1,200 mm widths. These laminators can be used with prints from the with the Mimaki UJF range of small format printers, with bed sizes from A3 up to 710x510 mm. The larger JFX200 flatbed, with bed sizes of 2.5 x 1.3 m or 2.5 x 3.1 m, has the same ink set and so foil can be applied using either the hand applicator for small areas, or the largest 1.2 m DF-Pro laminators. Both Scodix and MGI make dedicated embellishment inkjets that overprint clear polymer to gives raised and textured effects similar to embossing. Both offer cold-foiling options to go with these, producing convincing foil blocking effects. Scodix currently makes six models in sizes from B3+ to B1, and speeds up to 4,000 sheets per hour. MGI’s JetVarnish is available in B2 and B1 sizes. However, these are vastly more expensive than modified laminators. A B2 MGI JetVarnish 3D costs about €290,000 or about €815,000 for the B1 Evolution. The various Scodix models cost from about €290,000 to €1.4 million. Landa showed this brand new NanoMetallography technology last year. It’s not dependent on underlying print.

Finally, a new technology that may or may not prove relevant in future years. Landa, which is developing a new offset inkjet technology process called Nanography, last year showed a completely new method for applying mirror-finish foil inline with any press, that it calls NanoMetallography. In February 2017 it announced that it had sold the technology to Altana Group and will commercialise it through a new German company called Actega Metal Print. A prototype shown last year was for narrow web label printing, but the process can in principle be made for wider formats. There’s been no hint of pricing. Applications So far digital foiling is mainly intended for smaller format printing, to add value to books, brochures, POS, labels and luxury packaging. The fact that there’s little on the market for wider formats may reflect the anticipated demand – the foil effects are most eye-catching when viewed up closely, and larger format signage is usually viewed at a distance. You can use a wide format printer to output many smaller copies at once, but in that case you can cut them up and run them through a smaller format foiling system. One recent study suggested that up to a quarter of all digital print is already “embellished” in some way. While we suspect that spot gloss varnish accounts for most of this, it seems clear that printers and customer see embellishment as adding value and eye-appeal. Foiling has a timeless appeal that pre-dates printing by thousands of years, so you can be sure that we’ll be seeing a lot more of it in future digital systems.


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Which is the best laminator for your print business?

Whilst the basic principles of laminating remain much the same, refinements can be seen in the development of new machines and technologies. Laminating is a very common and surprisingly versatile process that’s commonly used as a finishing stage in wide format printing. Its most familiar use is to put a clear protective film onto printed paper or vinyl. However, that’s just the start of what you can do if you have a laminating machine, a stock of different films, and some experience and imagination. They allow you to create finished products that add a lot of value to the print stage. These may take a fair bit of manual work but it’s more than balanced by the higher margins they can command. While operating the machines is simple, the important thing is for the operator to learn the techniques

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and procedures needed for what can be quite complex sequences of material preparation and application. There are training courses and demonstrations by the suppliers, but YouTube also has a wealth of useful videos on specific procedures for different laminating jobs. Laminating machines can apply special effects films, or they can be used in mounting printed or plain materials to board and other rigid materials. It’s often possible to hand-mount such materials, but a laminator makes it much easier and helps to reduce damage and errors. How it works At its heart any laminator has a pair of rubber (or rubberlike) rollers with a variable-sized gap between them. They are used to press two materials together, with a layer of adhesive in between. The purpose is to apply a smooth, even pressure so

the two materials bond properly, without bubbles or creases. Depending on the sophistication (and cost), laminators may have motorised rollers that drive the media through the gap, plus feed rollers for rolls of self-adhesive laminating film, and take-up rollers for the backing paper (“release liner”) as it is peeled away. Even with sheet-fed laminators the film is continuous, so either hand or machine trimming is needed to separate the finished items. In most wide format laminators the roller gap is set by hand by screws at either end (so these must be carefully levelled), but a few companies offer pneumatic roller controls which align automatically to the media (and are controllable so for instance they won’t crush delicate foam board). Laminators can also be used with pre-cut sheets or boards that may be hand-fed or using a powered feeder for high volume models. Normally the laminator controls include a foot pedal so both hands can be used to position the materials as they are guided into the rollers. The speed of the rollers will be variable and the direction can be reversed to allow for a bit of trial and error. For operator safety detectors in the roller nip area will stop the machine (or refuse to start it) if fingers or clothing gets too close. For higher volume roll fed wide format work there may be a roll feeder and take-up roller for the target media, though most of


GUEST COLUMN this work tends to be with pre-cut sheets and hand-feeding. Laminators used for signage, display or vehicle wrap work don’t tend to need very high throughput and you can get a good machine for between €5,000 and €10,000, or €15,000 if you really need the best. Most manufacturers offer a choice of widths, such as the Easymount series which ranges from a simple 650 mm width desktop model to the sophisticated 1.6 metre Air 1650 SH with pneumatic roller pressure control. Some wide format laminators are supplied with trays or tables to support long sheets and boards as they are guided into the rollers and to stop them falling on the floor as they emerge. If not it’s easy enough to set up something of your own, preferably with locking castors so they can be wheeled in and out of position as needed. It’s common to cover these with cutting mats, so they can act as working tables as well. Hot or cold? Thermal laminators have heated rollers that work with a heat-activated adhesive that gives a strong, permanent bond. A single-sided thermal laminator only heats the top roller, so is used for conventional singleside lamination. A dual heated roller machine can be used for encapsulation too, where thermal film is applied to both sides of the target media at once. Alternatively a cold-acting adhesive may be preferred, usually because the substrate may be damaged by heat (such as vinyl). Unheated large format laminators cost less to buy, but are less flexible. Any thermal laminator can be used with cold films simply by

switching off the heater. One of the most important aspects of a lamination machine is to bring the materials together without bubbles or creases, with just the right pressure to activate the adhesive properly without crushing delicate substrates. The resilient rubbery material of the rollers helps with this, but you’ve also got to set the gap between them to allow the thickness of the materials to go through with just enough “nip” pressure to make the bond. With thermal laminators you’ve got to be sure the machine is up to temperature before starting to use it, or the adhesive won’t activate properly. Dust is always an enemy of lamination as it can be trapped permanently beneath the film. Hand feeding is a relatively slow process where there’s time to wipe the top of each print with a sticky tack cloth to remove dust (and static) before it reaches the rollers. For high speed machines a more automatic anti-static and cleaning system may be built in, as well as a cooling system after the heated rollers. However, there are also laminators that are used for high volume litho or screen printed work. These can be very heavy duty machines with printing press-style sheet feeders and delivery stackers, with prices to match. Prices of €30,000 to €50,000 are not uncommon. Vacuum presses Another way to laminate uses a vacuum frame rather than rollers. For instance the Hot Press units have a heated glass top and a vacuum base. They can use dry mount tissues, which are adhesive-impregnated paper sheets that are not sticky until

heat and pressure is applied. This method allows items such as picture mounts to be positioned exactly and monitored through the glass before committing yourself. Larger vacuum units can take multiple separate items at once, increasing productivity. Digital printing The introduction of digital processes raised new challenges. Early dry toners contained a lot of silicon oil after fusing, and this made it hard for standard laminating films to stick to the printed areas. New adhesives and sometimes higher pressures were needed, though most modern toner presses use less oil. With solvent based inks, used in many large format inkjets, the problem can be outgassing. The ink continues to cure for up to 48 hours after printing, even if it feels dry. If you laminate too soon, the vapourising solvents will create bubbles under the film. This affects both strong solvent and eco/mild solvent inks, and means that such jobs often have to be re-rolled and stored for several days before they can be laminated, finished and delivered. This is one reason why HP’s Latex inks are popular, as they don’t have an outgassing problem.

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Neither do UV-cure or aqueous inks. Hybrid solvent-UV inks are also intended to avoid the outgassing problem, as they have a minimum solvent content that flashes off on the printer. Applicators Applicators are a more

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industrial variation on laminating machines, usually used to either apply rolls of plain or pre-printed self-adhesive vinyl to large flat panels or flexible media. They are generally used so the roller works from the centre outwards to one end in the first pass, and then return to the centre and go in the other direction for the second pass. The roller carriage runs freely on bearings and is pushed by hand, unlike the fixed position and motorised (and often heated) rollers of a laminator. Swedish RollsRoller company pioneered the idea. Its applicator tables have a travelling roller carriage that press the adhesive surface to the target surface while peeling away the backing material (either by hand or with take-up rollers. All

models include a long flat surface that’s illuminated from below and can be used as a working and cutting table. Applicators (and laminators for that matter) can also be used to apply application tapes. This can be supplied in narrow rolls as the tape name implies, but for larger format use they are wide rolls of clear adhesive backing film. They are applied to the top surface of cut-out vinyl letters and shapes, to hold them accurately in position after the surrounding media is weeded away (ie removed). The shapes can then be transferred accurately on to the final surface (eg a van side or window) and the applicator tape removed to leave the shapes adhering accurately in position. The transparency helps with positioning.


Duratech Automation Pvt. Ltd.


TREND WATCH

What is thermoelectric screen printing?

What if you could easily print a thin layer of material – for use anywhere – that would allow you to create flexible energy harvesters or coolers? That may soon be a reality. Thermoelectric conversion is a solid-state and environmentally friendly energy conversion technology with broad applications that include solid-state cooling, energy harvesting and waste heat recovery. Flexible thermoelectric devices are especially attractive for waste heat recovery along contoured surfaces and for energy harvesting applications to power sensors, biomedical devices and wearable electronics – an area experiencing exponential growth. However, obtaining low-cost, flexible and efficient thermoelectric materials is extremely difficult due to many materials and manufacturing challenges. In work led by Professor Yanliang Zhang at Boise State

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University, high-performance and low-cost flexible thermoelectric films and devices were fabricated by an innovative screen-printing process that allows for direct conversion of nanocrystals into flexible thermoelectric devices. The precise control of the starting nanocrystals’ shape and surface chemistry and the optimization of the nano-ink and screen-printing process are the key factors giving rise to unprecedented performances in the printed thermoelectric materials. The paper on this work, “High-performance and flexible thermoelectric films by screen printing solution-processed nanoplate crystalsis,” was recently published on the Scientific Reports website. The collaboration with high-tech startup company ThermoAura, focusing on nanocrystal synthesis, also

contributed to the success of this work. Based on initial cost analysis, the screen-printed films can realize thermoelectric devices at 2-3 cents per watt, an order of magnitude lower than current state-of-the-art commercial devices. Such a cost reduction would make thermoelectrics a very competitive energy conversion technology that could tremendously open up the largely underexplored markets on waste heat recovery. This additive printing method not only will benefit thermoelectrics, but also result in a disruptive manufacturing approach for other electronic devices and energy conversion or storage technologies of ultralow cost and flexibility. Zhang’s vision on marrying additive manufacturing and advanced energy technology to enable major technology breakthroughs also has been recognized by a major federal funding agency. He recently received an infrastructure award from U.S. Department of Energy to invest advanced additive printing equipment and establish stateof-the-art additive manufacturing capabilities at Boise State. This new capability will enable students to perform cutting edge research on additive manufacturing and their applications on printing sensors, flexible electronics and energy conversion and storage system. To read the full paper follow http://bit.ly/2cp5RxQ


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LIMELIGHT

Digital will pave the next wave of growth for us: Vimlesh Arora

In an exclusive and rather candid interview with ScreenTex, Vimlesh Arora of JN Arora talks about the business, growth and the future growth avenues for the company. JN Arora is a renowned name in the printing industry. The Delhibased company baby-stepped into printing industry in the year 1958. Late Joginder Nath Arora, on whom the company has been named, started operation in a small shop in the old Delhi region, which is the hub of commercial business in the

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union capital. In years to come, it expanded its basket by including solutions for almost all need of printing technology – offset, flexographic, security, screen graphics, screen textile, digital sublimation printing and even a range of adhesives and special tapes. The company has been growing over 15% in the last five years, and expects to notch it a few per cent up in the next five years. Few from the print fraternity have often

expressed amazement at how this company has been able to sustain its bottomline while continuously increasing its base of offering. Vimlesh Arora, the CEO of the company, on the other end, believes the credit for the growth should go to his customer. “We began the company like any other entrepreneur. But the hunger to grow and expand that we witnessed with our customers was infectious. Since printing was a buzzing industry, a lot of them could have easily settled with a few suppliers and brands. However, contrary to this thought, each one of the customers we dealt with wanted to experiment with new brands and was constantly striving to improve.” Perhaps, this is why JN Arora is on a perpetual hunt for the next line of products that can help it create a full basket of offering. While this seems like a great strategy, it is equally strenuous, claims Vimlesh. “Being on the constant search drains you. You come across several great products but not all fit the markets you serve. Printing has science at its core. Therefore, any product can only contribute its best if it matches some set conditions. While selecting partners we have always done our bit of R&D. Customer centricity is something that has been a culture at our organisation and hence any product that we put our name to has to be able to at least sustain – if not add to – the brand trust we have earned over the years. That’s our criterion for selection.” He adds that a large number of trends can be easily spotted by attending international seminars,


LIMELIGHT conferences, exhibitions and then marrying them with the prevailing trends in the country. “Striking a fine balance between what’s new and what’s feasible is the real secret to develop a full-spectrum offering. And mind you, the spectrum is dynamic in nature. As customer expectations change, the spectrum widens.” “It was in 1996, during our first visit to Fespa in France when we realised in order to grow we need to have a different approach towards capturing market share. We realised that there was a plethora of opportunities. We started first with screen mesh and then in 2002. We entered the T-shirt printing segment. Gradually, we built a strong list of brands that we could offer including Siser which prides itself as a leading manufacturer of thermo transfer for textile industry,” he adds. Vimlesh says that each of his partners have helped him get closer to new growth paths. For instance, “Siser opened a new growth avenue for us. We got access to players who were interested in digital media printing,” he says. The basket today encompasses leading names of the printing industry such as DIC, 3M, Siser, VIVID, Siliconi, Avery Dennison, Pidilite, Elkalub, Skarta, Luminescence, Fujifilm Sericol, Unirich, Heilderberg , Kiwo, Smart Solution,Union, O2 among others. “However, it’s not that all decisions have been spot-on. For instance, the decision to enter narrow label could have waited. The market was not mature enough and hence, though, it was not a loss making proposition, in comparison to other ventures and partnerships, it didn’t kick off as well as we expected,” he shares. “The peculiarity of the Indian market lies in the customer attitude. While some regions

and players show keenness to experiment, others don’t. Some prefer to have the quality discussions first and cost later; whereas others put cost as the first point of discussion. Some like to bargain and some are open to pay premium for service. The market is as different as are the dialects in the country. Therefore, the type of customer you are dealing presents you different challenges,” he adds. One of the biggest impediments for the industry is the unscientific costing methodology. Vimlesh confesses that it has been one of my pet peeves. “If you are deciding your cost of service based on what your competition charges, you are beginning on a wrong foot. Costing is dependent on your operational efficiency and expertise. Your survival depends on how you master it. And therefore, it’s epochal you learn it sooner,” he says. Digital is the next battleground With digital taking the centre-stage, JN Arora doesn’t want to miss out on the market. The company has sort of virtually divided its team to have a sharpened focus on the digital segment. For this, JN Arora recently tied-up with Agfa for its Anapurna and Jet-I range of presses. Since Jet-I already has

good install base in India which makes it easier for JN Arora to take the product to deeper markets. “We also have another mid-range printing machine Handtop. We have successfully installed few machines recently in the country, and are optimistic about future sales of this press. “We are also working with Polyprint direct to garment printers from Greece. It is one of the fastest growing segments and the machine sits perfectly well with the demands of the entry level DTG customers. In addition, we are working with Smartjet for entrylevel models specially focusing on the gifting segments which are equipped with Ricoh heads. There are also machines for printing on Sunpack, Sunboard, and fabrics, vinyls etc. This is in addition to several other brands we are in discussions with to increase our digital portfolio,” adds. From the hustle and bustle at the headquarters of the company, it was evident that the digital team is on a war foot. Vimlesh shared that in the past few months the team has expanded at a healthy rate to support this new business division. “We have been creating a team of skilled salesmen, marketers and technologist to drive the goals. Now we have a team of 100+ people who are working for JN Arora, with a separate marketing and sales team for digital business.”

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TECHNOLOGY

Dean, tell me the answer: Climate and technical printing problems

Vegetable fibres are the primary raw material for paper, and these fibres are sensitive to moisture. Depending on the humidity of the surrounding air, they either absorb or exude moisture. The extent to which paper contains moisture, is largely the result of the raw materials used, but the way these raw materials have been prepared in the pulping process also has an effect. If the fibres have been intensively beaten, their surface size will have increased, and this, in turn, increases their capacity to absorb moisture. Mineral fillers, such as calcium carbonate and kaolin, are not actively involved in any processes of moisture exchange. Therefore, papers with a large proportion of fillers contain less moisture than papers with low quantities of fillers or no fillers at all. Sizing (the application of a glue layer) has no significant effect on moisture content. Depending on paper type, the level of moisture content can influence the general properties

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of a paper. For instance, in terms of its tensile strength folding resistance and surface smoothness may vary with the level of moisture content. In general, however, the issues mentioned only lead to processing problems under exceptionally adverse conditions. This is very different in the case of two other common phenomena that do cause serious problems: static charge and dimension variations. Both can have a negative impact on the runnability of the paper, thus leading to misregistering and other disturbances of the printing process. Dimension variations Depending on relative air humidity, the fibres contained in the paper either absorb or exude moisture, causing them to swell or to shrink. In other words, the shape of the fibre changes, significantly so in the cross direction, much less in the machine direction. On top of this, during the process

of paper production, the fibres orient themselves in the machine direction (the run direction of the wire). The combined effect of these two phenomena inherent to the production of paper, is that dimension variations are far more pronounced in the cross direction of the paper than in the machine direction. Different types of paper can show swelling levels of 0.1% to 0.3 % in machine direction, as opposed to 0.3% to 0.7% in cross direction. These are values that in the practice of printing will never be reached, but they can be measured in tests of moisture-induced expanding. These tests show that a change in relative air humidity of 10% causes the paper to “grow” in a proportion of 0.1% to 0.2% across the width. This means that a paper of 100 centimetres across, will expand 1 to 2 millimetres – a change in dimension that will definitely lead to printing problems such as misregistering. Fortunately, most printers are aware of the issue, and take these dimension variations into account during pre-press and actual print run. Apart from that, the problem of misregistering caused by absorption of moisture has to a great extent been solved by technical innovations – such as moisturising installations, “lowfount” offset plates, the addition of alcohol to the fountain solution and, last but not least, increased printing speeds significantly reducing the “dwell time” of the paper in the printing press. Static charge Another problem that occurs


TECHNOLOGY from time to time, is sheets of paper “sticking” together. In most cases, this is due to static charges, primarily produced by friction, direct contact with other materials and sudden separation. Static charges most commonly occur when exceedingly dry paper is processed in conditions of low air humidity. A level of 40% to 32% humidity appears to be the critical bottom limit, both for the paper itself and for the relative humidity of the air in the workshop. Static charges, causing sheets to stick together, can result in multiple sheets being fed into the press at the same time. Static charges can also make the cushion of air, separating two sheets in the delivery, dissolve too quickly, thus causing ink from the printed side of one sheet to set off onto the unprinted side of the next one.

Circumstances within control Circumstances in the workshop Today, moisturising installations are used in practically every paper processing environment. Most of these installations are fully automatic or semi-automatic and require little or no maintenance. Particularly during winter, when relative air humidity can drop to very low levels, moisturising installations help to create optimal conditions in storage rooms and workshops. The basic design is the same in all cases: a series of spray nozzles, operating on compressed air and spreading a thin mist of water. The installation automatically maintains the required air humidity according to a set range of humidity values.

PAPER HANDLING Especially in periods of critical climate circumstances, printers are advised to follow these guidelines: • Paper is not an efficient heat conductor. Therefore, allow for sufficient time to let the paper adapt itself to the temperature in the workshop. • Do not open the paper wrapping until printing is about to begin. The wrapping protects the paper from fluctuations in temperature and humidity. • Infrared-drying, which drastically reduces the relative humidity of the paper, should be used sparingly. • During drying, the paper should not be exposed to extremely low temperatures, as this would significantly extend drying times. • Avoid damaging the paper wrapping and carefully rewrap remaining pallets.

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TECHNOLOGY

Challenge of fine line screen printing for printable electronics

Hiroki Sano of the NBC Meshtec Inc. R&D department discusses why the proper wire mesh must be selected for each printing project. Screen-printing remains the most cost effective method for producing a wide variety of electronic components. Modern electronic components often require conductive line width as fine as 50µm or even narrower. To screen print such a fine conductive line, printers are required to utilize a mesh with the thinnest possible

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wire diameter, as this helps to minimize printing interference and to control paste deposit. However, as a wire diameter gets thinner, its strength diminishes and the weaving process becomes challenging. Leading wire mesh manufacturers working to develop wire meshes designed for fine line printing must use higher strength materials. Moreover, in applications such as LTCC, capacitors, and inductors which require dimensional accuracy and stability, a high Young’s modulus wire is vital. Table A shows specific wire meshes designed for fine line printing applications introduced by NBC Meshtec Inc, Japan. The strength and Young’s modulus of the wire increases as you move down Table A (below). Fig. A shows a comparison of physical property between three different wire meshes for reference. It is important that the proper wire mesh specifications

be selected for each individual printing project. Careful consideration should be given to the technical requirements of the print itself, as the print is greatly influenced by the specified mesh’s mesh count, thickness, percentage of open area, strength, dimensional accuracy and so on. Calendered wire mesh (a process where the mesh is flattened by passing between rollers under high pressure) is a typical option designed to improve the mesh performance in several ways: The knuckles of the warp and weft wires are fastened tight and the mesh structure is stabilized to improve dimensional accuracy. The thinner the mesh, the lower the screen thickness, leading to a thinner paste deposit. The flattened knuckles of warp and weft wires improve the surface smoothness of the mesh, helping to improve screen Rz value and ultimately leading to better print resolution.


TECHNOLOGY Mesh thickness consistency is improved to ±1µm (vs. ±2µm with non-calendered mesh), resulting in a more even stencil and print. This precision process can be applied to all wire meshes discussed above. For instance, it is possible to calender the total thickness of a wire mesh down to the thickness of the individual wire diameter + 2µm. So for instance, the M30 360-16µm mesh shown in Photo A can be calendered down to a total mesh thickness of 18µm. 1. Solar Cells (Electrodes) One well-known printable electronics application is photovoltaic or solar cells. Line straightness and uniform paste deposit are essential for printing solar cell surface electrodes. In order to optimize the electrical performance of the solar cell, the light receiving area on the surface of the cell must be maximized while, at the same time, enough paste must be deposited for proper resistivity. As a result, the industry trend has been toward ever narrower and taller lines. To achieve these printed lines, some solar cell manufacturers employ a double-print process. This is a process where two screens are used in succession in a printon-print technique in order to

build up the height of the printed line while still keeping it narrow. Needless to say, this double-print process requires extreme dimensional accuracy and repeatability from both the screen and the printing machine. Most pastes used for printing on solar cells have a relatively high viscosity. Furthermore, squeegee speeds for solar printing are typically running at a rate of about 200mm/second. Consequently, a screen mesh with a small wire diameter and high open area (40%+) is generally required. The ideal meshes for such applications are M30 290-20µm or M30 360-16µm. Photo B and C below feature a screen and printed line using M30 36016µm mesh. The surface of the silicon wafer pictured in Photo D and E displays an irregularity referred to as ‘texture’. Printing on such a surface with variations of up to 15µm is considerably more difficult than printing on a smooth surface. Generally speaking, the rougher the texture, the greater the challenge. For this type of printing, then, screens require a softer, high resolution emulsion with an increased thickness of about

15 to 20µm. This helps improve the gasket effect between the screen and the solar cell substrate. Where finer lines are required, a screen mesh with even finer wire and a substrate with a smoother ‘texture’ are needed. 2. Touch panel (frame extracting electrodes) Oftentimes, untreated PET films, glasses or ITO films are used as printing substrates. With these types of hydrophilic materials, paste spreading can easily occur during printing. For this reason, the paste needs to be extremely high in both viscosity and thixotrophy. Typical printed line widths today are 70µm or narrower. Consequently, a wire mesh with a mesh count of 400 tpi (threads per inch) or higher, and a wire diameter 20µm or thinner, is highly recommended in order to optimize the paste deposit. Photo F features enlarged images of 50µm lines printed on untreated PET film using M12 500-19µm mesh. The most critical spots to print are the curved lines shown in Photo G and the single fine line shown in Photo H, as curved lines are prone to smearing and single lines tend to break or disconnect. Additionally, in a mass production setting, screen clogging is an issue with high

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TECHNOLOGY the paste solvent at the time of printing, minimizing spreading and making it possible to print extremely fine lines.

viscosity paste. 3. LTCC Electrode Printing Photo I shows 15µm line and 30µm space printing for an LTCC application. The substrate is a type of ceramic material referred to as ‘green sheet’. This porous material absorbs

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4. Screen Printing Finer Lines When screen printing 30µm or finer lines, consider the following important recommendations: • Choose a mesh count of 500 tpi or higher with a wire diameter 20µm or thinner. • Select a high resolution emulsion with photopolymer size of less than 2 microns. • Go with a glass mask (preferably chromium coated) for your artwork. • Use a parallel light or Fresnel lens exposure unit for imaging. • Opt for a precision printer with a suitable printing pressure that does not exert too much

load (squeegee pressure) on the screen. A typical guideline for squeegee pressure is about 0.2 to 0.5 N/cm. • Both screen making and printing should be done in a consistent (temperature and humidity controlled) environment. When possible, prepare/treat the surface of the substrate to minimize ink/paste spreading. Photo J shows a screen with resolved 10µm lines and 20µm spaces using M12 730-13µm mesh and a 5µm EOM (Emulsion Over Mesh) thickness. While many companies are currently screen printing amazingly fine lines such as these with existing processes, research and development continues with the goal of pushing the limits of screen printing.


CHERAN’S JUMBO MODEL MC TECHNICAL SPECIFICATION Model

CF 2638

CF 3844

CF 3242

CHERAN’S SWIFT ROLL SUBLIMATION MC TECHNICAL SPECIFICATION

CF 3848

CF 4252

Model

CFR 1250

CFR 1750

CFR 1950

Working Area

44”

65”

72”

Actual Size

51”

72”

79”

Heater Power

6KW

9KW

12KW

Temperature

220 C

220 C

220 C

Speed

0 to 99 Sec

0 to 99 Sec

0 to 99 Sec

AMPS

10 Amps

18 Amps

18 Amps

Platen Size (MM) 650x950mm 800x1050mm 950x1100mm 950x1200mm 1050x1300mm Working Area

24”x36”

30”x40”

36”x42”

36”x46”

36”x46”

Power

440V, 50HZ

440V, 50HZ

440V, 50HZ

440V, 50HZ

440V, 50HZ

Heater

6.5KW

12KW

12KW

14.5KW

18KW

Temprature Timer

O

O

O

O

O

220 C

220 C

220 C

220 C

220 C

0 to 99 Sec

0 to 99 Sec

0 to 99 Sec

0 to 99 Sec

0 to 99 Sec

Air Pressure

0 - 8 Bar

0 - 8 Bar

0 - 8 Bar

0 - 8 Bar

0 - 8 Bar

AMPS

10 Amps

18 Amps

18 Amps

22 Amps

27 Amps

Micro Controller based digital temperature and timer control Specially designed for Sublimation transfer Manualy tray movement enables easier and faster operation Aluminium plate with Teflon coating is used in heater bed for quick distribution Suitable for sublimation polyester clothes

Automatic Tray Movement Option Custome Platen size 28” x 36”, 40” x 60” also available

O

O

O

Electric Drum Heating Type Fast Continues Production Easy Handling & Maintenance Customized Cooling Timer Setting Suitable for Pattern Fabric, Towel, Flag, Cloths & Sportswear Suitable for Sublimation Transfer on Polyester Cloths


BUSINESS

7 Rules For Effective Shop Planning equipment, shelving, tables, desks, and machinery. Measure these and draw them in at scale. To help move stuff around later, make a few copies of the items and cut them out with scissors. You can then temporarily place them on the layout to brainstorm on what should go where. Once you are satisfied with your shop drawing, use this to examine your workflow based on the SWOT Analysis definition above. On a separate sheet of paper, make a list of the things in your facility that match up to each of the attributes of SWOT.

Space, or more accurately, effective workspace: That is the holy grail in a production environment. Can we layout the shop so there is better flow to enhance our production capabilities? Like a person’s fingerprints, every workspace is different. That being said, our list is a general guideline. Rather than getting into specifics, just think how these points can help you modify your own space. Rule #1 - SWOT Analysis If you haven’t heard of a SWOT Analysis before it stands for Strength, Weaknesses, Opportunities and Threats. Strengths are the attributes of the building that are helpful in achieving great production workflow. For instance, a truck high loading dock or windows that allow a good bit of natural light. Weaknesses are the things regarding the space that are harmful to positive workflow. Low ceilings, oddly shaped rooms or production on multiple floors for example. Opportunities are the

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items in the facility that could be changed for a more positive workflow. Removing a non-load bearing wall to enlarge a space for example. Threats are the conditions that are extremely negative in regard to production. These require serious consideration and attention. Inadequate drainage or outdated electrical systems, for example. To get started with your shop SWOT Analysis, use a sheet or two of graph paper and make a simple sketch of your facility layout. Each square represents one foot. Draw it to scale, and make sure you add n all of your doors and windows. Mark your electrical outlets and any water pipes or floor drainage. You want to illustrate your basic architectural blueprint. Once finished, make a few copies. We will be using these, so you will want something to doodle around on for brainstorming. If you are already in working in the space, use one of the copies and add in all of your existing

Rule #2 - Room to Work When planning shop layouts, people concentrate on just the areas around the machines. In fact, the machines will dominate the planning. These things are big, heavy and usually expensive, so that makes a certain amount of sense. Yet, there is a lot of activity that supports these machines. Inventory has to be received and counted. Orders have to be staged for production. There also is a considerable amount of prep work too. Screen-printing requires the screen making, embroidery requires hooping. After your product is decorated, will there be any post-production work? Hangtags applied? Neck labels removed and a new one sewn in? Maybe the shirts get polybagged or custom packaged. Then, everything has to be shipped. Each of these functions requires a certain amount of floor space to happen properly and effectively too. Don’t short change them by just planning on where the high dollar equipment is going to sit. A good chunk of the work happens in the periphery.


BUSINESS Rule #3 - Safety This has to be mentioned. Work safe. When planning your shop, you’ll of course need to leave emergency exits clear. Fire extinguishers should always be well marked, with an area taped off on the floor so they don’t get blocked. As most shops in the industry use chemicals of some sort, you’ll need to make sure your eye-wash stations are easily accessible too. These aren’t hints, as they are in the building codes and workplace safety laws. Don’t set yourself up for a big fine by ignoring them. Make sure it is in your plan by making it a part of your program list when working on your shop layout. Rule #4 - Access This may be one of the most important notions to planning effective workflow. You’ll need to move stuff around. Will you be able to do it easily and all in one direction? Or will it resemble working your way through a maze? Having clear and demarcated travel lanes mapped out on your floor is the secret for effective shop layout. Throw some blue or yellow concrete tape on the floor to mark your access lanes in the shop. This says to everyone, “Keep Clear”. If you mark the lines off and train people not to place a stack of boxes or skids in the lane, moving product through your facility just got easier. Pushing this one step further, have lines marked on the floor where your product should be staged next to your equipment. Train your staff to use the lines to align the boxes so they are placed in neat and orderly rows. Make it easy for success to happen by illustrating the expectations of what to do.

Rule #5 - Storage Does your shop look like a junk pile? The key to easy and effective workflow usually starts with eliminating any bottlenecks or friction points. Quite often the clutter that’s around the shop just gets in the way of working. Get organized. Put stuff away. A good rule of thumb is that the items that are used the most need to be the closest to where the work exists. If multiple work groups use the same tools, make sure there is one set for each group. No need to walk across the room to borrow something. Items that aren’t regularly used need to be stored away from the work and off of the floor if possible. Cabinets, shelving and bins work great. Clearly mark where things go and what’s inside. Put dates on them. After a year or so if you haven’t touched it you might consider selling or discarding it. Rule #6 - Growth One notion to consider is what might happen not only a few months from now when business picks up, but three to five years from now when you need to add some more equipment to the mix. Will you need more room? The reason you might consider this now is that you might need to add plumbing or electrical needs. It may be much more expensive to break up the concrete to add a new drain or work in a new electrical panel. When planning for growth, what changes could you make? For example, putting in electrical outlines higher on the walls, or even in the ceilings may allow you to plug in future equipment without running extension cords everywhere. Get these in early, and allow

yourself the room to expand later. Be sure to talk to your contractor or infrastructure vendor about it when doing any work. Rule #7 - Workflow Ah, the best for last. How your production happens on a daily basis is usually dictated for the most part by the shape of the room, and where the loading docks or doors are situated. A more rectangular shaped room could have everything flow in one direction, like a river. A square shaped room, could have a more circular workflow, like a merry-go-round. What you want to avoid as much as possible is a workflow that operates like a two-way street. You want to avoid collisions if you can. One way workflow is the best. Using the graph paper layout and the rules listed above can you chart out a better workflow for your shop? Where are the friction points where things get log-jammed? What is in the way? Could you turn or flip some equipm ent around that might make a difference? What if you placed your order staging or inventory on the other side of the room? Would that free up some needed space? How much wall space do you have, so if you added shelving you could create those access lanes? Could you sell or throw away any unnecessary items and find your floor again? Ready, Aim, Fire Before you start moving stuff around in your shop, you might want to gather your team together and show them what you have in mind. They are the ones doing the work. Maybe a thought or two from them could help with the project as well. Sometimes involvement with other people produces that one undiscovered great idea that makes all the difference.

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All the Products Manufactured by us are made on Sophisticated Machinery Imported an locally developed by our own Experienced Technology We supply metalised and coated Polyester film for manufacturing Metallic Yarn, Glitter Powder in various color and Size

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 (0.002”) 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.

HOT STAMPING FOILS We offer beautiful colors in hot stamping foils up to 50” width. Coated Polyester film should be metallised and Coated Polyester film.

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 – 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


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| SCREENTEX | February - March 2017

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Fveerefme³esìj veneR nesles, efpemekeÀe DeLe& keÀce og&iebOe Deewj keÀce KelejveekeÀ ~ FueskeÌì^eve yeerce FbkeÀ efHeÀuce mes meYeer lejn mes ®egYeeslee nw efpemekesÀ meeLe ueeFve DeeHeÀ meeFì keÀer mecem³ee veneR nesleer~ Hetjer ieejbìer kesÀ meeLe ke̳eesj kesÀ DeueeJee, ³en DeOesmeve(ef®eHekeÀeJe) keÀes GVele keÀjlee nw peneB Deboj keÀer Hejle mlej kesÀ mebHeke&À ceW Deeleer nw~ F&yeer meesme& þb[e nw FmeefueS yengle Heleues Deewj mebJesoveMeerue ceeref[³ee kesÀ meeLe GHe³eesie efkeÀ³ee pee mekeÀlee nw efpemeceW efmekegÀæ[s uesyeue Meeefceue nw~ HeejbHeefjkeÀ cejke̳etjer JesHej ³etJeer ueQHe keÀer lejn pees yengle iece& nes peelee nw, veneR neslee peyeefkeÀ ve³ee keÀce Tpee& Jeeuee ³etJeer ueQHe Deewj SueF&[er Yeer þb[e neslee nw~ lees Flevee ueeYe mHe<ì veneR nw~ ke̳ee ³en yebo nes pee³esiee? FbkeÀ efvecee&lee mees®eles nQ efkeÀ F&yeer HeejbHeefjkeÀ Òeef¬eÀ³ee ceW DeHeveer peceerve ÒeeHle keÀjlee jnsiee Deewj Mee³eo vewjes Jesye uesyeue kesÀ efueS efmebieue Heeme FbkeÀpesì ceW ìtì mekeÀlee nw,uesefkeÀve yeæ[s HeÀecexì ceW efveefM®ele veneR nw~ S[ce Deewj keÀesueerve keÀes veneR ueielee nw efkeÀ DeYeer peuoer F&yeer yeæ[s HeÀeces&ì ceW peeves Jeeuee nw~ efJemle=le Òee©He kesÀ efueS meerefcele keÀjves Jeeuee keÀejkeÀ ³en nw ke̳eesefjbie GHekeÀjCe~ Jele&ceeve ceMeerve mkewÀefvebie ns[ kesÀ meeLe mebiele veneR nw,kesÀJeue efmebieue Heeme nw~ Ssmee keÀnves kesÀ efueS veneR nw efkeÀ YeefJe<³e ceW Ssmee veneR nes mekeÀlee,uesefkeÀve Fmes efJekeÀefmele keÀjves keÀer DeeJeM³ekeÀlee nesieer~ Heerì meb[me& mevepesì kesÀ efyepevesme ns[ keÀnles nQ efkeÀ Fyeer keÀes FbkeÀpesì kesÀ efueS GHe³eesie veneR keÀjves keÀe keÀejCe FmekeÀe keÀce ³ee p³eeoe ueeiele nw~ FbkeÀ pesì cegK³ele³e: efmebieue Heeme nesles nQ~ FmeefueS ³es ceBnies nesles nQ uesefkeÀve HeÌueskeÌmees keÀer DeHes#ee keÀce nesles nQ~ Fve meyekesÀ DeueeJee ³eefo DeeHe F&yeer ceW efveJesMe keÀjles nQ lees SkeÀ keÀoce otj nes mekeÀlee nw~ FmeerefueS February - March 2017 SCREENTEX |

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ìskeÌveesuee@peer ueesie keÀce ceeFûesMeve Jeeues ³etJeer keÀes Henues osKeles nQ~ peyeefkeÀ Jen Fme yeele Hej peesj osles nQ efkeÀ F&yeer Deewj ³etJeer oesveeW Fme yeele keÀes meePee keÀjles nQ efkeÀ ³es FbkeÀpesì efÒebì ns[ keÀes yueekeÀ veneR keÀjles~ FmekeÀe keÀejCe ³en nw efkeÀ ³es efmeHe&À FmeefueS veneR GHe³eesie ceW uee³es peeles efkeÀ Jes Òeef¬eÀ³ee kesÀ Deble ceW De®íer efHeÀuce osles nQ~ cegK³e keÀejCe ³en nw efkeÀ ³es Del³eefOekeÀ Deemeeve nw efÒebìns[ ceW jKe jKeeJe ceW~ otmejs MeyoeW ceW efÒebì ceW FbkeÀ êJe kesÀ ©He ceW ner jnlee nw Deewj keÀYeer Yeer veneR metKelee,³ee veespeue keÀes peece veneR keÀjlee~ efmebieue Heeme FbkeÀ pesì ceW ³en efJeMes<e ©He mes cenlJeHetCe& nw Deewj FmekeÀe DeLe& ³en nw efkeÀ veespeue keÀer keÀce efj[v[Wmeer keÀer DeeJeM³ekeÀlee nw pees ns[ keÀer keÀercele keÀes keÀce keÀjlee nw~ SHueerkesÀMeve ke̳ee nw? S[ce keÀnles nQ,KeeÐe mebyeefOele SHueerkesÀMeve F&yeer kesÀ efueS meyemes GÊece nw~ uesefkeÀve meyemes p³eeoe efoue®emHeer kebÀp³etcej Òees[keÌì kebÀHeefve³eesb mes Dee jner nw~ peneB GlHeeo,mJeemL³e,megj#ee keÀer ÒeeLeefcekeÀlee

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| SCREENTEX | February - March 2017

meyemes Henues nesleer nw~ efyevee mecePeewlee efkeÀS ef[efpeìue Fcesefpebie keÀes FvekeÀejHeesjsefìbie keÀjvee SkeÀ meblegueve Yeje keÀe³e& nw~ Deye F&Jeer ke̳eesjsyeue kesÀ meeLe Kesue Leesæ[e yeoue ie³ee nw~ keÀwefueveer keÀnleer nQ, ke̳eeWefkeÀ Deye ke̳eesefjbie ìskeÌveesueespeer Deewj FbkeÀ kesÀ meeLe keÀce peesefKece pegæ[e neslee nw~ peye nceeje ûeenkeÀ nceejs Heeme Deelee nw lees ³en meeceev³e nw efkeÀ GvekesÀ Heeme Ssmee SHueerkesÀMeve nw peneB ³etJeer ³ee otmejs HeejbHeefjkeÀ lekeÀveerkeÀ kesÀ meeLe kegÀí efokeÌkeÀle nw~ HetÀ[ HewkesÀefpebie SkeÀ nw uesefkeÀve ³en Yeer meeceev³e nw~ peye ke̳eesefjbie kesÀ Heerís MeejerefjkeÀ efme×eble ³etJeer Hej veneR ueeiet nesles nQ~ ceQ Su³egefceefve³ece HeÌJee³eue cesìue kesÀ yeejs ceW mees®e jne ntB~ FueskeÌì^eve keÀCe nQ~ Jes mlej keÀer ef¬eÀ³ee Üeje vener ÒeYeeefJele neslee nw~ peye ³etJeer ke̳eesefjbie GHe³eesie ceW efue³ee peelee nw lees FbkeÀ pesì ceW SkeÀ mecem³ee ³en nw~ uesefkeÀve F&Jeer kesÀ meeLe ³en mecem³ee veneR nw~ iueeme efmejwefcekeÌme Deewj ìskeÌmeìeF&ue

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ìskeÌveesuee@peer

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60

| SCREENTEX | February - March 2017

keÀes mebyeesefOele keÀjlee nw~ [eìe cegK³e©He mes Fbìjvesì Üeje cewvespe efkeÀ³ee peelee nw~ DeeHe DeHevee [eìe yevee mekeÀles nQ, DeHeves ûeenkeÀ kesÀ ,³ee mece=× ûeenkeÀ kesÀ Yeer~ yeoueves Jeeues [eìe efÒebefìbie kesÀ meeLe efì^keÀ ³en nw efkeÀ De®íer lejn cewvespe efkeÀ³ee ngDee [eìe Keespevee ³ee yeveevee~ GoenjCe kesÀ efueS veewpeJeeve efm$e³eeb efpevekeÀer Gce´ 20-30 Je<e& kesÀ yeer®e nw DeeHe GvekesÀ Heeme DeHeves GlHeeo kesÀ mesume Òe®eej kesÀ efueS HengB®evee ®eenles nQ,efyeukegÀue pe©jle kesÀ efnmeeye mes [eìe yesme kesÀ efueS DeeHe ©ef®e efoKee³eWies pees cesìe [eìe jnsiee J³eeqkeÌleiele,efueie Deewj Gce´ kesÀ Devegmeej~ DeeHekesÀ HeefjJele&veer³e [eìe ÒeespeskeÌì ceW DeeHekeÀer ©ef®e kesÀ Devegmeej íeBìvee [eìe ceeFefvebie keÀnueelee nw,Deewj ³en efkeÀme ÒekeÀej neslee nw, [eìe keÀer iegCeJeÊee Hej efveYe&j keÀjlee nw Deewj efkeÀlevee DeHeìt[sì nw~uesefkeÀve ÒeYeeefJekeÀlee me®e& Fbefpeve keÀer iegCeJeÊee Hej Yeer efveYe&j keÀjlee nw,Deewj SueeiejLece keÀe GHe³eesie GHe³eesieer [eìe Deewj ©ef®ekeÀj ®egveves ceW Òe³eesie ceW ueevee ®eeefnS pees efkeÀ Òee³e: yengle yeæ[e [eìeyesme neslee nw~ ³eefo DeeHe DeHevee Kego keÀe [eìeyesme yevee uesles nQ,lees DeeHekeÀes Fmes ueieeleej DeHe[sì keÀjves keÀer DeeJeM³ekeÀlee nw Deewj Fmes cenlJe-

ke̳ee keÀjW ke̳ee ve keÀjW peye HeefjJele&veer³e [eìe ÒeespeskeÌì keÀer mebj®evee keÀj jnW nes lees DeeHekeÀes efÒebìs[ GlHeeo keÀes uesves Jeeues kesÀ yeer®e J³eeqkeÌleiele lejerkesÀ mes meblegueve yeveevee ®eeefnS,Deewj GvekeÀer SkeÀlee keÀe mecceeve keÀjvee ®eeefnS~ neueebefkeÀ ³en SkeÀ ÒeueesYeve nw Deblejbie Deewj efce$eleeHetCe& ìesve keÀe Òe³eesie keÀjvee~ kegÀí ueesieeW keÀes efmeHe&À íesæ[ efo³ee pee³esiee ³eefo DeeHe SkeÀ keÀjeryeer oesmle yevevee ®eenles nQ,peye DeeHe SkeÀ Depeveyeer keÀes mebyeesefOele keÀj jnW nes~ ³en efJeMes<e©He mes me®e nw ³eefo DeeHe ÒeeHle keÀj mekeÀles nw efpemes ieesHeveer³e ³ee J³eeqkeÌleiele met®evee kesÀ ©He ceW osKee peelee nw~ J³eeqkeÌleiele ©He mes ìesve kesÀ yepee³e efjmeerJej kesÀ ©He ceW SkeÀ IegmeHewþ kesÀ ©He ceW Deeves mes jeskeÀ efo³ee pee³e~ FmeefueS peye nce meeceev³ele: J³eeqkeÌleiele mebosMe yeveeles nQ lees Fmemes nceW HeÀe³eoe nesiee~ nce Fmes otj lekeÀ veneR {kesÀue mekeÀles~ lekeÀveerkeÀer ©He mes Deye nceW efÒebì Heefj³eespevee kesÀ efueS yeveeF& ieF& keÀueeke=Àefle kesÀ meeLe efvekeÀeues ieS kegÀí peesæ[er keÀer DeeJeM³ekeÀlee nw~ íesìs Deewj DeefOekeÀ meeOejCe Heefj³eespeveeDeeW kesÀ efueS DeeHe SkeÌmesue ceW yevee³es ieS [eìe HeÀeF&ue ceW Dee³eele keÀj mekeÀles nQ,GoenjCe kesÀ efueS Fveef[peeF&ve~ uesefkeÀve DeefOekeÀ peefìue Deewj yeæ[s ÒeespeskeÌì kesÀ efueS DeeHekeÀes meceefHe&le meceeOeeve keÀer pe©jle Heæ[sieer, efJeefYeVelee Jeeues [eìe GlHeeove kesÀ efueS~ Fme Hej ceoo keÀjves kesÀ efueS yeepeej ceW keÀF& meeHeÌìJes³ej GHekeÀjCe nQ GoenjCe kesÀ efueS nsJeuesì HewkeÀ[& keÀe mceeì& mì^erce ef[peeF&vej,Dee@ypeseqkeÌìHeÀ uegves Deewj J³eeqkeÌleiele ÒeYeeJe Deewj meerOes SkeÌmecHeer mes,³es lees kegÀí GuuesKe efkeÀ³ee nw mewkeÀæ[eW nw~ DeeHekeÀe Deieuee lekeÀveerkeÀ keÀueeke=Àefle


ìskeÌveesuee@peer mes Deewj [eìe efÒebefìbie efmemìce mes pegæ[e neslee nw~ efJeMes<e ©He mes jemìj Fcespe Òeesmesmej(DeejDeeF&Heer)pees DeeGìHegì GHekeÀjCe keÀes Deeies yeæ{eleer nw~ Fmes keÀYeer keÀYeer ef[efpeìue ÖebÀì Sb[([erSHeÀF&) ³ee Jeke&ÀHeÌuees efmemìce keÀne peelee nw~ F&SHeÀDeeF& HeÀe³ejer efjHe ef[efpeìue GHekeÀjCe Deewj keÀF& meyemes ueeskeÀefÒe³e Deewj meHeÀue ([erSHeÀF&) nw keÀF& HeefjJele&veer³e [eìe meuetMeve kesÀ efueS~ DeeHekeÀe efÒebì mesJee osves Jeeuee peevesiee efkeÀ GmekeÀe Jeke&ÀHeÌuees efmemìce efkeÀme megefJeOeeDeeW kesÀ meeLe keÀece keÀjlee nw Deewj meJeexÊece efÒebefìbie ÒeespeskeÌì kesÀ efueS meJeexÊece ¢ef<ìkeÀesCe kesÀ efueS meueen os mekeÀlee nw~ GoenjCe lees,efkeÀme ÒekeÀej kesÀ HeefjJele&veer³e [eìe SHueerkesÀMeve keÀe GHe³eesie keÀj efJemle=le mJe©He Jeeues efÒebìj keÀe GHe³eesie mebYeJe nw? þerkeÀ nw,meeceev³e leewj Hej ef[efpeìue efÒebefìbie ceW SkeÀ yeæ[e DeJemej Deewj mebYeeJeveeDeeW keÀes osles nQ Deewj mHe<ì ©He mes meerefcele keÀejkeÀ DeeHekeÀer keÀuHevee ceW nw~

uesekf eÀve DeeFS nce SkeÀ meeOejCe GHe³eesie kesÀme uesles nQ: SkeÀ cenlJeHetCe& keÀvÖeWÀme kesÀ efueS veece Jeeuee yewpe DeeHe efÒebì keÀjves keÀer ³eespevee yevee jnW nQ~ veece Deewj yewpe SkeÀ keÀs yeeo SkeÀ meeceev³e ©He mes efÒebì keÀjles nQ~ Òee³e: Svee@ueeie m¬eÀerve efÒebeìf ib e keÀe GHe³eesie keÀjles nQ,³ee mebYeJele: SkeÀ íesìe ef[efpeìue efÒebìj pees yewpe kesÀ efueS meceefHe&le nes~ uesekf eÀve DeeHekesÀ Heeme ³en DeeF&e[f ³ee nes ~ uesekf eÀve ke̳ee ³eefo DeeHekesÀ Heeme SkeÀ jbie efyejbiee DeeFef[³ee iegueeyeer HueskeÌmeeriueeme Hej nes, DeeHekeÀer kebÀHeveer kesÀ ueesiees kesÀ DeekeÀej ceW? ³en meyemes p³eeoe keÀefþve Deewj ceBniee ÒeespeskeÌì nes mekeÀlee nw~ Deewj Fmes efkeÀveejs efkeÀ³ee pee mekeÀlee nw ke̳eeW efkeÀ ³en DeeF&e[f ³ee Del³eble ner pebieueer nw~ uesekf eÀve SkeÀ efceveì Fblepeej efkeÀefpeS ke̳ee ³eefo DeeHe J³eJenej keÀjles nw ke̳ees efkeÀ ³en HeefjJele&veer³e [eìe ÒeespeskeÌì nw Deewj Huewì yes[ yeæ[s Òee©He keÀs efÒebìj keÀe GHe³eesie keÀjles nQ? Deye DeeHe mebYeJele: meYeer yewpespe keÀes SkeÀ ner jbieerve HeÌueskeÌmeer iueeme Hej efÒebì keÀj mekeÀles nQ~ DeejDeeF&Heer efmemìce Üeje SkeÀ otmejs ceW Meeefceue efkeÀS ieS Deeì& Jeke&À Deewj [eìeyesme keÀer

peevekeÀejer (®eefueS nce J³eeqkeÌle keÀe veece Deewj kebÀHeveer keÀe veece Deewj Mee³eo GvekeÀe Meer<e&keÀ) Deewj DeekeÀej keÀes uespej keÀefìbie yees[& keÀe GHe³eesie keÀjkesÀ keÀeìvee~ Debeflece GlHeeo yengle yeæ[e efÒebì veneR nw,uesefkeÀve GHekeÀjCe pees Fmes efÒebì keÀjlee nw Jen pe©j yeæ[e Lee~ uesefkeÀve ³en oMee&lee nw efkeÀ ke̳ee mebYeJe nw, SkeÀ yeej peye DeeHekesÀ Heeme Deewpeej Deewj DeeF&ef[³ee nes efkeÀ efkeÀme lejn GHe³eesie keÀjvee nw~ J³eeHeeefjkeÀ ueeYe ®eens DeeHe keÀejesyeejer,ef[peeFvej ³ee efÒebì keÀjves Jeeueer kebÀHeveer kesÀ ceeefuekeÀ nes,HeefjJele&veer³e [eìe kesÀ mebYeeefJele ueeYe DeJemejeW keÀes peeveves keÀe DeLe& DeeHe lew³eej nQ peye Yeer DeJemejeW keÀe #eCe Deelee nw~ keÀnves keÀer pe©jle veneR nw,DeeHe oesvees mes ueeYe Gþe mekeÀles nw uesefkeÀve Jejer³elee Jeeues [eìe efÒebì ìskeÌveesueespeer keÀe Òe³eesie keÀjves kesÀ keÀejCe efÒebefìbie ÒeesspeskeÌì ceW mece³e Deewj ueeiele keÀes keÀce keÀj mekeÀlee nw~

February - March 2017 SCREENTEX |

61


EVENTS CALENDAR

NATIONAL APRIL 2017

JUNE 2017

05 - 08 April 2017 PACK PLUS SOUTH 2017

08 - 10 June 2017 NON -WOVEN TECH ASIA 2017

Leading Exhibition Packaging Industry.

Leading Expo on Non-Woven Industry.

At: BIEC, Bangalore, Karnataka.

At : Bombay Exhibition Centre, Goregaon (E), Mumbai 400 063

www.packplussouth.in

www.nonwoventechasia.com

07 - 09 April 2017 PRINT MIRACLE EXPO 2017

20 - 22 June 2017 AMBIENTE INDIA 2017

Leading Exhibition Printing / packaging Industry.

Leading Expo on Homeware & Interior Decor.

At: CIAL Trade and Exhibition Center, Kochi, Kerla.

At : Pragati Maidan, New Delhi.

www.printmiracleexpo.com

www.ambiente-india.com

07 - 10 April 2017 PRINT FAIR 2017

JULY 2017

Leading Exhibition on Ceramics Industry. At: BIEC, Bangalore, Karnataka. www.printfair.in

30 - 02 July 2017 SIGN TODAY 2017 Leading Show on Advertising & Signage Industry. At : Dr. Prabhakar Kore Convention Centre, Bangalore, Karnataka. www.signtoday.biz

25 - 26 April 2017 CHEMSPEC INDIA 2017 Leading Expo on Fine and Speciality Chemicals. At : Bombay Exhibition Centre, Goregaon (E), Mumbai 400 063 www.chemspecindia.com

08 - 11 July 2017 PLASTASIA 2017 Leading International Expo on Plastics Industry. At : Pragati Maidan, New Delhi. www.plastasia.in

28 - 30 April 2017 N PRINTECH TODAY 2017 South India’s Leading Show on Printing Industry. At : Chennai Trade Centre, Chennai, Tamilnadu. www.buysellint.biz

29 - 31 July 2017 GARTEX 2017 Leading Show on Garment Manufacturing Solutions. At : Pragati Maidan, New Delhi. www.gartex.com

28 - 30 April 2017 SIGN TODAY 2017 Leading Show on Advertising & Signage Industry. At : Chennai Trade Centre, Chennai, Tamilnadu. www.signtoday.biz

AUGUST 2017 03 -06 August 2017 CARTON TECH 2017 India’s Leading Show on Packaging Industry.

MAY 2017 03 - 06 May 2017 P4 EXPO INDIA 2017 Leading Expo on Petrochemicals, Printing & Packaging Industry. At : Pragati Maidan, New Delhi. www.p4expoindia.com

At : Pragati Maidan, New Delhi. www.packplus.in 10 - 13 August 2017 GIFTS INDIA 2017 Leading Show on Gifts & Stationery. At : Bombay Exhibition Centre, NSE Complex,Goregaon (E), Mumbai www.indiabig7.com

62

| SCREENTEX | February - March 2017


RANGE OF PRODUCTS x x x x x x x x x x

PLASTISOL INKS SCREEN TRANSFER INKS ALL SHADES LITHO BACKUP WHITE CLEAR PRINTABLE ADHESIVE LITHO CMYK HEAT TRANSFER INKS PUFF / HIGH DENSITY / METALLIC INKS FOIL ADHESIVE WATER AND OIL BASED FLUORESCENT INKS PLASTISOL NTHL SERIES PHTHALATE FREE FOR DIRECT AND TRANSFER PRINTING

SILICONE INKS x EML SERIES: WATER BASED NON CHOKING READY TO x USE WHITE & COLOURS x

KHADI NON CHOKING FRICHI SERIES (OIL BASED): PVC / PHTHALATE FREE FOR DIRECT AND x TRANSFER PRINTING x LITHO CMYK SUBLIMATION INKS x HOTMELT POWDER x ANY OTHER SPECIALITY INKS ON DEMAND x x

AN ISO 9001:2008 CERTIFIED COMPANY

Speciality Products Pvt. Ltd. Advt. Agency.

August - September 2013 | SCREENTEX |

73


EVENTS CALENDAR

INTERNATIONAL MAY 2017 04 - 10 May 2017 INTERPACK 2017 Leading Processing & Packaging Trade Fair. At : Dusseldorf, Germany. www.interpack.com 08 - 12 May 2017 FESPA 2017 Leading International Show on Screen, Textile & Digital Print Industry. At: Hamburg, Germany www.fespa.com 09 - 11 May 2017 RFID JOURNAL LIVE 2017 International Expo in RFID Technology. At: Phoenix Convention Centre, Phoenix, AZ, USA. www.rfidjournalevents.com 09 - 13 May 2017 CHINA PRINT 2017 International Printing Technology Exhibition. At: New China international Exhibition Centre, Beijing, China. www.chinaprint.com.cn 10 - 11 May 2017 PRINTED ELECTRONIC EUROPE 2017 Leading Exhibhition on Printed Electronics. At: Berlin, Germany

Arrow PHOTOS O NName in One i INDIA for f Stock Images, Templates, Software & Tutorials We manufactures high resolution, ready to use stock images and templates. We also provides stock images, which are used for Advertisement, Fonts, Logos, Clip-Arts, Brouchers, Visiting Cards, Wedding Cards, ID Cards, DTP Purpose, etc. For more details Contact :

Arrow Multimedia

11 - 13 May 2017

3, Mount Road, Shop No. 10, City Center Plaza, Chennai 600 002. E Mail : arrowmultimedia@yahoo.com

THAILAND PCB EXPO 2017

Mahedra M h d SSethia h - 92824 37480

www.idtechex.com

Leading Exhibhition on PCB Expo 2017. At: IMPACT Exhibition & convention Center, Bangkok, Thailand. www.pcbexpothailand.com 12 - 14 May 2017 PPP ETHOPIA 2017 Leading Expo on Plastics & Printing Industry. At: Millennium Hall, Addis Ababa, Ethiopia. www.pppexpo.expogr.com

64

| SCREENTEX | February - March 2017


66

| SCREENTEX | February - March 2017


SPARKLE Foil n Films

Textile Foils

67/671, MHB ColonyOpp. Parijat Society, Poisar Gymkhana Road, Mahavir Nagar, SPARKLE Kandivali (West), Mumbai 400067, INDIA. Tel : +91 22 2869 4684 • Mobile : +91 98331 16688 Foil n Films E Mail : sparklefoil@yahoo.com • www.sparklefoil.com


AD INDEX Advance Syntex (P) Ltd.

55

Kishore Brothers

Aeon Commercial India (P) Ltd.

72

Mac Dermid Autotype Ltd.

07

And Global Sales Corporation

04

Meetesha Enterprises

68

Arrow Multimedia

64

NBC Japan

02

Astra Chemtech

05

Omkar Engineering

36

Balaji Chemicals

33

Paper N Films International

70

Balaji Traders

04

PAMEX 2017

28

Beauty Flex

63

Photokina Chemical Pvt. Ltd.

29

Bharat Fushing

61

Ratan Industrial Engineering

04

Blue Coat India Pvt. Ltd.

23

SAi 27

Chaiyaboon Inknovation

19

Sefar Switzerland

71

51

Santi Arts

66

Shriram Enterprises

45

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

03,57

46

Dakota Chemicals India Pvt. Ltd

17

Shree Balaji Industries

43

Epta Inks India Pvt. Ltd.

15

Smilax International India

59

Febchem Pvt. Ltd

58

Sneha Enterprises

69

GTE 2017

06

Sparkle Foil

67

Hari Impex

21

Spoorthi Technologies

13

J N Arora & Co. (P) Ltd.

25

SunShine Graphics

68

Kumar Textile Industries

39

Varsha Transprint

47

Kunal Enterprise

42

Vee Jain Dyes and Chemicals

50

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.

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 68

| SCREENTEX | February - March 2017


Introducing whole sale Sublimation Paper in Rolls / Sheets & Sublimation Inks. Cotton Textile Transfer Paper (Laser / Inkjet) for LIGHT & DARK GARMENT

Water/Oil/Liquor Reppelent, Heat SealablePaper for Printing & Packaging Industry. Dealers In Speciality Papers / Films / Foils

+91 9833 99 7772 +91 9833 99 7776

pb7772@gmail.com MUMBAI, INDIA

www.texprints.com




Mob+917400451521 arvind.singh@sefar.com


February march 2017  
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