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Vol : 08 • Issue : 02 • February - March 2018

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| SCREENTEX | February - March 2018

Vol : 08 • Issue : 02 February - March 2018



Jignesh Lapasia +91 98679 78998 MANAGING EDITOR

Supreeth Sudhakaran ASSOCIATE EDITOR

Sonal Shah

Indovation – We need to up our game


Apple co-founder Steve Wozniak aka Woz has said that Indians can’t be creative as their education system was based around studiousness which doesn’t encourage creativity. Undoubtedly, it created more furore than dignified debates with supporters from both schools of thoughts vying for a win on social media. Steve’s statements must be taken with a pinch of salt – it’s more stereotyping than an assumption. Lest he forgot that Indians are leading several key innovative companies – few are his competition. Thus, we thought that this issue merits we highlight at least one such innovation that perhaps even the so called innovative nations would need some day. The extent of the air pollution and the health hazards faced by the citizen is conspicuous from the media stories. There are few global startups which are working to help improve the situation but those who follow the Forbes issues and the TED Talks closely, it would be unlikely that they would have missed Chakr Innovation. In addition to this, we have a good mix of technology and business articles that will keep you busy and engaged. Andraya Vantrease in her piece questions why don’t decorators use the newest technologies? Laurel Brunner decodes the price of eco printing, and we also discuss five major technology advances in UV curing you should know. In the technology section we have articles on Rapid Liquid Printing (RLP) and graphene printing technology. The month of April will usher in the Hindu New Year in different parts of the country. We wish you all a great and Indovative one this year!


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Arihant Sales Dinesh Chauhan +91 93469 51232 KANPUR

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Creativity is a spark that lights the fire, Creativity is the genius in the soul, Creativity is the genuine attraction in the heart, Creativity is the spark in the eyes, Creativity is the champion of obstacles, Creativity is the essence of surprise

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

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FESPA Asia 2018 brings together ASEAN wide format decision maker community



Norfoam enters new markets with SAi Software Solutions


30 34 36

Five major technology advances in UV curing you should know


Flexible, water-repellent graphene circuits for washable electronics


54 58

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The price of eco printing

Why Don’t Decorators Use The Newest Technologies?



A decade old tryst with print, a two decade old love for printing




Indovation from Chakr to fight Airpocalypse



Long before one can write an obituary for print



Move over 3D Printing. We’ve RLP

February - March 2018 SCREENTEX |



Finnish firm Huhtamaki to acquire Ajanta Packaging for $15.5 mn The Indian unit of Finnish packaging company Huhtamaki will acquire Ajanta Packaging (India) for Rs 100.3 crore ($15.5 million) in an all-cash deal. The entire business of Ajanta Packaging is acquired as a going concern on a slump sale basis, Huhtamaki PPL Ltd, the local division of the Finnish firm, said in a stock-exchange disclosure. The acquisition will help Huhtamaki in consolidating its position in pressure sensitive label business, it said. Ajanta Packaging, promoted

by Sudhir and Chandan Khanna, manufactures pressure sensitive labels, baggage tags and security labels. Ajanta Packaging has its head office in Mumbai, and started its unit in the year 2000 in the Union Territory of Daman. It started its operations by way of introducing waterless offset, and till date one of the few printers in India to print labels using this technology. The year 2007 saw the commencement of Ajanta Packaging’s second unit at Baddi with the installation of one waterless offset machine. Subsequently two highly configured, 10 stations, flexo machines have been added. The special feature of this machine, is that it prints flexo and screen simultaneously with facilities for hot and cold foil, in a single pass. In 2008, Ajanta Packaging started the third unit at Sharjah.

Its revenues stood at Rs 81.1 crore in the year through 31 March 2017. Huhtamaki PPL, formerly known as The Paper Products Ltd, provides packaging solutions for labels, tube laminate webs, thermoformable laminates and promotional materials. The company has 15 manufacturing facilities in the country. Its clients include Britannia, Coca Cola, Ferrero, Glaxo Smithkline, Marico, Mondelez, Nestle, Pepsico, Procter & Gamble and Unilever. Huhtamaki’s income stood at Rs 564.94 crore and net profit was Rs 20.94 crore in the OctoberDecember quarter. In 2015, Huhtamaki acquired Mumbai-based Positive Packaging Industries Ltd for Rs 818 crore ($136.6 million). In 2012, it bought a 51% stake in Webtech Labels Pvt. Ltd, which manufactures labels for the pharmaceuticals sector, for Rs 37.7 crore ($ 6.94 million).

EFI launches VUTEk HS presses for signage During the recent EFI™ Connect users’ conference in Las Vegas, Electronics For Imaging, Inc. announced the addition of the EFI VUTEk® HS125 F4 and HS100 F4 inkjet presses for “Fast Graphics” out-of-home applications to its industry leading lineup of hybrid flatbed/roll superwide-format products. The two new printers reconfigure the eight ink channels of the VUTEk HS series platform in a CMYK x 2 setup, efficiently addressing the need for cost-effective production on


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banners, billboards, building wraps and similar applications. The new press models offer a significant speed increase, printing up to 225 boards per hour on the HS125 F4 and up to 190 boards per hour on the HS100 F4. The presses also include the proven, standard HS features and options customers have come to expect such as pin and cure, variable-drop grayscale imaging, and full- and semiautomated materials handling. “Our CMYK x 2 configuration, which is available in several other EFI VUTEk superwide format printers, is an ideal offering for out-of-home

applications where total cost per square foot is key,” said Ken Hanulec, vice president of marketing, EFI Inkjet. “These two new printers run more than 50% faster, and a speed boost like this gives our customers an important new opportunity to increase their margins.” EFI’s new VUTEk HS presses for Fast Graphics out-of-home production will be available this quarter from EFI. Also beginning this quarter, customers who purchase VUTEk HS125 Pro and HS100 Pro presses can convert them to the new F4 models through a modification completed in the field.


Muller Martini buys Kolbus bookbinding Swiss manufacturing giant Muller Martini has acquired the binding and bookline business of Germany-based Kolbus. In a deal announced in January, Müller Martini is taking over the perfect binding and book line business from Kolbus, which will now focus on packaging and casemaking, parts manufacture and its foundry operations. Reflecting on the decline in long-run book manufacturing, Muller Martini CEO Bruno Müller commented: “Structural change has changed the graphic arts industry in recent years and our market has become much smaller and versatile at once.

Customers need innovations on a regular basis, which have to be financed with lower sales quantities. Above all, our customers benefit from the efficiency gains bringing together the bookbinding activities.” “Combining the personnel, expertise, technology and infrastructure of the two companies secures the future of the softcover and hardcover business of both the customers and the two machine manufacturers - and thus also jobs in the graphc arts industry,” added Müller. “The market changes are directly affecting our customers, who are faced with new business models like digitization. Muller Martini can provide the market with innovative solutions in the long term,” he added. Kolbus’ bookbinding business is to be transferred to a new business unit, Müller Martini Buchbinde-Systeme, in a separate

factory in Rahden in Germany. This will take on the service and spares operation for all Kolbus bookbinding systems installed worldwide. Some 250 Kolbus employees will transfer with the business, while the remainder will focus on packaging and casemaking opportunities. Kolbus CEO Kai Büntermayer commented: “In recent years, the packaging market was growing consistently. We see a good potential and will vigorously expand our current activities in this business. There are also very good perspectives in the segment of component manufacturing for sophisticated mechanical engineering companies including Müller Martini Buchbinde-Systeme and Kolbus Luxury Packaging.” Müller Martini was founded in 1946 and currently operates with 1800 employees in development and production of industrial system solutions for print finishing. Kolbus was established in 1775.

Agfa Graphics introduces Anapurna H1650i LED printer Agfa Graphics is expanding its wide-format hybrid Anapurna LED series for sign and display professionals with a new 1.65 m-wide hybrid printer – the Anapurna H1650i LED. This smaller hybrid printer was designed as an accessible and cost-effective production tool that combines the latest LED technology with Agfa Graphics’ signature high-quality output. The Anapurna H1650i LED was revealed to the public at C!Print Lyon

(France), which took place from 6 to 8 February 2018. The latest addition to the Anapurna LED series – the Anapurna H1650i LED – is a smaller version of the popular and robust Anapurna H2050i LED printer, with which it shares several features and benefits. Like its bigger brother, the new Anapurna prints on rigid and flexible media by means of LED curing, resulting in a lower cost of ownership. It combines this with Agfa’s award-winning imaging quality, ink-saving thin ink layer technology and perfect white ink printing reliability, yet requires a smaller financial investment than

other Anapurna engines. “The hybrid Anapurna H1650i LED printer was designed as a robust, qualitative and versatile entry-level option for wideformat print service providers,” explains Philip Van der Auwera, Product Manager at Agfa Graphics. “Although smaller, it is equipped with features normally reserved for higher-end printers, such as automatic head height measurement, crash prevention and an anti-static bar, thus offering the very best at a reasonable price. Of course, the Anapurna H1650i LED is driven by Asanti as well, which adds to the resulting high-quality and consistent prints.”

February - March 2018 SCREENTEX |



Durst and OMET unveil XJET hybrid printing solution Durst, manufacturer of advanced digital production technologies, together with OMET, manufacturer of printing and converting machines, have strengthened their collaboration with the introduction of the new OMET XJet. The integrated hybrid solution for a wide range of highperformance labels and packaging printing guarantees flexibility and cost savings. The new OMET XJet, was presented to more than a 100 customers from across the globe at Durst’s Digital Days at its Italian headquarters in Brixen, Italy. The three-day event is

dedicated to the best digital label and packaging printing solutions. The OMET XJET is the new hybrid printing platform integrating Durst’s Tau 330 digital inkjet system with OMET X6 flexo stations and converting units. Durst inkjet technology together with OMET X6’s finishing and converting units like cold foil, hot foil, lamination, varnishing, die-cutting and slitting assure reliability and results at every run, with the advantage of obtaining the final product in one single passage. The OMET XJet is powered by Durst Tau RSC, the highperformance UV inkjet printing press featuring 330 mm (13”) print width with maximum print speed of 78 linear meters/min (245 ft./min) at 1200 x 1200 dpi

resolution. Thanks to its eight color stations (CMYK+W+OVG) with new designed high pigmented inks it delivers outstanding print quality with 98% PANTONE color gamut coverage. It can be seen as three presses in one as it can be used as hybrid solution, flexo stand-alone or digital stand-alone according to the length of the run or the level of personalization required. This concept can help optimize production time and costs, getting faster ROI and open new market opportunities. Marco Calcagni, OMET Sales and Marketing Director, added: “I believe that Durst is the right partner for such a challenging project because they have deep knowledge and digital inkjet technology.”

Konica Minolta to deploy India’s first AccurioJet KM-1 UV inkjet press Konica Minolta Business Solutions will be installing its first AccurioJet KM-1 UV Inkjet press in India. The cutting-edge AccurioJet KM-1 UV Inkjet press solution which comes with a B2 plus Sheetfed was first unveiled at DRUPA 2012. AccurioJet KM-1 UV Inkjet press, Konica Minolta’s innovative inkjet press can efficiently cater to latest production demands and incorporates patented UV inkjet technology, traditional sheet feeding and effective media


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handling upto B2+ size. The solution also eliminates the use of special digital stocks or expensive coatings and can easily handle quality jobs on a wide range of substrates The print output is achieved with Konica Minolta’s highresolution print heads, 1800IS, which produces true 1,200 x 1,200 dpi resolution. Konica Minolta’s proprietary UV ink furnishes high quality light fastness as well as scratch resistance print outputs. The AccurioJet KM-1 UV digital inkjet press is designed to print up to 3,000 oversized sheets per hour. It produces a wide variety of new jobs such as heavy textured stock and packaging. It also enables printing businesses to print both profitably and in fully personalized fashion for end users, leveraging larger

sheet sizes for 3-panel and 4-panel brochures, pocket folders, posters, point-of-purchase graphics, dust jackets, wrap-around book covers, and many more. With enhanced media flexibility, AccurioJet KM-1 UV Inkjet Press processes sizes of up to 585 x 750 mm (B2+ size). It produces an extensive selection of commercial print and packaging applications with a maximum sheet thickness of up to 0.6 mm. The AccurioJet KM-1 UV Inkjet Press machine can print up to 3,000 sheets per hour in simplex or 1,500 sheets per hour in duplex mode leveraging hybrid production workflow. It also eliminates the requirements of plates enabling easy addition of jobs to the print queues via the web, hot folder or existing offset workflows.

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BST eltromat International acquires a stake in Nyquist Systems After four years of intensive sales cooperation, BST eltromat International has acquired a stake in Nyquist Systems GmbH, which is based in Landsberg. The inspection systems in Nyquist Systems’ TubeScan family complement BST eltromat’s comprehensive product portfolio for quality assurance in packaging and label printing. These products – distributed exclusively by BST eltromat – fit

perfectly into BST eltromat’s existing offering for narrowweb printing processes. This also applies to the new QLink workflow, which is opening up previously unknown options in synchronization, data handling and defect editing. “Our strategic partnership, which has a long term orientation, is pursuing the aim of promoting the continued success of the TubeScan family developed and produced by Nyquist, and thus to assure our joint market leadership,” explains Kristian Jünke, Managing Director of BST eltromat International. Previously, the companies have collaborated to install more than 800 TubeScan systems for the narrow-web label and

packaging sector worldwide. Siegfried Koepp, executive at elexis AG, continues: “The close collaborative partnership with BST eltromat as part of its new stake and the exclusive sales agreement offers Nyquist Systems a strong global presence and the ability to implement projects quickly for customers all over the world.” According to Dr. Stephan Krebs, Managing Director of Nyquist Systems GmbH, this is the central benefit of the strategic partnership with BST eltromat to his company. The joint appearance at last year’s LABELEXPO, for example, offered both companies more and varied opportunities to continue to build on their already strong position within the market for narrow-web applications.

Fuji Xerox launches wide-format monochrome multifunction device Fuji Xerox Asia Pacific will begin its regional launch of five models of the DocuWide 6057/3037 series, A0 monochrome multifunction devices with enhanced print speeds and resolution. The new series features a secondary Ethernet port that enables shared usage between two different networks, such as an intra company network and a separate network for guest users. Users can securely


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access the DocuWide 6057/3037 series from their mobile PCs with the option of specifying a device in a different physical location. By enabling secure printing and scanning at external premises, the new wide-format series brings forth a more flexible and efficient manner of working. The series is among Fuji Xerox’s first A0 multifunction devices to adopt the EA-Eco LGK toner – an advanced energysaving black toner with a matte finish that is gentle to the eyes and yet offers clear visibility. Combined with faster printing speeds of 1.4 timesNote 1 compared to previous models, and an increased print resolution, from 600 dots per inch (dpi) to 1,200 dpi, users’ work quality is elevated with accurate design reproduction and vibrant output. Colour scanning functions

have also been improved. Users can now check scanned images on the control panel, and delete notes and remarks in red ink on design documents while scanning and copying, before storing pre and post amended documents for archival purposes. Furthermore, Fuji Xerox’s exclusive Multiple Transmission function allows users to store scanned images in PC folders and simultaneously print them out either on an A0 multifunction device, or an office multifunction device, depending on the print size and color/ monochrome. The series supports not only wide-format roll paper but also cut sheet paper of different sizes—A3, B4, and A4. For easy collection, the paper output tray is at the front of the device. These new features help simplify users’ daily tasks and improve productivity.


Printing ink giant Siegwerk India goes toluene free Siegwerk, one of the leading suppliers of printing inks for packaging applications worldwide, continues its global commitment to product and consumer safety by providing customers the highest quality products and services. In India, Siegwerk has further strengthened its portfolio by moving to toluene free inks. The unfavourable toxicological and organoleptic properties of toluene are the driving factors in moving away from the solvent. This move further supports the strategy of global brand, which have restricted or even completely banned the usage of toluene in ink formulations intended for food packaging. In principle,

in the manufacture of all products supplied by Siegwerk for NP&H (Nutrition, Pharma & Hygiene) applications, toluene or raw materials containing toluene are not used as intentionallyadded ingredients. The Siegwerk Bhiwadi site is now toluene free and does not use toluene in its manufacturing processes. Siegwerk’s product safety guidance includes global regulatory compliance, brand owner requirements and risk assessments. This ensures products are safe for the end-use applications. All this is reflected in the launch of the new Ink Safety Portal. Siegwerk’s Ink Safety Portalis all about knowledge

sharing. More specifically, the expert platform offers condensed knowledge on crucial Product Safety and Regulatory (PSR) topics with regard to printing ink ingredients, regulatory affairs, exposure assessments and safety evaluations. This results in a diverse collection of the key elements relating to the subject of safe printing inks and safe food packaging. Siegwerk is thus bundling its expertise, making it available to customers and interested parties. The portal underlines Siegwerk’s claim to stand apart from the competition through high-quality services in the field of product safety.

Canon DreamLabo 5000 witnesses 7th installation Canon India is all set to reinforce its foothold in Digital Photo Printing with the seventh installation of its DreamLabo 5000. The photo printing machine from Canon India’s was installed recently at Photopark Digital Press at Padma Junction in Kochi. The DreamLabo 5000 has previously been installed in cities such as Kochi, Bangalore, Mysore, Vijayawada etc. Present in the city for the inauguration, Kazutada Kobayashi, President & CEO, Canon India said, “At Canon India, we take utmost pride in offering innovatively preeminent solutions to the imaging industry. Understanding the significance and relevance of wedding


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culture in India, we are elated to extend the prowess of Canon DreamLabo5000. This is our seventh installation for the marvel in the country up until now, and it gives us immense pride to share that India is leading our South East Asia chart in adopting this technology. Kochi has been a significant market for us, with this being the city’s third installation.” Puneet Datta, Director, Professional Printing Products, Canon India, said, “There has been an increasing demand for high definition photo shooting and printing in India which is led by wedding photography segment. Along these lines, there has been a tremendous opportunity for premium photo printing in the industry. The DreamLabo 5000 provides superior alternative to conventional silver halide

technology. The DreamLabo 5000 features a high-density print head, enabling over 300 mm wide printing output and incorporates Canon’s FINE (Fullphotolithography Inkjet Nozzle Engineering) technology. When used in combination with the automatic double-sided printing function up to 12×25 inch size, the DreamLabo 5000 is equipped for printing around 1000 pages of A4 size content and 2300 pages of 4×6’ size content per hour. DreamLabo 5000 utilizations a seven-shading colour based ink framework that conveys smooth degree. Utilizing picture handling innovation that makes utilization of the full scope of Canon’s one of a kind inkjet printing shading range, the new printer empowers the yield of photograph pictures with a level of color representation which comprehensively outperforms that of ordinary silver halide.


HP launches the new printer for GIS Mapping HP has introduced HP DesignJet T1700 printer, a 44-inch solution for CAD and geographic information system (GIS) workgroups to produce highly accurate documents and maps with powerful processing and a new level of security. New added features on the HP DesignJet T1700 make it the most secure large format workgroup printer available today1. The improved security is designed to help enterprises print CAD and GIS applications while protecting printers and data from unauthorized or malicious access in infrastructure construction, urban planning as well as utilities industries such as oil, water, gas, and electricity.

“Security is a top concern in enterprises today as connected devices and increasingly open office spaces are pervasive. At the same time, data breaches are growing at an alarming pace. In the first half of 2017, the worldwide breach level index was up more than 160%,” said Guayente Sanmartin, General Manager and Global Head, HP Large Format Design Printing, HP Inc. Features include a new self-encrypting hard drive on the printer ensures it is only readable by the printer itself, even if removed from the device. For additional device security, HP Secure Boot ensures BIOS protection, and Whitelisting3only allows approved firmware to be installed and run on the device. Workgroups print seamlessly with a powerful processor GIS files are constantly growing in size with the increase in their complexity

and data. To smoothly process this information and improve the printing experience of GIS practitioners, the new 44-inch HP DesignJet T1700 printer offers a new, powerful processing architecture using a 500 GB hard disk. As the first workgroup large-format printer to embed the Adobe PDF Print Engine4, it can more efficiently handle very heavy files. As a result, PCs can be freed in virtually no time to continue working. The HP DesignJet T1700 also brings improved color quality and precision for more accurate maps and renderings, enabling GIS workgroups to make better decisions. A new set of six HP Bright Office Inks with tuned colors profiles and a High Density Printhead deliver bold color and accurate image quality, in addition to more precise colors, including gray and soft tones.

Mimaki’s Tiger-1800B textile printer a hit in the industry Mimaki, a global manufacturer of wide-format inkjet printers and cutting machines for the sign/graphics, apparel, and industrial markets, has announced that its latest Tiger-1800B production-class textile printer has proven a hit among textile and apparel professionals during demonstrations at a series of industry tradeshows held in 2016 and 2017. The Tiger-1800B is available in direct to textile (reactive ink) and sublimation (heat transfer) versions.


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With a maximum printing speed of 385 m2/h, the Tiger1800B fits high-volume production environments that have traditionally printed using analogue printing methods, bringing the benefits of digital printing to these higher volume applications and making it more efficient and cost-effective to produce short runs, customised fabrics and garments, and samples. Ronald van den Broek, general manager sales at Mimaki Europe said, “With the Tiger1800B, we have moved from entrylevel and mid-range offerings to a true production model.” Digital printing of textiles

also addresses the massive amount of pollution attributed to the textile industry, one of the world’s biggest polluters. “With Mimaki Tiger-1800B, manufacturers of garments and home goods can take advantage of digital technology to reduce their environmental footprint, establishing a more sustainable operation while also providing brands and retailers with the benefits they are seeking,” Ronald added. Van den Broek said, “There is huge opportunity within the analogue-to-digital transformation in textiles and apparel, for Mimaki, as well as our customers and the brands and retailers they support.

QUICK BYTES New committee of Yamuna Nagar Offset Printing Association appointed In the recent meeting of Yamuna Nagar Offset Printing Association, the new working committee members were appointed. For three years, Vimal Vohra as President, DV Narang as Secretary and Sanjay Aggarwal as Treasurer have been appointed.

Texcare India



Globally known textile care forum, Texcare, marked its entry in India through a dedicated forum on laundry, cleaning and textile rentals. Organised by Messe Frankfurt India and Virtual Info Systems, the Indian edition attracted more than 170 attendees from over 120 companies. “The potential of the Indian market brings us here for Texcare and it has been a very pertinent platform addressing issues that meet market needs…The audience has kept us interested in understanding the different ways in which India works. We will take back a lot of insights from here,” shared Xavier Salas, international sales director, Girbau SA.

Massivit 3D Set to Push Frontier of 3D Printing Massivit 3D Technologies, the


Printing leading

provider of large format 3D printing solutions for visual communication applications, will use ISA Sign Expo (March 22-24 – booth 629) to demonstrate how print providers and sign & display companies can open the door to new application opportunities and drive growth with its unique large format 3D printing technology. Visitors to the Massivit 3D booth can witness this first-hand via live on-stand demonstrations as well as an extensive catalogue of spectacular, attentiongrabbing 3D printed projects. These will include customerengaging retail displays, super-sized selfie points and illuminated soft signage. Attendees will also discover how the technology opens the door to the production of stand-out, lightweight channel lettering that can be enhanced with video mapping.

Uflex launches first Glitter Printing Rotogravure Cylinder in India Adding to its wide range of innovations, Uflex launched its special glitter ink for flexible substrates such as paper and heat sensitive films on Monday. The glitter ink will get cured by LED lamps applied in-line with gravure printing process using solvent or water-based ink system. Uflex is the first Indian

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company to manufacture Glitter Printing Rotogravure Cylinder on its direct laser engraving line. Pigments of glitter inks are substantially bigger in size as compared to conventional gravure inks making rotogravure printing on substrates using glitter inks a challenging work for convertors. Thus the company has developed bigger sized customized pits (cells) that trap the high solid content of the glitter ink.

– Erode and Bhavani – T h u k k k a n a i k k e n p a l a ya m (T.N. Palayam) roads into four lane. He added that road works to the tune of Rs. 38 crore were completed by the Highways Department in Gobichettipalayam area and further works would be undertaken. Sengottaiyan said that books worth Rs. 6 crore and Rs. 5 crore would be provided to Anna Library and the library at Madurai Tamil Sangam respectively. Also, a new science library would be established in Tiruchi at Rs. 1 crore apart from an astronomy library in Coimbatore.


Indian artist Manjit Bawa’s artwork sold for a record-breaking Rs 7.78 crore

A new textile park will be established at Kolappalur in Gobichettipalayam taluk that will provide employment to 8,000 people, said Minister for School Education K.A. Sengottaiyan here on Friday. At the mass contact programme held at Gobichettipalayam, he said that the park would be established with both the Central and the State government funding and would help improve the economic activities in the region. The Minister said that steps would soon be taken to convert Sathyamangalam

Just a few days ago, renowned painter Raja Ravi Varma’s popular artwork, Tilottama, created a storm in the New York art market when it went under the hammer for $795,000 (Rs 5 crore approximately) at Sotheby’s Modern and Contemporary South Asian Art auction. Now, another Indian artist’s artwork is creating news. Manjit Bawa’s untitled oil-on-canvas, which was created in 2000, has been sold for a whopping Rs 7.78 crore, breaking the artist’s previous record of Rs 5 crore, which was fetched by his 1998 untitled artwork that was

New textile park provide 8,000 jobs

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

Key Features Print Heads Printing Resolution Rip Software Speed


Sales and Serviced by 2015

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

QUICK BYTES Constantia Flexibles acquires Creative Polypack Creative Polypack is India’s fourth largest flexible packaging group, manufacturing film-based flexible packaging for the food and home & personal care (HPC) industries, as well as paper-based soap wrappers. It is forecast to achieve sales of about €75m in the business year 2017/2018 and currently employs around 850 people at eight Indian production sites. Alexander Baumgartner, Constantia Flexibles chief executive, said: “Through this acquisition, we will become the third largest flexible packaging company in India – the fastest growing packaging market globally, with double-digit growth rates driven by the megatrend urbanization and the expansion of the retail sector. auctioned by Christie’s in New York last year. The painting featured lord Krishna and a cow. Born in Dhuri, Punjab, in 1941, Bawa studied at Delhi’s College of Art, and then did his diploma in Silk ScreenPrinting at the London School of Printing, Essex. The artist, who was known for breaking out of the dominant grays and browns and predominantly using traditional Indian colours like pinks, reds, and violet in his works, did solo shows in India and internationally, including the UK and Spain. Bawa was in a coma for nearly three years, after he suffered a stroke, and died in December 2008.

Aeoon Technologies unveils Kyo Hybrid Series printer

Aeoon Technologies, a developer of digital textile printers from Austria, unveiled its Aeoon Kyo Hybrid Series of digital printer at the recently held TV TecStyle Visions, the global trade fair for stickers, textile printers, digital printers, flocking experts, textile makers, advertisers,


and merchandising experts, from February 4 to 6, 2018, in Germany. The Aeoon Kyo Hybrid Series provides digital textile production on an industrial scale. With the new direct to garment and screen printer, it is possible to stay ahead of the technological curve in the garment decoration market. The Aeoon Kyo Hybrid combines the direct to garment printing technology with the screen printing technique. The new series allows a maximum of flexibility. One can choose between digital printing, screen printing, or a combination of both.

Maharashtra to start open school education board soon On the lines of the an open university pattern, the Maharashtra government is planning to start an open school board (OSB) to enable students complete school education outside the formal school education system. The new board will function under the Maharashtra State Board of Secondary and Higher Secondary Education. The syllabus of the board would be different from the regular syllabus of the Secondary Education Board. The board will have subjects like agriculture, economics, science and technology,

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bakery production, and also screen printing, information technology and co-operatives. It will also have languages such as Marathi, English, Hindi, Urdu, Gujarati and Sanskrit.

Mouvent to show TX801 digital textile printer at ITM 2018

up to 200 sqm/h without compromising on quality. The TX801 prints with an optical resolution of up to 2,000 dpi, resulting in the very highest print quality of the finished product. The machine can process knitted, woven and non-woven textiles with a maximum fabric width of 1,820 mm with roll diameters of up to 400 millimetres.

Telangana to set up Apparel Super Hub at textile park in Sricilla

Mouvent, a company focused on digital print using pioneering digital technology from Switzerland, has announced that the TX801, its ingenious new digital textile printer, will be demonstrated live at ITM 2018 Istanbul, Turkey. This will be one of the company’s first ever global trade shows demonstrating the TX801, an 8-colour multipass digital textile printer producing the highest print quality on textiles with up to 2,000 DPI optical resolution, associated with very high printing speeds. The TX801 prints with up to 8 colours and, even though it is a scanning type machine, up to 50 per cent of the print jobs can be completed in a single pass, boosting productivity

The Telangana government is setting up an apparel value chain system at the upcoming apparel park in Sircilla district at an estimated investment of Rs 100 crore in collaboration with apparel manufacturer Kay ventures. Coming up in an area of 20 acres, the Apparel Super Hub (ASP) will house 5,000 state of the art sewing units with its corresponding embroidery, printing, washing and value addition/support facilities and is proposed to be developed in three phases and will be fully operational in three years. The first phase of the project will come up at an investment of Rs 30 crore and will be operational in 9-12 months. While 90% of the investments in the first phase will be borne by the government, remaining will be funded by Kay ventures and their associates.

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

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


FESPA Asia 2018 brings together ASEAN wide format decision maker community

The recent FESPA Asia, which was held in Bangkok from 22 to 24 February 2018, was visited by 4,328 attendees from 66 countries. Visitors attended from countries spanning the ASEAN region, including Thailand, Malaysia, Singapore and Indonesia, as well as nations from the wider Asian continent, such as India, Sri Lanka, Japan and China. Visitors from Thailand made up 75% of the audience, an increase of 10% when compared with FESPA Asia 2017. Over 80% of attendees were either business owners or senior professionals involved in the decision making process, an increase of 13% compared with FESPA Asia 2017. 62% of visitors confirmed that their key reason for attending was to update their


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industry knowledge, with one in three attendees planning the purchase of new equipment. Roz Guarnori, Exhibitions Director, FESPA, comments: “Visitor feedback proves that FESPA Asia remains an influential and invigorating event that is able to bring together the wide format printing community spanning a vast geographical region. The show provides an invaluable platform for exhibitors to showcase their innovations and deliver up-todate information for visitors.” Satisfied Exhibitors 77 exhibitors from 16 countries participated in FESPA Asia 2018 and many expressed their satisfaction with the events

impetus to their business. Indian exhibitors and visitors too didn’t miss the show this year. Companies such as Zebbo Paper,Suryakiran Photopaper, Hittech Marketing and representatives of Dakota Chemicals were present among several other leading Indian companies. Franck Michaud, Area Director for Marabu Inks and regular FESPA exhibitor, comments: “FESPA Asia represents an excellent networking opportunity for businesses looking to develop their presence in what is currently a thriving economic area. Throughout my time at the show I was able to connect with both local and international professionals and discuss trends that are currently affecting the wider industry, such as textile

REPORT printing, which is a key area of interest.” Wrap Masters FESPA Asia 2018 also hosted the World Wrap Masters Asia competition, showcasing the skill and creativity of 18 talented vehicle wrappers and demonstrating the creative ways in which vehicle decoration can be used as a visually striking promotional tool. The winner of the competition was Russian wrap artist Yury Tebuev, while Roman Russu (Russia), Kishi Sahiro (Japan), and Tadashi Kariya (Japan) came in 2nd, 3rd and 4th place respectively. “There were some exceptional skills on display at the latest Wrap Masters edition,” says Yury Tebuev. “It remains a crucial event for professionals working in the car wrapping industry, not

just as a competition but also as a meeting point for wrap artists from around the world where we can share tips and tricks of the trade. At the end of the day, we’re among peers and we all speak a common language!” Roz Guarnori concludes: “We are very pleased with how FESPA Asia 2018 has been received. The show’s core message about the possibilities of speciality printing has clearly resonated with our visitors, while exhibitors have seized the opportunity to showcase their solutions to a wide international audience and potentially expand their businesses. We look forward to the next FESPA Asia in 2019.” FESPA Asia 2019 will take place from 21 to 23 February 2019 at the BITEC exhibition centre in Bangkok, Thailand.

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Norfoam enters new markets with SAi Software Solutions

SAi DisplayGenie complements EnRoute in development and production of new applications at Norwegian packaging company Norfoam AS of Støren (Norway) is a small, specialty company that offers tailor-made packaging solutions to protect sensitive equipment during transportation, operational use and storage. A long-time user of SAi EnRoute CNC-routing software, Norfoam has been using SAi DisplayGenie for carton and POP/ POS design and production for the past year. Roar Øien, Norfoam’s founder and CEO, has extensive experience in specialist packaging, having established two companies in the sector: Capro AS (est. 1989), and Norfoam (est. 2013), with his business partner, Jon Olav Rosøy.


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“Capro makes large carriers and flight cases for single and multiple items requiring a high level of protection,” Øien said. “It was while working there that in 2002, I first began using EnRoute software in the production of cut foam inserts.” Typical items for this packaging included industrial parts, sensitive instruments, medical and optical equipment, and musical instruments. The last played an important part in Capro and Norfoam, as both Øien and Rosøy are musicians, and it was because they used to make shipping cases for their instruments and equipment that they recognized the opportunity to start a business. Seeing a market for smaller, less expensive packaging than Capro was producing, Øien

and Rosøy established Norfoam, initially to serve the same industries. “We work for any company that needs its product to be protected,” Øien said. “This can be one-off jobs, or regular work for longer term customers. Norfoam’s products are not only smaller, but lighter; in a sense, we are complementing the work of Capro.” Norfoam still works with Capro; making packaging for individual items, or sets that can be placed inside Capro’s larger containers. Another important source of business for the company is sample-making and, depending on the requirement, it can either produce the final products, or provide the files for high-volume production. EnRoute is one of the

ADVERTORIAL software tools that Øien also uses at Norfoam, and it was when installing a new MultiCam Apex router from Alvøen AS, in Bergen, that he was told about SAi’s new Flexi-powered DisplayGenie software. The installation of DisplayGenie for carton and POP/ POS design and production not only facilitates Norfoam’s carton work, but also adds new product possibilities and revenue streams. “DisplayGenie integrates smoothly with our EnRoute software,” he said. “We use EnRoute to create CNC files for the MultiCam, for both cutting foam and the corrugated products. The library of ECMA and FEFCO1 templates for POP/POS displays, cartons and other products is very good. We can use them as is, or easily modify the designs. We then import them into EnRoute to generate the cut files for the router. “Where we have seen an opportunity is in the low-volume carton and display markets,” Øien said. “Larger carton producers are not interested in short run lengths, and can’t afford to do them. On the other hand, we handle corrugated sheets up to 2 x 3m and can make 1, 10 or 800 products, affordably and profitably. In fact, we are probably competitive up to about 3,000 pieces – and that gives us a market!” Norfoam’s market is one that has traditionally been forced, like Øien and Rosøy themselves, to come up with their own solutions for their packaging needs because professionally produced packaging was either unavailable or unaffordable. Working with Norfoam, customers receive products of equal quality to large manufacturers, with the added bonus of personal service at every stage.

“DisplayGenie can create 3D artwork in a PDF file so it can be rotated and seen from all angles. It is easy to send to customers for approval,” he said. “With DisplayGenie, we can position the customers’ artwork in the file, and it’s ready for printing.” Norfoam does not print – yet – but sends the completed files out for printing. “Depending on the job, sometimes the cutting is done by the printer; other times, it comes back to us from the printer for finishing,” he said. All design items can be handled by DisplayGenie, including artwork, logos, bar codes, QR codes, patterns, and variable data text, giving companies like Norfoam the ability to handle a wide variety of jobs. In addition, work may come to Norfoam from a variety of sources, including designers, brands and retailers as PDF, AI, EPS, JPG, TIF, PNG files and be imported into DisplayGenie. Finished files can be quickly exported as PDF and DXF files for rapid proofing, and to flatbed cutters, or wide-format RIP software. “We are still relatively new at POP/ POS display work, but use DisplayGenie for carton design, which now represents about 40

percent of our business,” Øien said. “The other 60 percent is our work in foam inserts.” Today’s user-friendly software, like SAi EnRoute and DisplayGenie, along with 3D PDF programs operating with digitally-driven and highly accurate routers, and cutting, creasing and scoring tools, provide great flexibility to small companies like Norfoam. They enable them to offer high-quality, high-impact packaging and displays in short runs to a wide variety of vertical markets. “There is no doubt that DisplayGenie has made carton and display design easier,” he concluded. “It has opened new possibilities for us, and we have found SAi very helpful, professional, and responsive to work with. As a result, we can see our work with displays growing in the near future.”

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Five major technology advances in UV curing you should know

According to The Future of Radiation Curing Print Markets to 2022, print produced using radiation curing (UV and electron beam) inks and varnishes in 2017 totalled roughly 1.38 trillion A4 prints, a value of $63.4 billion. The market is growing at around 2-3% annually in tonnage terms. With ink revenues growing faster than the overall graphics and packaging market, users are taking advantage of instant drying to improve their production efficiencies and exploit both decorative and functional properties of the inks and coatings. Radiation curing not only saves time by instant drying but it also enables various efficiencies across a wider production process. While print volumes in graphics generally is falling by


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3.0% per year between 2012 and 2022, the radiation curing print segments of this, and the still booming packaging market, are poised to expand market share. Radiation curing volume will grow by 25.0% by volume and 33.6% in value terms across this period. Smithers Pira identifies the key developments in ink and varnish formulation and curing technologies that are underpinning this expansion. Low-energy UV Curing UV curing methods are changing. The majority of ultraviolet drying in 2017 is still carried out using mercury vapour quartz lamps, but these take time to warm up and there are potential health and environmental hazards at end-

of-life. These limitations are amplifying the benefits of lowenergy curing. This curing system is designed to dry the print using much less energy than the traditional mercury vapour lamps, with a single mercury doped lamp. The system uses special inks that command a premium over the traditional UV curing inks and varnishes. These lamps do not emit the shorter UV wavelengths that generate ozone, removing the need for ozone extraction. They produce less waste heat, so require less cooling, which further reduces the power consumption. The technology is now being taken up in North America and Europe. Low-energy curing can be used on perfecting presses

GUEST COLUMN with two lamps to dry each side, and Komori has commercial web presses using H-UV technology instead of a hot air oven, thus reducing the press footprint – which is important in its home market of Japan, where the very high cost real estate make space saving potentially a significant cost advantage. UV LED Curing UV LED curing uses lightemitting diodes that emit a narrow band of UV, delivering a peak of UV energy, which provide a broad distribution of output across the spectrum, including visible and infrared. LED curing offers even less energy than the low-energy mercury bulb UV systems, and there is an instant on-off, which can reduce further the downtime required in waiting for the lamps to come to full power, as well as providing significant energy savings through synchronisation of cure with ink laydown. The drawback is limited availability of suitable inks, and the high cost premium currently associated with them. The range of UV LEDs commercially available is growing, shadowing LEDs wider use in general lighting installations. Printers that are already using UV LED are reporting energy consumption as much as 70% lower than conventional UV systems. Another attraction of UV LED systems is their colour brilliance, stemming from higher pigment content. UV LED is moving beyond niche applications into highervolume segments in some European countries, such as sheetfed printing, where the technology has the advantage of being able to provide high colour

strength. Electron beam curing Electron beam curing uses a high-powered electron beam to initiate the free radical polymerisation reaction. A curtain of accelerated electrons is emitted towards the printed surface, in an evacuated chamber. The energetic electrons pass through a titanium window foil towards the wet ink, the energy is absorbed by the ink layer and the curing process takes place. The benefit of the technology is the penetration of electrons into the body of the inkfilm, rather than just at the surface, ensuring good throughcuring. It is widely used in the Americas on wide web presses, but less so in Europe. There are developments to broaden its use through lowercost and smaller EB curing units, including for the first sheetfed processes, and ink technology to broaden the use on flexo and gravure presses. The proportion of electron beam in radiation curing remains low (at just 4–5% in 2017) with most in North America and lower elsewhere. Low migration inks and coating As radiation curing is widely used in food, pharmaceutical and tobacco packaging, it is important that no component can migrate from the print into the product and cause any organoleptic effects. This is particularly important in tobacco packaging, where the criteria for odour-free and migration-proof packaging are driven by the fact that tobacco is hygroscopic. Odour and taint are potential issues for all

converters. Ink manufacturers are formulating low-migration inks using selected components, which should ensure that migration from the resultant printing ink film will be within accepted migration limits. Ink formulators may choose components from the known range of approved ingredients, or choose the new classes of materials becoming available that offer inherently lower potential contamination. This issue is now being approached via new legislation announced in 2017 in the EU, and other markets like Japan. Hybrid inks Several ink manufacturers are exploring new methods of formulating inks to broaden the range of applications for UV and electron beam inks and to improve their performance on press. In flexible packaging on common impression flexo presses there is limited space for interdeck drying, and ink manufacturers are developing UV and EB curing inks with water or solvents. These act as diluents, and there is a degree of evaporation at the print stage that enables improved wet-on-wet trapping. There are developments in water-based electron beam gravure printing, for example IdeOn at Amgraph Packaging in Connecticut uses water as a diluent for electron beam-curable gravure inks. A significant advantage of these hybrid inks is that they are not classified as hazardous materials, which traditional 100% solid UV inks and coatings are. This means manufacturers do not have to apply a hazardous chemical label onto the pack, and they can be transported in bulk – whereas a UV ink categorised as hazardous cannot be transported in a container larger than 25 litres.

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August - September 2013 | SCREENTEX |






UV DRIER 2” - 30”




The price of eco printing By Laurel Brunner

Sustainability consultant Laurel Brunner says that publishers have the power to determine how green the printing industry can be. Publishers often know what they want to publish, although they may not know how they want it printed. It’s a step too far to care about the production of a book or magazine, when you’re worried about getting the content and sales projections right. This is not surprising: production and printing are usually someone else’s outsourced problem. Over 30 years ago technology made it easier for content creators to get their content published. The introduction of desktop publishing (DtP) revolutionised the graphics industry which lead to extensive disruption and increased awareness of print’s numerous dirty secrets. The DtP revolution transpired due to technology, but also since prepress and printing industries were eager for change. Change has continued to mould the graphics industry, small publishers such as Unbound chooses the content to publish using a crowd funding model. As a result, they are gaining prominence in today’s printing and publishing industry.


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The first Apple Macintosh made famous by Steve Jobs started the DtP revolution. We have had first-hand experience with the early Mac models. We have experienced the Xerox Star so the Windows, Ikons, Mouse and Pointing techniques used in the Mac’s graphical user interface were familiar. We have fiddled with high end page layout and composition tools, the delights of Aldus PageMaker (the first desktop page layout software) were also comparatively familiar. Except that this little box was a machine with a price a fraction of what professional systems cost. Adobe’s PostScript page description language unified text and graphics into a single output stream, processing rasters to screen and printer. Thanks to the incorporated Linotype fonts, beautiful typeset pages could be output. Apple LaserWriter was the first desktop printer to print true font at 300 dpi allowing viewed pages to be printed. Linotype’s Linotronic 300 was the first typesetter to accept PostScript input for 2400 dpi output which was sufficient for both film and platemaking. It was the beginning

of the end for conventional prepress and publishing. DtP technologies created awareness and encouraged everyone to use typography and composition in their communications. They laid the foundation for greater awareness of printing and the negatives associated with volume production and waste. Today the conversation between publishers and printers need to evolve and move on. Publishers now have the power to determine how green the printing industry can be. As with any service industry printers mostly depend on their customers for their direction. For example, publishers can dictate that they want printing to occur close to distribution points. They can require printers to use technology that use reduced energy, water and materials during the print cycle. Publishers can specify the use of recycled paper and vegetable based inks, and choose to commission companies with zero waste to landfill policies. Sustainable print is in control of publishers regardless of size. If they are willing to accept that such an approach will come at a price, it is a price worth paying.


Why Don’t Decorators Use The Newest Technologies? By Andraya Vantrease

Last year, online fashion accounted for nearly 20% of retail e-commerce sales in the United States – a total of more than $458 billion. This massive sum of business is changing expectations for apparel customers, who thirst for on-demand personalized garments that can be manufactured in small quantities and delivered at incredible speeds. “Online shopping has turned the idea of supply and demand on its head,” says Omer Kulka, VP of marketing and product strategy for Kornit, which manufactures digital inkjet printers for the apparel decoration industry. “Instead of selling what we’ve already manufactured, we’re being asked to manufacture what we’ve


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already sold.” The truth is this emerging model can be difficult to capture with screen printing and other manual decoration methods. By contrast, digital techniques such as direct-to-garment printing (DTG) and sublimation are perfect for it; they deliver quick, customized designs with onepiece minimums, conveniently leaving room for constantly changing apparel trends. DTG and dye-sublimation aren’t that new; their primitive origins date back decades, and their current commercial forms are old enough to have been Bar Mitzvahed. But the belief is these

techniques are on the rise. In fact, the digital decoration techniques were ranked first and second in the Wearables State of the Industry survey when decorators were asked which techniques would exhibit the most growth in the next five years. That’s a look into the future; the current reality is a different story. Only a third of decorators offer sublimation, while a quarter offer DTG – both figures declining from 2016. (Embroidery, heat transfers and screen printing rate much higher.) Only 13% of decorators plan to add either of these techniques this year. Buyer recognition of these digital techniques also lags significantly

GUEST COLUMN behind other methods. Equipment manufacturers continue to refine these technologies, aggressively seeking ways to make them faster, userfriendly, durable and cost-effective. Still, manufacturers and decorators agree that several challenging factors remain: the up-front investment and everyday cost of printing, a steep learning curve with new technology, production bottlenecks and the necessity of bringing in steady business to maintain the machines. And yet, with all that said, digital decoration techniques have proved they have a purpose and place in apparel shops. “The online revolution is a major force that’s pushing everyone into a space where we have the technology to make decorators more profitable – if they’re willing to make the leap,” Kulka says. The question for decorators: Is now that time? Investing in the latest technology is a challenge – the excitement of new capabilities is tempered by the cost of investment and the time it takes to integrate and streamline processes. It can be difficult to step back far enough to make it all work. But when it comes to digital decoration, thriving shops have successfully made them work. Rob Dubow, owner of Dubow Textil, runs eight Kornit DTG printers in addition to five automatic screen-printing machines and 230 heads of embroidery. Digital techniques account for 25% of the company’s gross revenue, which has grown considerably since Dubow entered the B2C market a few years ago. “The demand for full-color prints with no minimums is what drives the digital business,” Dubow says. “Ad specialties are selling to

businesses, and those businesses are looking to purchase similarly to the B2C market.” Rowboat Creative (asi/83710) added DTG and dye-sublimation capabilities almost six years ago. “We’ve always been on the forefront of industry technologies to help push our capabilities ahead,” says Lucas Guariglia, president and director of sales. DTG allowed the Chicago-based company to print on-demand, but clients loved the ability to see a production sample without higher setup fees before committing to a full screen-printing run. (Guariglia tells clients the results aren’t “apples to apples,” but clients appreciate seeing something tangible.) Meanwhile, the company uses dye-sub in its cutand-sew program for patterned panels and all-over sublimation. “Sublimation is an amazing decoration process,” Guariglia says. “You just need to really understand the medium to start to push its limits.” Scalable Press (asi/87178), one of the largest digital print companies in the industry, runs its DTG printers 24 hours per day, five days per week in four production facilities across the country. The company employs over 300 people and runs three shifts per day to keep up with the order volume. “It’s a huge

competitive advantage for us to have so much volume going through these machines,” says Doug Sill, VP of sales. “You have to know who to target and how to get the business required for the machines to be worth the expense.” Like any decoration solution, there’s an initial cost to get started. Entry-level DTG printers can start at a few thousand dollars and range up to high-end commercial behemoths with a $200,000 sticker. Sublimation printers are more affordable – Sawgrass Ink offers a smaller printer up to 8.5” x 14” for around $600 for a full set of ink, while its larger model (11” x 17” without a bypass tray and 13” x 19” with) costs $1,700. Both techniques require a heat press as well, to either cure the ink for DTG (a conveyor dryer for screen printing also works) or to transfer the inks into the garment for sublimation. But as with any technology, the investment can be offset by the business it unlocks. And that’s where the difficulty ramps up. With DTG, “I don’t think the challenge is as much an up-front financial burden as it is an efficiency burden,” Sill says. “Decorators get into it because they’re excited about one-off orders, but the only way this really works is if your machines are running all the time. If not, it becomes a major money pit.” There’s a simple reason for that: “DTG printers historically do

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GUEST COLUMN not work well when they sit in the corner and are used occasionally,” says Deana Leelachat, trade show and marketing manager at Anajet (asi/16000). “They need to have ink flowing through daily or print heads dry out and nozzles break. Many decorators don’t have enough sales to run it every day, then when they do have a big order, they realize it doesn’t work properly and that interrupts productivity.” Improving durability to withstand longer periods between orders has become a priority. In response, Anajet recently launched the R100, an affordable, portable printer that can quickly heat up after sitting on the shelf for weeks. “This product is intended to help businesses get into DTG sooner,” Leelachat says, “because it’s significantly less expensive, it’s portable to bring to their trade shows and events when they’re out educating customers on this method of printing, and it’s not as fragile with maintenance as some of the larger machines.” Other barriers remain. Pretreatment and printing are both time-intensive activities. Ink usage and the associated cost have also been a concern – fine for lowminimum orders, but difficult to compete with screen printing for larger runs. Kornit squarely focused on that with its announcement in January of the Avalanche HDG. The company says it will reduce ink consumption by as much as 46%, depending on which previous model Kornit users have. Kulka says, “the target before was never screen printers,” attributing the difficulty of shifting to a digital format. “Now,” he says, “we can offer them something that tackles a lot of the issues digital printing traditionally has. It could revolutionize the way they work and give them an edge that wasn’t there before.”


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Compared to DTG, sublimation may have less technological setbacks, but it’s not without its challenges, including the efficiency of the technique. “While there are machines that can sublimate directly to roll fabric, most facilities simply know the process of printing the sublimation paper first and then needing to heat press the substrate or garment,” says Guariglia. “This is obviously timeconsuming when you get into volume.” And while the technology is wondrously versatile (a single solution for apparel, signage, hard goods and more), it only works on apparel with synthetic fibers (ruling out cotton). Oversized and allover decorations on finished garments can pose challenges due to seams, folds and raised areas blocking the design. Sublimating before the cut-andsew process is ideal, but very few shops have those capabilities. These roadblocks are far from insurmountable. It doesn’t mean decorators are left to their own devices. The size of a sublimation printer determines what it can be used for (larger ones, for example, can accommodate bigger signage and all-over apparel printing), and Sawgrass has expanded the range of its printer sizes to accommodate a wider range of applications. “Digital decoration is now more accessible than ever, and it’s not so much the advent of more technologies as it is the size and affordability of the options,” Kavanagh says. Sweatshirts with custom sublimated hood linings are the top-selling product at FPS, but that didn’t occur by happenstance. The supplier used

its website, product videos, ads, email blasts, media coverage and samples to educate end-buyers. “A physical sample or even a spec sample usually has the most success because it’s such a unique product and decorating process that end-users really need to see it in person to get the full impact,” Johnstone says. As a result, FPS produced 53% more custom sublimated hoodies in 2017 than the year before. Screen printing, embroidery and transfers have been around for decades, and most buyers are familiar with them. Beyond that, “we do find that a good majority of buyers are not educated across the board on a lot of techniques,” says Rowboat’s Guariglia. The company offers embroidery and screen printing in addition to dye-sub and DTG, and Guariglia says Rowboat makes a point of educating anyone about the techniques it offers. “It’s not only important to help guide certain projects and orders,” he says, “but it also helps create inspiration and open up modes of thinking these individuals might not have considered.” Decorators may hesitate to add these options because of their lack of knowledge. And even when they do, says Kavanagh, they may have trepidations about learning to use digital techniques or be too busy with their existing business to put in the time and energy they require. “As manufacturers, we take it upon ourselves to begin the education process for the industry, but we do have to decide who our target customers are and who’ll be open to digital techniques,” he concludes. Andy Vantrease is a contributing writer for Wearables.


A decade old tryst with print, a two decade old love for printing

Anil Brahmbhatt, Managing Director of SkyScreen India started his journey a decade ago and has gradually taken the company to a new zenith. “There is more than 20-year history behind the 10 successful years of Skyscreen. I have been into screen printing business since 1992,” he said. From retail counter business at Mumbai’s Khadilkar Road – a dense wedding cards market – to a company that held distributorship of many reputed brands. Today, he is a partner of several internationally renowned brands like as Ulano, USA (for screen making films, chemicals and accessories); Nittoku-Japan (for Smart Mesh); Marabu-Germany (screen inks); Fimor-France (Squeegees); Zhongyi-


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China (UV special effects varnishes), Stahls-USA (Heat Transfer vinyl films and Heat Press for garment decoration), and GCC-Taiwan (Plotter cutter), Vikiallo (Vinyl Remover) After 10 years long association with the consumables, Anil has now ventured into DTG business through an association with South Korea based ecofriendly and economic digital printing technology provider, Ecofreen. Ecofreen, with its factory at Gyeonggi-do city, manufactures digital textile printing machines. The company has developed a range of machines though intensive R&D, followed by a Kaizen inspired process of

constant improvement based on customers’ feedback. Skyscreen was one of the companies which had expressed interest in Ecofreen. “During our discussions, I sensed he was serious about the partnership. India is a potential growth market for our DTG printing machines and other products. It made total business sense to work in tandem,” David Kang, Chief Executive Officer of Ecofreen said. India is a very different market with varying environmental and shopfloor conditions. Thus, it warrants machines which take into consideration these factors. Commenting on the same, David said, “Our Ecofreen brand DTG printing with Double platen, Dx7 print head, is best suited for India market. We offer total solutions for DTG printing with the most diverse range of textile printing equipment.” The company also manufactures automatic pre-treat spray machine. “It is designed to pre-treat garments automatically before printing. With smooth and precise injection of this machine, you can get fine quality of printing and consistent outcome. It is light weight and has compact size. One can carry and place in the limited space,” he added. Anil has been an advocate of customer centricity. He states understanding customer’s need from diverse industry has been paramount to SkyScreen’s functioning as an organization. Thus it made sense why the decision to start with a DTG partnership. “The world is now moving towards digital including textile/garment decoration and why

SPOTLIGHT should we left behind? Although majorly we are dealing in screen printing materials, we have decided to diversify into direct to garment digital (DTG) printing segment so that a balance is maintained in our product portfolio. For the last 10 years we have been carrying out our screen printing materials business successfully with customers all over India, Sri Lanka and Bangladesh. However, to grow further we needed some additional attractive product portfolio, something Gen-Next. So DTG printing is a fast emerging area which we wanted tap quickly,” he said. Although their major area of business is still screen printing sector, two years ago Skyscreen had added digital and heat transfer element into its growing product portfolio. “Stahls range of products

is meant for starting personalized t-shirt printing business. We have a special Stahls Studio cum demo centre, spread over 600 sq. ft where customers come for trials and training. Moreover, we have also started offering personanlised t-shirt printing service to corporate and individual customers as we have a facility there,” added Anil. Even though his focus is to gain market in the digital space, discussing about the future growth, Anil stated that there is still a lot of promise in stencil making too. “In India there aren’t many such service providers. Many printers do not have in-house screen making set up, yet they want quality screens. Many offset printers who offer value addition do not have screen making set up. They also want quality stencils.

We felt the necessity to offer ready to use stencils. So, for the last ten years we have been offering ready to print stencils, in addition to ready to use screens. Our 7000 sq.ft facility situated at Bhiwandi houses this stencil making set up in addition to warehouse,” he concluded.

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Indovation from Chakr to fight Airpocalypse

‘Airpocalypse’, a report published by Greenpeace India claims every year nearly 1.2 million people lose their lives due to air pollution in the country. One of the major sources of this pollution is the unburnt fuel in the form of particulate matter (PM2.5 and PM10) which are released from diesel generators. The extent of the air pollution and the health hazards faced by the citizen is conspicuous from the media stories and series on how unbreathable the country becomes during the winters in the northern region of the country. For those who follow the Forbes issues and the TED Talks closely, it would be unlikely that they would have missed Chakr Innovation. An innovative technology startup started by three young college friends -- Arpit


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Dhupar, Kushagra Srivastava and Prateek Sachan -- is creating a revolution through sustained pollution control by reducing emissions from diesel generators. The company’s core product Chakr Shield, captures diesel soot from generators and converts it into inks and paints. Kushagra Srivastava, cofounder and chief executive officer of Chakr Innovation, is an engineer from the Indian Institute of Technology Delhi. He was born and brought up in New Delhi, one of the world’s most polluted cities and was inspired to take action when he saw his close ones suffer from the dreadful effects of air pollution. Kushagra credits the local sugarcane juice maker for the idea of innovation. It started as a joke between the three friends as

they sipped a glass of sugar cane juice. They noticed how a nearby wall was blackened by the fume spewed by a diesel generator. They joked that air pollutants should be extracted to paint all the walls of Delhi black. The idea helped them win numerous accolades, including winning the University of Chicago Urban Labs India Challenge, 2016. The rest is history. After a year’s research, a retrofit device called Chakr Shield was patented in 2016. It is a hardware machine which is attached to the exhaust system of diesel generators and it captures 70-90 per cent of the particulate matter, ranging from PM 1 and PM 2.5 to PM 10. The gas that is released from the exhaust comprises PM, sulphur and nitrogen oxides. In the end, a solution is added to the gas which gives ink

WALKTHETALK as a by-product that can be used for printer cartridges and paint. As of now, it has 18 customers across industries. Its first installation was at American Tower Corporation, and the biggest one was with oil and gas company where the challenging part was placing the product at the top of a high building. According to Kushagra, ever since their days in college, they all were interested in working something on cleaning technology and something that could help fight pollution. But why Chakr? Kushagra says the team thought over it for long and then they came to a conclusion: because it’s a cyclic process, where we use pollutants to create ink and paint — which is a value-added product, created out of waste. Chakr was part of BOSCH India’s DNA Accelerator Programme and got backing for product

development and technology commercialisation. In 2016, it was a winner of India Innovation Growth Programme, held by the Department of Science & Technology, and in August 2017, it won a grant for new technology development from Indian Oil Corp. It has raised over $1.5 million in form of equity funding and grants. The three co-founders later roped in Tushar Batham for product innovation, Bharti Singhla to head the brand’s strategy, Alok Goyal to look after business development. Today it is backed by a team of 18 engineers who have found a way to repurpose the carbon particle emitted from the diesel generators for a sustainable and greener tomorrow. This year, Kushagra and his

team are going to test the system at 25 different locations in Delhi. These tests will take place alongside 25 other sites where the device will not be present. Throughout the year, pollution levels in these locations will be compared. The device’s performance will be the basis on which the Delhi government will decide whether the Kushagra Srivastava technology deserves large-scale implementation. Now that’s what we call Indovation – Indian innovation for the larger good.

February - March 2018 SCREENTEX |



Long before one can write an obituary for print

Although the industry has had to contend with an influx of digital technologies in recent years, a new study by Two Sides suggests consumers still prefer print when it comes to recreational reading. Commissioned in June 2017, the survey asked more than 10,700 consumers in 10 countries around the world about their preferences when it came to reading print and digital communications. One of the most intriguing findings from the report was that 72 per cent of all respondents cited print as their preferred media for reading books, compared to just nine per cent that listed e-books as their preference. Printed magazines also proved just as popular, with 72 per cent opting for print over digital. Speaking about the recent findings, Tandy Wakeford, events and membership manager at Two Sides, said: “Overall, findings conclude that consumers around the world trust, enjoy and gain a deeper understanding of information read


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in print, with clear signs of digital fatigue, particularly amongst the younger generations. There is a crisis in confidence for digital media advertising following stories of big brand ads appearing alongside terrorist, child abuse or fake news content. Given the recent report in New York Times, that consumer trust in traditional media has risen to 61 per cent, alongside our own research, it is fair to say that print remains the preferred media to address consumer choice and our industry should remain positive and optimistic.” The results of the survey reflect something of a wider trend in the global printing industry, with confidence in the media noticeably on the up. While print-based publications are a clear favourite among consumers, agencies and brands are returning to print to help spread their messages to the public, as opposed to digitalbased methods such as email.

India on growth path According to the latest Indian Readership Survey, the total readership of newspapers (including the smaller local titles that are not registered with the INS) has crossed 40 crore from the earlier number of 29 crore plus readers. Although it is not absolutely right to compare the figures of 2014 (when it was last held) and now, since the methodology has undergone a huge change. Surprisingly, there has been a rejig at the top 20 publications with Times of India standing as a lone English publication in the rankings. Dainik Jagran, Hindustan and Dainik Bhaskar lead the rank list, while Deccan Herald reported a decline in its circulation. However, there is a silver lining. Despite the onslaught from digital medium print readership is apparently growing. Ashish Bhasin, chairman MRUC (Media Research Users Council) and chairman and CEO, Dentsu Aegis Networks said, “According to the findings of the Report, 39% of Indians (12+ years) read newspapers, and 20% of all newspaper readers in 50 Lakh plus population towns read newspapers online. These numbers most definitely tell us that there is a bright future waiting for the Print industry. I’m also hoping that we will now begin to see advertisers and media agencies taking Print more seriously. Increased readership numbers for newspapers and magazines will pave the way for publishers to increase their revenues, which would in turn help increase the size of Print as a medium.”















Move over 3D Printing. We’ve RLP

Researchers at the Massachusetts Institute of Technology have developed a revolutionary new form of 3D printing that can produce large objects such as chairs in a fraction of the time of regular printers. Rapid Liquid Printing physically draws in 3D space within a gel suspension, and enables the creation of large scale, customized products made of real-world materials. Compared with other techniques we believe this is


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the first development to combine industrial materials with extremely fast print speeds in a precisely controlled process to yield largescale products. 3D printing hasn’t taken off as a mainstream manufacturing process f or three main reasons: 1) it’s too slow compared to conventional processes like injection molding, casting,

milling, etc. 2) it’s limited by scale – although it’s good for creating small components, it’s not possible to produce large scale objects 3) the materials are typically lowquality compared to industrial materials. Rapid Liquid Printing addresses all of these limitations: it is incredibly fast (producing structures in a matter of minutes), designed for large scale products


(you can print an entire piece of furniture) and uses real-world, industrial-grade materials. The Self-Assembly Lab worked with US furniture company Steelcase to develop the process known as Rapid Liquid Printing, which involves extruding material from a computer-controlled nozzle into gel. This allows them to print large-scale structures very quickly, creating a range of possibilities for furniture production. The team’s aim was to tackle the three main challenges that they believe have prevented 3D printing’s widespread adoption in manufacturing: speed, scale and material properties. According to the team, the reason why this is better than 3D printing technology is because nearly every printing process utilises layers, and those layers degrade the structural property of the material compared to a consistent material all the way

through. Rapid Liquid Printing allows the robotic aperture to draw freely in 3D space, constrained only by the size of the tank. The gel, similar to hair gel, suspends the extruded material so it does not have to fight gravity or require a base plate to build upon. The team has experimented with a variety of printing materials, including plastics, rubbers and polyurethanes with different properties. In each case, two materials are mixed in the nozzle and chemically cure as they are extruded. The material is pushed out like toothpaste from a tube, so has better structural integrity than if it was laid down as a series of layers – essential if it needs to bear weight. One of the first applications of Rapid Liquid Printing was a series of furniture pieces, presented during Milan design

week in April 2017. Collaborating with Swiss product designer Christophe Guberan, the team produced a set of items made from printed latticed surfaces to demonstrate the potential of the technology. Designer Yuka Hiyoshi from Steelcase has also used the process to create a tabletop that can be made to the exact size required by the customer, as part of a collection called Bassline. Steelcase sees the technology as an important step in developing customisable office furniture and spaces, while Tibbits believes it also has wider potential. He thinks it could utilised in any large-scale manufacturing, including aerospace, automotive and architectural applications. Tibbits presented the project during the Being Material symposium, which was organised by MIT’s Center for Arts Science and Technology (CAST) and took place from 20 to 22 April 2017.

February - March 2018 SCREENTEX |


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Flexible, water-repellent graphene circuits for washable electronics

New graphene printing technology can produce electronic circuits that are low-cost, flexible, highly conductive and water repellent. The nanotechnology “would lend enormous value to self-cleaning wearable/washable electronics that are resistant to stains, or ice and biofilm formation,” according to a recent paper describing the discovery. ”We’re taking low-cost, inkjetprinted graphene and tuning it with a laser to make functional materials,” said Jonathan Claussen, an Iowa State University assistant professor of mechanical engineering, an associate of the U.S. Department of Energy’s Ames Laboratory and the corresponding author of the paper recently featured on the cover of the journal Nanoscale. The paper describes how Claussen and the nanoengineers in his


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research group use inkjet printing technology to create electric circuits on flexible materials. In this case, the ink is flakes of graphene - the wonder material can be a great conductor of electricity and heat, plus it’s strong, stable and biocompatible. The printed flakes, however, aren’t highly conductive and have to be processed to remove non-conductive binders and weld the flakes together, boosting conductivity and making them useful for electronics or sensors. That post-print process typically involves heat or chemicals. But Claussen and his research group developed a rapid-pulse laser process that treats the graphene without damaging the printing surface - even if it’s paper. And now they’ve found another application of their laser

processing technology: taking graphene-printed circuits that can hold water droplets (they’re hydrophilic) and turning them into circuits that repel water (they’re superhydrophobic). “We’re micro-patterning the surface of the inkjet-printed graphene,” Claussen said. “The laser aligns the graphene flakes vertically - like little pyramids stacking up. And that’s what induces the hydrophobicity.” Claussen said the energy density of the laser processing can be adjusted to tune the degree of hydrophobicity and conductivity of the printed graphene circuits. And that opens up all kinds of possibilities for new electronics and sensors, according to the paper. “One of the things we’d be interested in developing is antibiofouling materials,” said Loreen

TECHNOLOGY Stromberg, a paper co-author and an Iowa State postdoctoral research associate in mechanical engineering and for the Virtual Reality Applications Center. “This could eliminate the buildup of biological materials on the surface that would inhibit the optimal performance of devices such as chemical or biological sensors.” The technology could also have applications in flexible electronics, washable sensors in textiles, microfluidic technologies, drag reduction, de-icing, electrochemical sensors and technology that uses graphene structures and electrical simulation to produce stem cells for nerve regeneration. The researchers wrote that further studies should be done to better understand how the nano- and microsurfaces of the printed graphene creates the water-

repelling capabilities. The current studies have been supported by grants from the National Science Foundation, the U.S. Department of Agriculture’s National Institute of Food and Agriculture, the Roy J. Carver Charitable Trust plus Iowa State’s College of Engineering and department of mechanical engineering. The Iowa State University Research Foundation is working to patent the technology and has optioned it to an Amesbased startup, NanoSpy Inc., for possible commercialization. NanoSpy, located at the Iowa State University Research Park,

is developing sensors to detect salmonella and other pathogens in food processing plants. Claussen and Stromberg are part of the company. The graphene printing, processing and tuning technology is turning out to be very useful, Stromberg said. After all, “electronics are being incorporated into everything.”

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nesleer nw efkeÀ efkeÀme lejn keÀe keÀuej iewcesì efHeÀj mes GlHeVe efkeÀ³ee pee mekeÀlee nw,efJeMes<e FbkeÀmesì oskeÀj~ FmeefueS,³eefo DeeHekeÀer ef[peeF&ve ceW kegÀí jbie Del³eble cenlJeHetCe& nw DeeHekesÀ efueS ,lees megefveefM®ele keÀjW efkeÀ efÒebìj GvnW mener lejerkesÀ mes GlHeVe keÀj mekesÀ Deewj Henues mes efÒebì efkeÀ³ee ngDee, neLe mes Henues mener jbie keÀe ÒetHeÀ,FmeefueS peye DeeHe Debeflece efÒebì ÒeeHle keÀjles nQ lees efvejeMe veneR nessles~ keÀþesj ³ee ceguee³ece ÒetHeÀ? efÒebì GlHeeove kesÀ efueS SkeÀ ef[efpeìue efÒebìj keÀe GHe³eesie keÀjves keÀer Ketyemetjleer ³en nw efkeÀ DeeHe Fme efÒebìj keÀes ÒetefHebÀie GHekeÀjCe kesÀ ©He ceW GHe³eesie efkeÀ³ee pee mekeÀlee nw~ ³en mebYeJe nw efkeÀ DeeHekesÀ Deeì&Jeke&À keÀe GoenjCe Gmeer efÒebìj ceW efÒebì nesvee ®eeefnS efpemeceW DeeHekeÀe Debeflece HeefjCeece kesÀ efueS efÒebì nesvee nw~ uesefkeÀve otmejs ef[efpeìue GHekeÀjCe Hej efÒebì HeefjCeece kesÀ keÀF& otmejs jemles nQ,efpemeceW cee@veerìj Meeefceue nw~ ³en ef[efpeìue Òesme keÀe HeefjMeesOeve Deewj efJeMes<elee yeveeves kesÀ efueS yeveeF& ieF& DeeF&meermeer ÒeesHeÀeF&ue keÀe GHe³eesie keÀjkesÀ nw~ ³en lekeÀveerkeÀ keÀF& meeueeW lekeÀ jner~ Debleje&<ì^er³e keÀuej kebÀmeesefì&³ece efpemeves Fme lekeÀveerkeÀ keÀes Henueer yeej Meg©Jeele keÀer Leer,FmekeÀer mLeeHevee 1993 ceW ngF& Leer~ uesefkeÀve kegÀí keÀejCeeW mes ³en jbie ÒeyebOeve lekeÀveerkeÀ Hetjer lejn veneR mecePee ³ee meYeer ûeeefHeÀkeÌme Deeì& Fb[mì^er ceW GHe³eesie veneR efkeÀ³ee pee mekeÀe~ mener lejerkesÀ mes keÀe³ee&eqvJele efkeÀ³es ie³es keÀe DeLe& nw efkeÀ nj GHekeÀjCe pees yeveeves kesÀ efueS Òe³eesie efkeÀ³ee nw,HeefjJeefle&le ³ee Hegve&GlHeeove jbie keÀes DeeF&meermeer lekeÀveerkeÀ keÀe GHe³eesie keÀjkesÀ kewÀueesyejsì Deewj ef®eef$ele efkeÀ³ee pee mekeÀlee nw~ FmekesÀ kesÀvê ceW DeeF&meermeer ÒeesHeÀeF&ue nw, DeeBkeÀæ[eW keÀer HeÀeF&ue pees ³en HeefjYeeef<ele keÀjlee nw efkeÀ GHekeÀjCe keÀewve mee efHeÀj mes keÀewve mee keÀuej iewcesì GlHeVe keÀj mekeÀlee nw~ FmeefueS,Deiej DeeHe DeHeves Fcespe keÀes

S[esye (Deejpeeryeer) ceW mesJe (megjef#ele) keÀjles nQ lees GoenjCe kesÀ efueS,DeeHe ueieYeie 1.2 efceefue³eve keÀuej iewceì kesÀ meeLe keÀece keÀjles nQ~ ³eefo DeeHe FvnW Deejpeeryeer kesÀ ©He ceW mesJe keÀjles nQ ( ûeenkeÀ kesÀ kewÀcejeW Deewj Jesye ÒekeÀeMeve kesÀ HeÀesìes kesÀ efueS Deewj Deece nw),yepee³e DeeHe keÀjerye 800000 jbieeW kesÀ SkeÀ íesìs jbie kesÀ jbie ceW keÀece keÀjles nQ~ Òel³eskeÀ efÒeefìbie Òesme ceW FmekeÀer meerceeSb nQ efkeÀ ³en efkeÀlevee yeæ[e keÀuej iewceì efHeÀj mes GlHeVe keÀj mekeÀlee nw,efpemekeÀe DeLe& nw efkeÀ GmekesÀ keÀuej mHesMe ceW efkeÀleves Devetþs jbie nQ~ SkeÀ meeceev³e meboYe& keÀe keÀuej iewcesì De®ís iegCeJeÊee Jeeues keÀesì efkeÀ³ee ngDee mìekeÀ Hej keÀuej efÒebìs[ keÀe Dee@HeÀmesì iewceì nw,efpemeceW mlejer³e meerSceJee³ekesÀ Òeef¬eÀ³ee Jeeuee FbkeÀ Òe³egkeÌle efkeÀ³ee ie³ee nw~ ³en keÀuej iewcesì ueieYeie 400000 jbieeW keÀes Meeefceue keÀjlee nw~ Ssmee ueie mekeÀlee nw efkeÀ ³en SmeDeejpeeryeer ³ee S[esye Deejpeeryeer mes yengle otj nw,®etbefkeÀ cee@veerìj kesÀ efueS ÒeeLeefcekeÀ jbie Deejpeeryeer nw peyeefkeÀ efÒebì ceW ÒeeLeefcekeÀ jbie meerSceJee³ekesÀ,efoKeves Jeeuee HeefjCeece ceW yengle p³eeoe Deblej veneR nw ke̳eeW efkeÀ ³es oesveeW keÀuej efmemìce SkeÀ otmejs mes SkeÀoce Deueie jemles mes keÀece keÀjles nQ~ cee@efveìj Deewj kewÀceje keÀuej efmemìce SkeÀ DeefleefjkeÌle jbie ÒeCeeueer keÀe GHe³eesie keÀjlee nw,ke̳eeWefkeÀ ÒekeÀeMe keÀer Deueie lejbieowO³e& jbie GlHeVe keÀjves kesÀ efueS pegæ[leer nw,DeeBKe ceW meerOes ÒekeÀeMe Glmeefpe&le keÀjkesÀ~ peye meYeer lejbieowO³e& DeHeveer Hetjer MeeqkeÌle ceW ceewpeto jnles nQ,nce Fmes meHesÀo nesves keÀe DevegYeJe keÀjles nQ~ efÒebì ceW meerSceJee³ekesÀ kesÀ jbie ÒeCeeueer SkeÀ GHeÒeef¬eÀ³ee keÀer Òeef¬eÀ³ee Hej DeeOeeefjle nesleer nw,peneB ÒekeÀeMe keÀes Oejeleue Hej [eueles nQ,Deewj leye Heleueer FbkeÀ efHeÀuce Üeje ÒeoefMe&le neslee nw~ peye nce efÒebì efkeÀS ngS melen Hej jbie peesæ[les nQ leye HejeJeefle&le ÒekeÀeMe February - March 2018 SCREENTEX |


ìskeÌveesuee@peer Deueie Deueie jbieeW keÀer GHeefmLeleer osiee~ ³eefo meYeer jbie GHeefmLele jnles nQ lees nce keÀeuee (³ee ueieYeie keÀeues, meerSceJee³ekesÀ efHeieceWì ceW DeMeg×lee kesÀ keÀejCe) efceueles nQ~ FmeefueS,nce Meg× keÀeuee FbkeÀ peesæ[les nQ Deewj Fmes kesÀ keÀnles nQ ke̳eeWefkeÀ ³en cegK³e jbie nw~ peye keÀeuee ìskeÌmeì (De#ej) efÒebì keÀjles nQ lees Yeer ³en J³eJeneefjkeÀ nw~ meerSceJee³ekesÀ GHeÒeCeeueer ceW kegÀí jbie Ssmes nesles nQ pees SmeDeejpeeryeer ³ee S[esye Deejpeeryeer ceW GHeefmLele veneR nesles, efJeMes<e©He mes Heeruee Deewj mes³eeve~ osKeves Hej peyeefkeÀ S[esye Deejpeeryeer jbie yengle De®íer lejn mes Dee@HeÀmesì G®®e iegCeJeÊee kesÀ Deblej mes cesue Keelee nw,Deewj ³en Yeeie nw ke̳eeW Dee@HeÀmesì keÀuej iewcesì keÀe GHe³eesie efkeÀ³ee peelee nw peye keÀF& otmejs efÒebefìbie Òeef¬eÀ³ee keÀe GHe³eesie keÀjles nQ~ peye DeeHe ÒetHeÀ keÀjves Jeeues GHekeÀjCe keÀe mesìDeHe keÀjles nQ,Deewj ³en DeeHekeÀe DeHevee keÀuej efÒebìj nes mekeÀlee nw,DeeHekeÀes Henues kegÀí efveefM®ele HesHej kesÀ efueS Fmes mesì efmLeefle Hej ueeves kesÀ efueS kewÀefueyejsì keÀjvee nesiee~ Ssmee keÀjves kesÀ efueS DeeHekeÀes mHeskeÌì^esceerìj


| SCREENTEX | February - March 2018

keÀer pe©jle nesieer,uesefkeÀve yeepeej ceW keÀeHeÀer memles nue GHeueyOe nQ,GoenjCe kesÀ efueS SkeÌme-jeFì keÀuejcegbkeÀer~ efÒebì kesÀ keÀuej keÀe ÒeyebOeve keÀjves kesÀ efueS DeeHekeÀes mHeskeÌì^esHeÀesìesceerìj keÀer DeeJeM³ekeÀlee nesleer nw~ meyemes memles ceW mes SkeÀ SkeÌme-jeFì keÀuejcegbkeÀer nw, pees ³eneB efoKee³ee ie³ee nw~ keÀuejcegbkeÀer cee@veerìj keÀes kewÀefueye´sì keÀjves kesÀ efueS Fmlesceeue efkeÀ³ee pee mekeÀlee nw~ keÀuejcegbkeÀer keÀes DeeHekesÀ cee@veerìj keÀes peeB®eves kesÀ efueS Fmlesceeue efkeÀ³ee pee mekeÀlee nw, FmeefueS DeeHe Fmes Fmlesceeue keÀjves kesÀ efueS uebyee jemlee ÒeeHle keÀj mekeWÀ~ DeHeves GHekeÀjCe keÀes kewÀefueye´sì keÀjves kesÀ yeeo DeeHe keÀF& lejn kesÀ jbie efÒebì(³ee cee@veerìj ÒeespeskeÌì Hej) keÀj mekeÀles nQ Deewj DeHeves mHeskeÌì^esceerìj mes ceeHe mekeÀles nQ~ Fve ceeHe keÀes leye GHekeÀjCe kesÀ DeeF&meermeer ÒeesHeÀeF&ue yeveeves ceW efkeÀ³ee pee mekeÀlee nw~ peye DeeHe keÀuej cewvespeceWì ueeiet keÀjles nQ lees DeeHe DeeJeM³ekeÀ DeeF&meermeer ÒeesHeÀeF&ue keÀe Fmlesceeue ³ee lees keÀuej mHesMe kesÀ yeer®e jbieeW keÀes yeoue mekeÀles nQ,³ee

efkeÀmeer SkeÀ GHekeÀjCe Hej otmejs GHekeÀjCe keÀe DeeF&meermeer ÒeesHeÀeF&ue keÀe Òe³eesie keÀjkesÀ jbie keÀes GlÒesefjle keÀjlee nw~ SkeÀ yeej peye DeeHeves ³en mecePe efue³ee efkeÀ ³en efkeÀme ÒekeÀej keÀece keÀjlee nw leye DeeHe DeHeves efÒebefìbie ÒeespeskeÌì kesÀ meYeer keÀuej keÀe ÒeyebOe keÀj mekeÀles nQ Deewj DeHeves efÒebì mesJee osves Jeeues Òeoelee mes iebYeerj ®e®ee& keÀj mekeÀles nQ ³eefo DeeHe mees®eles nQ efkeÀ Jes jbieeW keÀes yesnlej {bie mes ÒeyebOe keÀjves ceW me#ece nesvee ®eeefnS~ ³eefo DeeHe S[esye ef¬eÀSefìJe keÌueeG[ ³ee FmekesÀ pewmes keÀe GHe³eesie DeHevee Deeì&Jeke&À yeveeves kesÀ efueS keÀjles nQ,DeeHe keÀuej mesefìbie keÀes mener keÀuej DeeF&meermeer ÒeesHeÀeF&ue keÀe GHe³eesie keÀjkesÀ mesì keÀj mekeÀles nQ ³ee lees DeHeves kewÀefueye´sìs[ efÒebìj Hej ne[& keÀeHeer ÒetHeÀ yevee mekeÀles nQ ³ee Jen keÀjW efpemes DeeHekesÀ cee@ veerìj Hej mHee@ì ÒetefHebÀie keÀnles nQ ~ Deyemes DeeHekesÀ Debeflece HeefjCeece Jeeues efÒebì Hej keÀesF& yegje DeeM®e³e& veneR nesvee ®eeefnS ke̳eeWefkeÀ DeeHeves ³en peeB®e keÀj ueer nw efkeÀ Òeef¬eÀ³ee kesÀ Meg© ceW ne[& ³ee meeHeÌì ÒetHeÀ keÀe GHe³eesie keÀjkesÀ, efkeÀ keÀuej Jener nw pees Gmes nesvee ®eeefnS~


DeeHekeÀes meyemes yeefæ{³ee efÒebì HeÀeF&ue lew³eej keÀjves kesÀ efueS meye kegÀí peevevee ®eeefnS

DeeHe ves DeHevee mìesj mLeeefHele keÀj efue³ee nw Deewj DeeHe ueeYe Deefpe&le keÀjves kesÀ efueS lew³eej nQ~ uesefkeÀve DeeHekeÀe meeje J³eJemee³e Fme SkeÀ lelJe Hej efìkeÀe nw -efÒebì HeÀeF&ue keÀes þerkeÀ mes ÒeeHle keÀjvee,leeefkeÀ DeeHekeÀe DeHevee ef[peeF&ve DeHeveer Hetjer Òeefme×er keÀes ÒeoefMe&le keÀj mekesÀ efpememes DeeHekeÀe HeefjOeeve ûeenkeÀ kesÀ Mes<e peerJeve keÀeue kesÀ efueS Kegue peeS~ Deewj peye DeeHe mees®eles nQ efkeÀ DeeHe ves Fmes Keeefjpe efkeÀ³ee,SkeÀ DeeosMe Dee ie³ee nw Deewj ÒemebmkeÀjCe kesÀ efueS peelee nw,Deewj DekeÀuHeveer³e Ieefìle neslee nw~ DeeHekeÀs Dee[&j Hej jeskeÀ nw~ efÒebefìbie ceW osjer nes jner nw Deewj DeeHekeÀes mener HeÀeF&ue ÒeeHle keÀjves kesÀ efueS ef[peeFve kesÀ meeLe efìbkeÀj keÀjvee nesiee~ ceQ ³eneB ³en keÀn jne ntB efkeÀ DeeHe Fmes Henueer yeej ÒeeHle keÀj mekeÀles nQ~ DeeHe efÒebì HeÀeF&ue kesÀ meeLe meeceev³e


| SCREENTEX | February - March 2018

ieueefle³eeW keÀer Hen®eeve keÀj mekeÀles nQ,Gvemes Henueer yeej ye®e mekeÀles nQ~ ³es efìHme nceejs meyemes ueeskeÀefÒe³e GlHeeo kesÀ efueS efÒebì HeÀeFueeW Hej O³eeve keWÀefêle keÀjleer nw,[erìerpeer-efÒebìs[ ìerMeì&~ ûeeefHeÀkeÌme keÀer cetue yeeleW Meg© keÀjves kesÀ efueS,³eneB DeBietþs kesÀ kegÀí meeceev³e efve³eceeW keÀes O³eeve ceW jKevee nw peye DeeHe efÒebì HeÀeFue kesÀ yeejs ceW mees®eles nQ~ - DeefOekeÀlece efÒebefìbie #es$e : 12×16 Fb®e Deewj ìerMeì&,cee@[ue Deewj DeekeÀej kesÀ DeeOeej Hej nce efÒebì HeÀeFue keÀes veeHeles nQ~ - [erHeerDeeF&: HeÀeFue keÀce mes keÀce 150 [erHeerDeeF& (ef[efpeìue efHekeÌmesue Òeefle Fb®e) DevegketÀuelece iegCeJeÊee megefveefM®ele keÀjves kesÀ efueS~ Fmemes keÀce nesiee lees efÒebì OegBOeuee Deewj efHekeÌmeuesìs[ nesiee~ - Fve HeÀeF&ue HeÀeces&ì keÀes pecee

keÀjW:HeerSvepeer,HeerSme[er~ - Fve HeÀeF&ue HeÀecexì keÀes pecee ve keÀjW: SDeeF&,Heer[erSHeÀ,F&HeerSme~ - nceejs G®®e Meì& yeveeves keÀer ef¬eÀ³ee kesÀ efueS Deueie efoMee efveoxMe keÀe mesì nw,efpeme Hej DeeHe SkeÀ vepej [eue mekeÀles nQ~ HeÀeF&ue Deewj Fcespe keÀe DeekeÀej cegK³e nw~ cegK³e keÀejCe efkeÀ DeeHe keÀe Dee[&j ©keÀe ngDee nw~ 1- mebHetCe& Fcespe keÀer iegCeJeÊee meyemes Deece cegÎeW ceW mes SkeÀ nw keÀce iegCeJeÊee Jeeueer Fcespe,³ee Fcespe pees Del³eble íesìer nw efpemes iegCeelcekeÀ ©He mes yeæ{e³ee veneR pee mekeÀlee~ FmeefueS meyemes De®íer yeele ³en nw efkeÀ DeeHe yeæ[er,G®®e iegCeJeÊee Jeeuee efÒebì HeÀeFue pecee keÀj mekeÀles nQ~ ³en DevegYeeie DeeHekeÀes yelee³esiee efkeÀ ³en efkeÀme lejn nw ³en! peye DeekeÀej keÀer yeele Deeleer nw,lees


DeeHe ³en megefveefM®ele keÀjW efkeÀ efpeme Fcespe keÀes DeeHe pecee (mesJe) keÀj jns nQ GmekeÀe JeemleefJekeÀ DeekeÀej nes,Deewj ³en oMee&lee nw efkeÀ DeeHe keÀHeæ[s Hej efkeÀlevee yeæ[e ®eenles nQ~ meYeer (mesJe) pecee keÀer ieF& Fcespe 150 [erHeerDeeF& mes keÀce veneR nesveer ®eeefnS~ ³eefo DeeHekeÀer Fcespe keÀe efJemle=le efJeJejCe nw,lees nce ³en megPeeJe osles nQ efkeÀ 300 [erHeerDeeF& Hej Fcespe pecee (mesJe) keÀjW~ Deewj yeæ[er efÒebì HeÀeFue meyeefceì keÀjvee ncesMee De®íe neslee nw,efpemes nce íesìe ³ee yeæ[e keÀj mekeÀles nQ~ nce SkeÀ keÀce efjpeeuetMeve Jeeuee HeÀeFue efÒebì keÀjles nQ efpemekeÀes yeæ[e efkeÀ³ee ie³ee nw,lees ³en OegBOeuee nes pee³esiee,³ee efkeÀveejs efHekeÌmeuesì nes pee³esieW~ meeceev³ele: ³en Jen veneR nw pees G®®e iegCeJeÊee Jeeues Dee@veueeFve mìesj keÀe ue#³e nesvee ®eeefnS~ peye DeeHe SkeÀ Kejeye HeÀeFue cee@keÀDeHe pevejsìj ceW DeHeuees[ keÀjles nQ lees ³en 150 [erHeerDeeF& keÀer lejn efoKelee nw Deewj efHeÀj DeeHekeÀes ueielee nw efkeÀ ³en þerkeÀ nw~ uesefkeÀve mecem³ee keÀer peæ[ DeYeer Yeer ³en nw efkeÀ DeeHe SkeÀ Kejeye efÒebì HeÀeFue meyeefceì keÀj jns nQ~ ³eneB lekeÀ efkeÀ 300 [erHeerDeeF& Yeer SkeÀ iegCeJeÊee Jeeues efÒebì keÀer ieejCìer veneR oslee ³eefo Henues mLeeve Hej keÀce iegCeJeÊee Jeeueer Fcespe DeHeuees[ keÀjles nQ~ ³eefo DeeHe SkeÀ Kejeye iegCeJeÊee Jeeueer Fcespe DeHeuees[ keÀjles nQ ³ee efmeHe&À Deueie efjpeeuetMeve ceW HeÀesìesMee@He ceW ìeFHe efkeÀ³ee nw lees iegCeJeÊee DeYeer Yeer Kejeye nes mekeÀleer nw~ efìHe : peuoer mes Helee ueieevee efkeÀ DeeHekeÀer Fcespe SkeÀ De®íer iegCeJeÊee ceW efÒebì nesves kesÀ efueS yengle yeæ[er nw,Fmes cee@keÀ-DeHe pesvejsìj ceW DeHeuees[ keÀjW Deewj osKeW efkeÀ ke̳ee DeeHe Fmes DeHeves Feq®íle DeekeÀej ceW

Ieìe-yeæ{e mekeÀles nes~ nce Gme HeÀeFue keÀes mkesÀue keÀjves keÀer efmeHeÀeefjMe veneR keÀjles efpemekeÀe efjpeeuetMeve 150 mes keÀce nes~ efHekeÌmeuesì ngS efkeÀveejs Deewj Oetefceue íefJe Kejeye iegCeJeÊee efÒebì HeÀeFue kesÀ Meer<e& ue#eCe nQ~ 2- HeejoefMe&lee SkeÀ Deewj Deece mecem³ee ³en nw efkeÀ peye efÒebì HeÀeFue ceW DeOe&-HeejoMeea efHekeÌmesue/cetu³e,lelJe Meeefceue nQ~ FvnW [erìerpeer efÒebefìbie ceW efmeHeÀeefjMe veneR efkeÀ³ee ie³ee nw ke̳eeWefkeÀ meHesÀo De[jyesme Fme DeOe&HeejoefMe&lee kesÀ ceeO³ece mes efoKeWies,pees ncesMee Kejeye iegCeJeÊee efoKe mekeÀlee nw~ nce megPeeJe osles nQ efkeÀ 100 ÒeefleMele þesme jbieeW keÀe Òe³eesie keÀjW~ Fmemes ye®eves kesÀ efueS neHeÀ ìesefvebie keÀe GHe³eesie keÀjW meceeve ®ecekeÀ ÒeYeeJe keÀes ÒeeHle keÀjves kesÀ efueS~ 3- He=<þYetefce ncesMee He=<þYetefce keÀes nìe³eW! ³eneB lekeÀ efkeÀ Deiej DeeHe meHesÀo He=<þYetefce Jeeues keÀHeæ[s Hej efÒebì keÀj jns nQ Deewj DeeHe mees®eles nQ ³en De®íe jnsiee DeeHe meHesÀo yewkeÀûeeGb[ íesæ[ osles nQ~ ³en iegCeJeÊee ceW mecem³ee GlHeVe keÀj mekeÀlee nw~ ³eefo DeeHe keÀeues keÀes keÀeues yewkeÀûeeGb[ Hej efÒebì keÀj jns nQ,leye DeeHe DeHeves ef[peeFve kesÀ Deeme-Heeme SkeÀ Yetjs jbie keÀe ®eewkeÀesj j®evee íesæ[ osiee~ Ssmee FmeefueS ke̳eeWefkeÀ ienjs keÀHeæ[eW Hej efÒebì keÀes meHesÀo Deb[jyesme keÀer pe©jle nesleer nw,Deewj efpemekesÀ HeefjCeecemJe©He efÒebì ngDee keÀHeæ[e JeemleefJekeÀ efÒebì mes Deueie nukeÀe keÀeuee


Dee[&j keÀes DekeÌmej jeskeÀ keÀj jKee peelee nw ke̳eeWefkeÀ yewkeÀûeeGb[ Hetjer lejn mes nìe³ee veneR ie³ee nw~ ³eefo keÀesF& Yeer DeJeMes<e ye®ee jn peelee nw, lees peye Meì& efÒebì efkeÀ³ee pee³esiee lees ³en efoKee³eew osiee~efpeme lejn mes nce FmekeÀe Heefj#eCe keÀjles nQ (Deewj DeeHe Yeer) HeÀeFue keÀes HeÀesìesMee@He ceW KeesuekeÀj,Deueie yewkeÀûeeGb[ peesæ[les nQ Deewj ues³ej keÀes keÀF& yeej [gHueerkesÀì keÀjles nQ leeefkeÀ keÀesF& Yeer DeJeMes<e efoKes~ efve®eueer jsKee: nce megPeeJe osles nQ efkeÀ DeeHe Hetjer lejn mes þesme yewkeÀûeeGb[ mes ye®es (peye lekeÀ efkeÀ DeeHekesÀ ef[peeFve keÀes J³ekeÌle keÀjves keÀe SkeÀ efnmmee ve nes)~ FmekeÀe keÀejCe ³en nw efkeÀ nce meHesÀo Meì& Hej meHesÀo FbkeÀ mes efÒebì veneR keÀjles~ ³eefo DeeHekesÀ Deeì&Jeke&À ceW meHesÀo nw lees ,³en efÒebì veneR keÀjsiee~ 4- uesyeue peevekeÀejer kesÀ Deboj DevegHeueyOe ³ee ieuele peevekeÀejer ³eefo DeeHe ves DeHeveer keÀceerpe Hej uesyeue kesÀ Yeerlej SkeÀ keÀmìce efÒebì keÀjves keÀe efveCe&³e efue³ee nw lees,kegÀí peevekeÀeefj³eeb nw efpemes peesæ[ves kesÀ efueS DeeHe keÀes efve³ece keÀer DeeJeM³ekeÀlee nw : - keÀHeæ[s keÀe cetue osMe - DeekeÀej - keÀHeæ[s keÀer peevekeÀejer ³es peevekeÀeefj³eeb Òel³eskeÀ Meì& cee@[ue kesÀ efueS Deueie-Deueie nw, FmeefueS megefveefM®ele keÀjW efkeÀ DeeHe kesÀ Heeme efÒebì HeÀeFue keÀjves mes Henues DeeHekesÀ Heeme mener peevekeÀejer nes~ ³en Yeer ³eeo jKeW efkeÀ efÒebì #es$e leerve yeeF& leerve Deewj HebÀì meeFpe keÀce mes keÀce 6 Hee@Fbì nes~ FbkeÀ keÀer SkeÀ Hejle Deboj kesÀ uesyeue February - March 2018 SCREENTEX |


ìskeÌveesuee@peer pewmes íesìs ûeeefHeÀkeÌme kesÀ efueS meyemes De®íe nw~ ³en FmeefueS nw ke̳eeWefkeÀ meHesÀo Deb[jyesme keÀYeer-keÀYeer He$e kesÀ Deeme-Heeme efoKe mekeÀles nQ~ mebYeeefJele meeHeÀ HeefjCeece kesÀ efueS nce keÀesueejs[ Deewj [eke&À Meì& kesÀ efueS kesÀJeue meHesÀo ûeeefHeÀkeÌme meyeefceì keÀjves keÀer meueen osles nQ,FmeefueS ûeeefHeÀkeÌme kesÀJeue SkeÀ FbkeÀ(meHesÀo) keÀer Hejle kesÀ meeLe ner efÒebì efkeÀ³ee pee mekeÀlee nw~ meHesÀo Meì& kesÀ efueS keÀesF& Yeer keÀuej ®euesiee,efmeHe&À meHesÀo keÀes íesæ[keÀj~ yegef×ceeveer kesÀ Meyo : ieeæ{s jbie keÀes nukesÀ keÀHeæ[s Hej osKee pee mekeÀlee nw~ Fmes O³eeve ceW jKes Deiej DeeHekeÀer vepej Gme Hej veneR Heæ[leer nw~ yeesveme efìHme megefveefM®ele keÀjsb efkeÀ DeeHekeÀer m¬eÀerve Hej jbie efÒebìs[ keÀuej mes cesue Keelee nes~ pees jbie DeeHe DeHeveer m¬eÀerve Hej osKeles nQ Jen Jewmee veneR neslee pewmee efoKelee nw peye keÀHeæ[s Hej efÒebì neslee nw~ DeHeves Deejpeeryeer mJee®edsme keÀes keÀHeæ[s Hej efpeme Hej DeeHe efÒebì keÀjvee ®eenles nQ,Dee[&j osvee SkeÀ De®íe efJe®eej nw,³en osKeves kesÀ efueS efkeÀ Jes JeemleefJekeÀ peerJeve ceW kewÀmes efoKeWies~ DeeHekeÀes DeHeveer efÒebì HeÀeFue [e@ì HeerSvepeer ³ee [e@ì HeerSme[er ceW meyeefceì keÀjveer ®eeefnS~ DeeHekeÀes Heer[erSHeÀ HeÀeFue,Fuesmì^sìj HeÀeFueeW Deewj otmejs JeskeÌìj ©HeeW mes ye®evee ®eeefnS ke̳eeWefkeÀ ncesMee þerkeÀ mes keÀvJeì& veneR neslee (Jes efíHes ngS ues³ej keÀes efÒebì keÀjles nQ,³ee HebÀì efceme nes mekeÀlee nw)~ JeskeÌìj HeÀeFue Deeceleewj Hej meerSceJee³ekesÀ jbie ceW yevee³es peeles nQ peye Deejpeeryeer keÀer DeeJeM³ekeÀlee nesleer nw~ FmekesÀ DeueeJee meerSceJee³ekesÀ HeÀeFue keÀes [e@ì HeerSvepeer kesÀ ©He ceW SkeÌmeHeesì& veneR efkeÀ³ee pee mekeÀlee,uesefkeÀve DeHeveer HeÀeFue mesJe keÀjves mes Henues,Deejpeeryeer keÀes yeoues~ JeemleJe ceW FmekeÀe efmeHeÀeefjMe efkeÀ³ee peelee nw ke̳eeWefkeÀ


| SCREENTEX | February - March 2018

Deejpeeryeer jWpe J³eeHekeÀ nw Deewj DeeHe efve³eeve kesÀ meeLe p³eeoe KegMe jn mekeÀles nQ~ peyeefkeÀ efÒebìj keÀYeer Yeer Fve jbieeW keÀes efHeÀj mes GlHeVe keÀjves ceW me#ece veneR neWies~ ke̳eeWefkeÀ Jes meerSceJee³ekesÀ keÀuej iewcesì keÀe GHe³eesie keÀjles nQ~ ³eefo DeeHekeÀes keÀuej megOeejves ceW mene³elee ®eeefnS,lees nceejs ef[peeFve mesJeeDeeW kesÀ meeLe mebHeke&À ceW jnW~ meJeexÊece mebYeJe HeefjCeece kesÀ efueS mener keÀHeæ[s ®egveW~ DeeHekeÀe ef[peeFve SkeÀoce Deueie efoKesiee keÀHeæ[s Hej efÒebì kesÀ DeeOeej Hej~ GoenjCe kesÀ efueS,FbkeÀ p³eeoe HewÀue peeleer nw Deewj Meì& Hej DeefOekeÀ HeÀerkeÀe ueielee nw ke̳eeWefkeÀ ³en SkeÀ ceesìe keÀHeæ[e nw~ ³en Helee ueieeves keÀe meyemes De®íe lejerkeÀe ³en nw efkeÀ Dee[&j meQHeue Hej DeeHekeÀe ef[peeFve DeeHe efpeme keÀHeæ[s Hej efÒebì keÀjvee ®eenles nQ kewÀmee efoKesiee! DeeHe 20 ÒeefleMele ítì Hej meQHeue Hee mekeÀles nQ~ FmeefueS ³eefo DeeHe DeHeves mìesj Hej Fmes Òemlegle keÀjves mes Henues SkeÀ GlHeeo keÀe Hejer#eCe keÀjvee ®eenles nQ lees ³en yengle

De®íe nw~ megPeeJe peye ìesìdme Hej efÒebefìbie keÀjles nQ lees meHesÀo kesÀ meeLe ef[peeFve veneR keÀjles~ ke̳eeWefkeÀ meHesÀo Deb[jyesme kesÀ keÀHeæ[s kesÀ meeLe kewÀmes ef¬eÀ³ee keÀjlee nw,FbkeÀ keÀer ÒeJe=efÊe m¬ewÀHe Dee@HeÀ nesleer nw,FmeefueS nce Òeeke=ÀeflekeÀ IeìkeÀeW Hej meHesÀo m³eener veneR efÒebì keÀjles nQ (keÀeuee ìesìdme þerkeÀ nw)~ efve<keÀ<e& Fve meye Deece ieueefle³eeW Hej vepej jKevee pe©jer nw -³en DeeHekesÀ Dee[&j kesÀ mece³e keÀes ieefle Òeoeve keÀjsiee Deewj ³en ûeenkeÀ keÀes KegMe jKesiee( DeeHekesÀ efueS Deewj cegveeHeÀe)~ Fme Heesmì mes ³eeo jKeves kesÀ efueS kegÀí nw - efoMee efveoxMe keÀer peeb®e keÀjW,G®®e iegCeJeÊee Jeeues ûeeefHeÀkeÌme keÀe GHe³eesie keÀjW,DeHeveer HeÀeFue keÀe mener DeekeÀej jKeW,Deewj DeeHe ueeYe keÀceeves kesÀ efueS mJeleb$e nQ Deewj lew³eej nQ~



JULY 2018

20 - 22 April 2018 SCREEN PRINT INDIA Leading Exhibition on Screen, Textile & Digital Print Industry. At : Bombay Exhibition Centre, NSE Complex, Goregaon (E), Mumbai

20 - 22 July 2018

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

SIGN TODAY 2018 Leading Show on Digital and Signage Industry. At : Chennai Trade Centre, Chennai, India. 25 - 28 July 2018 PACKPLUS 2018 Total Packaging, Processing & Supply Chain Event. At : Hall 7-12A, Pragati Maidan, New Delhi.

AUGUST 2018 18 - 20 Aug 2018 GARTEX 2018

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

Leading Show on Garment Machinery & Accessories. At : Pragati Maidan, New Delhi. 18 - 20 Aug 2018 GTE 2018 Leading Show on Garment Technology. At : Bangalore, Karnataka.

JUNE 2018 06 - 08 June 2018 NON WOVEN TECH ASIA 2018 Leading Show on Non Woven Industry. At : Bombay Exhibition Centre, Goregaon (East), Mumbai 400 063.

SEPTEMBER 2018 26 - 28 Sept 2018 IPCA 2018 Leading Show electronic packaging, namely Printed Circuit

08 - 10 June 2018 PRINTEXPO 2018 South India’s Leading Fair on Printing & Packaging Industry. At : Chennai Trade Centre, Chennai, Tamilnadu.

At : BIEC , Bangalore, Karnataka.

15 - 17 June 2018 GARKNIT-X Leading Exhibition on Textile and Textile Printing Industry. At : Hotel Velan Fair Ground, Tirupur

04 - 06 Oct 2018

27 - 29 June 2018 HEIMTEXTIL INDIA 2018 Leading Expo on Home Textiles Business. At : Pragati Maidan, New Delhi

24 - 26 Oct 2018


| SCREENTEX | February - March 2018

OCTOBER 2018 INDIA FOLDING CARTON 2017 India’s Leading Show on Carton & Box Making Industry. At : Bombay Exhibition Centre, Goregaon (East), Mumbai 400 063.

DRINK TECHNOLOGY INDIA 2018 Leading Show on Beverage, Dairy & Liquid Food Industry. At : Bombay Exhibition Centre, Goregaon (E), Mumbai.


INTERNATIONAL MAY 2018 03 - 05 MAY 2018 PLASTPRINTPACK ETHIOPIA 2018 Ethiopia’s Leading Show on Plastics, Printing & Packaging Industry. At : Millennium Hall, Addis Ababa – Ethiopia 07 - 09 MAY 2018 RADTECH UV+EB TECHNOLOGY 2018. Leading Expo on UV & EB Technologies. At : Hyatt Regency O’Hare, Rosemont, IL, USA. 10 - 12 MAY 2018 LABELEXPO SOUTHEAST ASIA 2018 South East Asia’s Leading Show on Label Industry. At : BITEC, Bangkok, Thailand. 15 - 18 MAY 2018 FESPA 2018 BERLIN Leading Show on Digital, Textile and Screen Printing Industry. At : Messe Berlin, Berlin, Germany 29 MAY - 01 JUNE 2018 PRINT4ALL 2018 Leading Expo on Package Printing, Labelling and Industrial Printing.. At : Fiera Milano, Milan, Italy..

JUNE 2018 05- 08 JUNE 2018 PRINTPACK SIGN EXPO 2018 leading Exhihition on Screen - Digital and Sigange Indusatry. At : KICC, Nairobi, Kenya. 13 - 16 JUNE 2018 PROPAK ASIA 2018 Leading Show on Food, Drink & Pharma Industry. At : BITEC, Bangkok, Thailand 22 - 24 JUNE 2018 SCREEN PRINT SRI LANKA 2018 LLeading International Exhibition on Screen, Textile & Digital Print Industry. At : SLECC) Colombo, Sri Lanka.


| SCREENTEX | February - March 2018

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

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

Mahedra M h d SSethia h - 92824 37480



14.15.16 Dec. 2018 ECO PARK, KOLKATA


| SCREENTEX | February - March 2018

AD INDEX Advance Syntex (P) Ltd.


Lancer Group International


Aeon Commercial India (P) Ltd.


Mac Dermid Autotype Ltd.


And Global Sales Corporation


Meetesha Enterprises


Arrow Multimedia


NBC Japan


Balaji Chemicals


Omkar Engineering


Balaji Trader


Paper N Film


Beauty Flex


Print Pack 2019


Blue Coat India Pvt. Ltd.


Ratan Industrial Engineering


Chaiyaboon Chemicals


SAI Enterprise


Cheran Machines I Pvt. Ltd.


Sefar Switzerland


Shriram Enterprises


Duratech Automation (P) Ltd.


Epta Inks India Pvt. Ltd.


SkyScreen India Pvt. Ltd.


Febchem Pvt. Ltd


Smilex International India




Sneha Enterprises


GTE 2018


Sparkle Foil N Film


Hari Impex


Spoorthi Technologies


J N Arora & Co. (P) Ltd.


SunShine Graphics


Kumar Textile Industries


Surya Kiran Photo Paper P ltd.


Kunal Enterprise


Vee Jain Dyes N Chemicals


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

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SUN SHINE GRAPHICS 5/44, Siddharth Nagar No 5, Near Maharshtra Medical Store, Goregaon West, Mumbai 400 104. Tel : 93213 35502 / 9920135530 68

| SCREENTEX | February - March 2018

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

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

M: +91-9833997772

M: +91-9920997772 MUMBAI, INDIA

O: +91-9833997776 |


Profile for Jignesh Lapasiya

February- March 2018  

February- March 2018