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


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TECHNOLOGIES

www.roqinternational.com


Vol : 06 • Issue : 06 October - November 2016

FORWARD

PUBLISHER / EDITOR IN CHIEF

Jignesh Lapasia +91 98679 78998 ASSOCIATE EDITOR

What can be measured, can be improved

Sonal Shah CO-EDITOR

Madhvan A LAYOUT DESIGNER

A large chunk of our printing industry is still unorganised. The two recent developments from the government will severely dent this share of unorganised sector more than anyone else. Why? Majority of trading still happens on cash. It is also one of the reasons why despite earnest attempts and continued contribution to the economy, printing industry has not been able to gain a recognition from the government. Also, this sub-group of industry has itself not adopted a scientific method to quantify the output. And only what can be measured, can be improved. Hence, when recent reports started trickling in on the state of printing industry, we thought its good news. Industrial revolution 4.0 will soon hit the shores with data at its centre, experts believe. In this issue, we continue with our selection of stories that tread the careful path of optimism and pragmatism. In addition, as part of our endeavour to promote SMBs, we have Neon from Tirupur to impress us with its journey. We also have our usual dose of technical articles, industry updates and guest columns. Moreover, these selection of stories aim to tell you that when you combine a culture of discipline with an ethic of entrepreneurship, you get the magical alchemy of great performance. And as we approach Printpack India 2017, we wish our fraternity to be feerlessly creative and pragmatic in its approach. Good days are ahead! Leaving you with the usual dose of few lines to inspire...

Pravin Gohil GRAPHIC DESIGNER

Preetam Shetty Vivek Vishwakarma WEB SUPPORT

Pratik Shah REPRESENTATIVES HYDERABAD

Arihant Sales Dinesh Chauhan +91 93469 51232 KANPUR

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

Roshan Agrwal +91 93340 49625

I have no name Until you name me. I have no form Until you shape me. I don’t exist Until you make me. I am creativity. Touch my spark And let me light you. Give me life And I’ll revive you

NAIROBI - KENYA

Darshit +254 722 737413 +254 733 621761 PRINTED AT

Om Sai Printer, Mumbai MEMBER OF

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

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

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CONTENT REPORT

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Industry 4.0 megatrend arrives in printing sector

ADVERTORIAL

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The Signs Are Promising: SAi’s Sarit Tichon Looks at Developments in the Sign & Display and Large Format Markets

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GUEST COLUMN

32 36 40

Mastering the art of inkjet printing

Statistical process control of colour difference data Digital inkjet textile print volumes to grow at 17.5%

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LIMELIGHT

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Neon Knit Print has expansion on its mind

TECHNOLOGY

48 52

Circuitry layer printing

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Solving problems in the real world – part 1

CASE STUDY

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Foaming

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Fb[efmì^³eue efÒebefìbie ef[efpeìue efÒebefìbie keÀer lejHeÀ yeæ{ jne nw October - November 2016 SCREENTEX |

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NEWS

ROQ presents hybrid screen printing machine

For the last 20 years the biggest question has been: will digital printing make screen printing obsolete? As a response to this, Italian screen printing machine manufacturer, S. Roque (which is now known as ROQ) has launched its ROQ Hybrid machine. “Why choose between screen and digital when you can have both? This is the future of garment printing, the ROQ Hybrid. In its essence it is a digital printing machine that works in perfect synchrony with an automatic screen printing machine. Now you can have the best of both worlds but in reality you will get much more than that,” the company said in a statement issued to media. Outputting an impressive 450 pieces per hour the machine

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can maintain the productivity of a screen printing machine with digital quality production. ROQ claims that it will also reduce the setup times significantly. Thus, users will have to use/ create lesser number of screens. Moreover, it will offer a wide colour gamut. The ROQ Hybrid comes in 8 or 12 printing heads variation, but the production speed is steady. The version with 8 print heads uses CMYK colours. The version with 12 print heads uses CMYK + 2 colours enhancing the available colour gamut. The machine uses a Fujifil Dimatix head. “There are several reasons why ROQ decided to use the Fujifilm Dimatix for print head. This print head represents the future of this technology. As an example, on the Fujifilm Dimatix it is possible to repair the nozzles instead of replacing the whole print head. This feature allows for a greater lifespan of the print heads,” the company spokesperson said. The ROQ Hybrid has a maximum printing size of 500x700mm or 750x900mm. It adapts to the type of textile

you are printing on. The Z axis can be adjusted (up to 20mm) to make take in account the different height of the textile. To partner with the ROQ Hybrid, ROQ also has a new line of digital inks and products as well the ROQ Studio RIP software powered by Neostampa. The best way represent some of the advantages is to give an example. If you have a job to make a print on a dark garment (1 or 2 screens, depending on the opacity needed for the base) with four colour process (4 screens), 1 highlight (1 screen), 1 foil (1 screen) and glitter (1 screen). Instead of needing 8 or 9 screens, with the ROQ Hybrid you will need 1 or 2 screens for the base, 1 screen for the foil, and 1 screen for the glitter. “Your print will have digital quality and you will be able to present something that was not possible before, the referred quality with screen printing specific technics. All of this done in perfect synchrony with the speed of a screen printing machine and with 3 or 4 screens, less than half the screens (smaller costs and lower setup times),” the company spokesperson added. Spoorthy adavantage Spoorthi Technologies, which has been the distributor of ROQ in India since 2010 will be supplying the machine in the region. The company is a winner of the internal top Sales Award in the world from ROQ for year 2013 and 2014. Approximately, the company has sold over 400 machines till now in the country. Spoorthi Technologies which is based in Tirupur, is now opening its own office at Delhi and expanding business at eastern and western region.


NEWS

Gurjar Screens launches NEO+ 210 Mesh Ahmedabad-based Gurjar Screens recently launched NEO+ 210 Mesh in rotary screen printing concept. Gurjar has been associated with the arena of textile printing for over six decades. Under the leadership and guidance of Laxman N. Dalal Gurjar introduced photoengraving of copper rollers to print textiles in the year 1959. Since then it is known as one of the pioneers and experienced engravers in the textile printing industry. The company claims that after the advent of the rotary screen printing machine, it started manufacturing Galvano design screens in the year 1972 and later in 1979 started manufacturing nickel perforated textile rotary printing screens hence making

Gurjar as one of the oldest manufacturer of rotary screens in India and Asia. Now Gurjar has developed 3rd generation of rotary screens namely NEO+ 135, 165, 195 & 210 mesh with its own electroforming R&D process. The new NEO+ 210 mesh screen with thickness of 105 microns and open area of 15% combines the benefits of the existing NEO+ 135ED, 165ED and 195ED mesh screens; thus breaking the mesh barrier in textile rotary screen-printing technology. The company claims that the new 210 mesh screen has highest printing resolution in textile rotary printing, improved surface printing due to very high

fine detail definition and helps in half-tone and geometrical printing. The company also manufactures complete range of engraving chemicals for rotary and flat bed screen printing, machine spare parts, auxiliary chemicals and has the state of the art textile designing and engraving plant equipped with digital laser technology. www.gurjargroup.com

HP Latex 300 Series gets an upgrade At the recently concluded SGIA Expo, HP unveiled the new HP Latex 300 Printer series, introducing key versatility and productivity advancements its latex category. The new HP Latex 315, 335 and 365 Printers help a range of customers, from small sign and copy shops to high-capacity print service providers (PSPs), gain access to sign and display market opportunities across more indoor and outdoor applications. “With the introduction of the HP Latex 300 Printer series, HP disrupted the low-volume market

with a completely new platform featuring a range of price points, sizes and production levels, making it possible for more print service providers (PSPs) to enter sign and display printing,” said Xavier Garcia, general manager, Large Format Printing division, HP Inc. “Today, HP is introducing new, key capabilities to this market-leading portfolio, inviting even more customers to take advantage of HP Latex technology and identify new avenues for growth.” New HP Latex 300 series Printers offer printing up to 64 inches wide at speeds up to 334 ft./hr for outdoor applications and at 1200 dpi, enabled by the HP Latex Optimizer and HP Optical Media Advance Sensor (OMAS). OMAS capabilities are included across the new HP Latex 300 series Printers. Features which help

customers keep running costs low, such HP Custom Substrate Profiling for automatic ICC profiling and an i1 embedded spectrophotometer, are available on the HP Latex 365 Printer. Additionally, the HP Latex 315 and 335 Printers offer optimized profiles with HP Quick Substrate Profiling as well as the FlexiPrint HP Edition RIP, which is included in the box. HP also included an automatic x-axis cutter for efficient cutting to finish and deliver prints immediately. This is included across all new HP Latex 300 series printers. At SGIA, HP is also introduced the HP Durable Backlit Fabric, a 100 percent polyester fabric compatible with HP Latex Ink Technology, which enables outstanding colour vibrancy and dark, solid blacks comparable to UV ink technology, the company said in a statement issued to media. www.hp.com

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NEWS

Konica Minolta opens industrial printing base in France Konica Minolta has opened a strategic business base in France for industrial printing. It is the company’s first overseas business base. Konica Minolta states that it is determined to evolve into a problem solving digital company capable of facilitating workflow transformation with its digital technologies to deliver higher productivity to customers’ work processes. The market size of industrial printing, including labels, packaging, and textiles, is estimated at 50 trillion yen, which means there is a huge growth potential in the digital printing business. Konica Minolta aims to deliver new value to the industrial printing industry and expand its digital printing business by leveraging its digital

technologies to meet the need for high-mix small-lot production and shorter lead times. With a business base in Europe, Konica Minolta aims to accelerate the development of solutions for industrial printing through a cyclic process of creating new customer values and business models and then evaluating the values and business models jointly with customers. This customer-centric cyclic process, which Konica Minolta has employed as its original framework to evaluate customer values, has been making meaningful contributions to the company’s business and technical development in recent years. In the label and packaging printing industry, digitalised highmix small-lot production is also

expected to largely enhance the efficiency of the post-press process of varnishing, laminating, foil stamping, and die cutting. Konica Minolta will seek opportunities to accelerate open innovation in this field through its existing alliance with MGI Digital Technology (MGI), a leading digital printing equipment manufacturer based in France, and also by strengthening partnerships with a number of postpress equipment manufacturers in Europe. Under its mid-term business strategy, Konica Minolta plans to expand its business by offering new solutions in industrial printing as well as value-added services in commercial printing to achieve its target to increase the total revenue in the production print business to 360 billion yen in fiscal 2020.

SPGPrints to show rotary screen printing system at ITMA SPGPrints, a global leading company in the textile, label and industrial printing markets, is set to highlight rotary screen printing and imaging technologies that enable textile printers to optimise uptime, drive quality, and print on the widest range of fabrics, at ITMA Asia 2016 expo, to be held from October 21 to 25, 2016, in Shanghai in booth H5D01. SPGPrints’ laser exposing systems are a productive, costefficient way of imaging nickel rotary screens to outstanding levels of quality. The company’s smartLEX7043 laser exposing system contains the company’s unique multi-beam diode technology that combines long life, high productivity and

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resolutions of up to 2540dpi. Using an intuitive Smart-GUI, smartLEX 7043 exposes screens between 300millimetres and 3500millimetres length, in exposing cycles as short as 12 minutes. SPGPrints’ electroformed seamless nickel screens are renowned for their strength, durability, stability at high print speeds, and the potential for high mesh-counts. The company’s screen programme is suitable for numerous effects and fabrics. NovaScreen screens offer the optimum in print quality and productivity for printing all kinds of fabrics, ranging from cotton, polyester and viscose, to silk, rayon and heavy materials like car upholstery. The high mesh count with streamlined bridges between specially shaped holes maximises

paste transfer. Additionally, the 155XT screen offers excellent printing and handling stability, and is easy to fit and strip. The high mesh count offers smooth tonal gradations. Its 13 per cent open area is almost 10 per cent larger than that of the standard 155 mesh screen. RandomScreen, which will also be exhibited, has stochastic hole arrangement, suppresses moiré effects in halftones. Inkjet highlights on the SPGPrints stand, as announced in early October, will include the first demonstration in China of the JAVELIN digital inkjet printer for medium and large capacity requirements, plus the complete new range of NEBULA inkjet inks that offer superior runnability, sustainability and an increased colour gamut.


NEWS

Mimaki completes acquisition of La Meccanica Mimaki has acquired Italian textile machine manufacturer La Meccanica Costruzione Tessili in a move to expand its position in the textiles printing market. The Italian firm is now a subsidiary of Mimaki, the name having been changed to Mimaki La Meccanica. Three Mimaki executives will be appointed as directors. In a statement, Mimaki said it would leverage La Meccanica’s product and technological expertise to accelerate its efforts to promote digital on-demand production in the textile apparel market on a global scale. The acquisition was first mooted in July 2015, when an Italian sales agent introduced Mimaki to La Meccanica, a manufacturer of conventional and

digital textile printing machines. La Meccanica, which is located in Bergamo, Italy, was established in 1977. It has 32 staff and a turnover of €6m (£4.6m). Bergamo is also the home of competitor industrial inkjet textile printer manufacturer Reggiani Macchine, which was acquired by EFI in July last year. Mimaki president Kazuaki Ikeda. said “La Meccanica has a great reputation in the textile industry, and this acquisition bolsters Mimaki’s efforts to bring the digital transformation to textile printing.” He added: “The acquisition of La Meccanica is not expected to have any significant impact on Mimaki’s consolidated performance for the current

fiscal term, and thus, there will be no revisions to Mimaki’s earnings forecast as a result of this acquisition.” Last week, the company also unveiled the new Tx500P-3200DS, a direct sublimation printer mainly designed for the soft signage industries. The new printer is an advance on the Ts500P-3200, which was launched in February of this year, but with a number of new developments. The machine will be available in early 2017. Mimaki EMEA general marketing manager Mike Horsten said: “Mimaki has been involved in textile since 1998. We are serious about textile market and we want to continue to be successful in this area and capitalise on the fantastic market growth.”

FESPA Asia set to be region’s leading speciality print event in 2017 FESPA Asia 2017 is set to be the ASEAN region’s largest and most comprehensive event for digital wide format, screen and textile printing in 2017. The exhibition, which takes place at the BITEC exhibition centre, Bangkok, Thailand from 15 to 17 February 2017, will feature more than 100 exhibiting companies, with many leading international brands already confirmed to participate, including dgen, EFI Reggiani, HP, KIP, Kornit Digital, Mimaki, Roland and Zünd. Organisers claim that to date

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75% of the currently contracted space is taken by international technology and consumables brands. FESPA’s activity in Asia is actively championed by nine National Associations, in Thailand, India, Sri Lanka, Nepal, Republic of Korea, Japan, China, Philippines and Australia, who support a combined membership of more than 2,000 print service providers. Mustafa Kapadia, President of Indian Association, SPAI, comments: “By reinvesting in the print community and building demand for print, FESPA Asia is showing exemplary commitment to our local print industry. We believe that the exhibition will create and offer new initiatives for print suppliers and buyers across Asia.” FESPA Asia is also working closely with FESPA’s local association, TSGA, and has the

committed support of the Thailand Convention and Exhibition Bureau (TCEB) to optimise the experience for exhibitors and visitors, as well as Bangkok-based AES Ltd (Asian Exhibition Services). FESPA Divisional Director Roz McGuinness comments: “What is clear is that, while printers across Asia have access to small, local events, they are looking to FESPA to deliver a stand-out regional event where they can meet the leading international vendors under one roof, network with prominent PSPs from across the region and access high quality educational content that brings together the deepest sector expertise from around the world.” FESPA Asia 2017 will include a free seminar programme featuring notable speakers from Asia and beyond. www.fespa-asia.com


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


NEWS

Macromedia bolsters unit with Efi-Vutek GS3250LX 10 colour LED UV Printer Hyderabad-based Macromedia recently installed Efi-Vutek GS3250LX Pro 3.2 Mtr 10 color Hybrid LED coolcure UV high speed printer. The deal was closed by Arrow Digital. On the installation Naresh Kumar Dasari, Macromedia said, “With the New Efi-Vutek GS3250LX Pro we are increasing our portfolio and are assured of meeting customer deadlines with the latest green technology, with no compromise on quality. In a statement issued to the press, Arrow Digital said, “The Efi-Vutek GS3250LX Pro system uses an advanced LED printing technology, printing on a 126” wide hybrid bed, which can accommodate roll-fed or rigid substrates, with the best color gamut in the industry for both

indoor and outdoor applications.” Dasari adds: “Customer satisfaction and retention is a constant battle. We are constantly upgrading with the best technologies to provide the ultimate solutions and value to our ever growing customer base and needs. We took rigorous trials and evaluated many platforms and were absolutely convinced with the quality, vibrancy, productivity, of this printer. The white ink opacity and three layer back-lit applications were amongst the many features convinced us to finalize this platform”. The Efi-Vutek GS3250LX Pro is a 3.2-meter wide flatbed and roll-to-roll UV printer with the highest image quality of up to 1000 dpi, fastest production

speeds up to 2400 ft2/hr. and with excellent color gamut. This printer extends the range of supported substrates while lowering operating costs and lead times. 8-colour plus two white, with a unique multi-layer white print capability and true grayscale technology. For High Productivity it is also Switchable to Fast-5. It can handle rigid and sheeted media up to 126.5 in. (3.2 m) wide and up to 2 in. (5.08 cm) thick. The Efi-Vutek GS3250 LX Pro offers more applications which reduce the operating cost. With a long term LED cure there are no recurring lamp costs is involved, air conditioning costs, power costs of curing and many other maintenance costs are reduced.

Brighter days ahead for organic and printed electronics market The signs continue to be set for growth in the organic and printed electronics industry. This is the clear message of the latest business climate survey conducted by the OE-A (Organic and Printed Electronics Association), a Working Group within VDMA (Mechanical Engineering Industry Association). Three-quarters of survey participants expect the industry to continue its positive development in the coming year. With projected sales revenue of 10 per cent, 2016 will be a very successful year for OE-A members which confirms the expected outcomes of the previous survey, carried out earlier this year. For 2017, a continuation of the positive trend in the organic and printed electronics industry is expected – in all areas, from material suppliers to end-users. Companies expect further

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advancement and revenue growth of 17 per cent. The semi-annual OE-A Business Climate Survey sheds light on the anticipated growth of the Organic and Printed Electronics industry. Every six months, all OE-A members – from material suppliers to end-users – are asked to provide qualitative data on the state of the industry and expected development of their companies’ sales. The positive outlook for 2017 is also reflected in other areas. Companies would like to continue to invest into expanding production. About one third even want to increase these investments. In addition, projects in R&D activities are broadened. Furthermore, there are promising opportunities for employees

in the organic and printed electronics industry: 31 per cent of the companies surveyed plan to hire additional staff in the next six months. Thin, lightweight and flexible are characteristics of organic and printed electronics. These features enable novel applications in numerous areas. “OE-A members in particular are targeting the following sectors: consumer electronics, medical and pharmaceutical, automotive, packaging as well as energy,” says OE-A Chair Dr. Jeremy Burroughes. “Smart packaging, flexible displays, OLED lighting, flexible solar cells, disposable diagnostic equipment, interactive games or printed batteries are just a few examples of the current and future areas of application for printed electronics”.


NEWS

InspirOn to show textile stenter Motex 15000 at ITME India Indian manufacturer of hot air stenters, InspirOn Engineering is showcasing Stenter, the Motex 15000 at ITME India. When compared with the earlier model Motex 4560, the new model consumes less energy, has better safety features, minimises waste, while offering better operational efficiency and maximum return on investment. The Motex 15000 has been developed with advanced features and improved aesthetics. It offers 15 per cent higher drying efficiency and higher operating speed. The Stenter enables the processor to achieve even drying and heat setting at higher evaporation rates with optimum energy utilisation, which translates into lower operating cost per metre of fabric. The Motex 15000 also achieves consistent and reproducible results across the length and width of the fabric, even with larger overfeed

adjustment range up to 80 per cent. It ensures higher stretch, irrespective of the higher GSM of the fabric and is equipped with pin protection flapper for knitted fabrics. The stenter requires lubrication once a year or even later, while offering easy access and retrieval of operating and maintenance manual through GUI. Its higher squeezing capability ensures optimum pick-up percentage for specific processes like wet-on-wet finish with desired add on, resulting in better productivity. It comes equipped with a Tilting Trough with optimised capacity to reduce drain losses. Inspiron has also recently unveiled a R&D Centre near Ahmedabad, which will undertake sustainable development projects to produce products of the best quality, innovative and user friendly technology, to meet and preferably surpass customer expectations. Attached to the R&D Centre

is also an Incubation Centre, which is equipped with a Demo Stenter for mills to undertake trails and test out their unique ideas, while also validating them under actual working conditions, before venturing into commercial production. The Incubation Centre is equipped with a laboratory, library and conference cum training room and is manned by a team of process technologists and design professionals. The vision behind setting up the R&D Centre as well as the Incubation Centre; include offering value added services to the customer; and demonstration of new features and / or standardisation of process parameters for various substrate on customer request. The vision also includes acting as an effective link between emerging needs of customers and identifying newer scopes for R&D, while also providing services related to process optimisation assignment, technical consultation, performance evaluation, etc.

Textile and apparel export on growth path The share of textiles and apparel in total exports of India increased to 15 per cent in 2015-16, compared to 13 per cent in 201314, according to a report released by the textiles ministry. FDI equity inflow grew by 16 per cent in the 2015-16 over fiscal 2013-14 and the government has also approved a special package of Rs 6,000 crore for the sector. The ‘Make in India – Textile and Apparel Sector Achievement’ report released by the ministry of textiles and the department of industrial policy and promotion states that the special package has

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been provided with the aim of creating 1 crore jobs in the next 3 years. The funds will also be used for attracting investments worth $11 billion and generate $30 billion in exports. Textile and apparel exports are estimated to reach $62 billion by 2021 from 438 billion in 2016. While Europe and America are the key markets for India, new markets such as Iran, Russia and South America are opening up new possibilities. The textiles ministry is also implementing North East Region (NER) Textile Promotion Scheme

(NERTPS) with a total outlay of Rs 1038.10 crore to promote employment and encourage entrepreneurship especially amongst women. Under ease of doing business initiatives, the government has exempted textiles and textile articles imported from specific countries like European Union, Serbia, Poland, Denmark and China from testing of samples for presence of Azo Dyes. The report also states that under the Integrated Skill Development Scheme (ISDS), the ministry has trained more than 5.3 lakh youth in textile trades.


QUICK BYTES VGA Digital Printers adds a Jetrix KX5 Arrow Digital installs Jetrix KX5, true flatbed printer at Pune-based VGA Digital Printers. The Jetrix is a 2.5x1.3 m UV flatbed machine. It uses an ink-set which is specially formulated to give strong adhesion to difficult substrates, such as glass, acrylic and metal. As it’s a true Flatbed we can print heavy substrates with thickness up to 4 inches. It is equipped with 6 pl Konica Minolta 1024 Printhead, and can print at up to 1,440 dpi at speeds of up to 55 m2/hr.There is also a 2.2 meter rollto-roll option which gives total flexibility for printing a wide variety of substrates.

Epson stamps its textile Eco-Passport

Technology advances are taking print into all sorts of new applications. One of the most attractive for all concerned is textiles, particularly those produced digitally with devices such as the Epson SureColor SC-F2000 direct-to-garment printer or the EFI Reggiani series. The worldwide reference for textile standards is Oeko-Tex. This international association of textile testing institutes has been around for many years and has sixteen members across the globe. Oeko-Tex standards are also used to optimise production and supply chains, so that they are sustainable. A certification from OekoTex ensures independent verification of a company’s safety and sustainability claims. The latest addition to the Oeko-Tex range of standards and tests is the Eco Passport. Intended for use by chemical and textile manufacturers and suppliers, the Eco Passport confirms that their products can be used in

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sustainable textile production. Epson has recently announced that its inks and printers have now been certified for the Eco Passport.

FESPA and ESMA to launch industrial print conference FESPA and ESMA are working in partnership to launch an all-new conference, aimed at industrial printers, manufacturers and brand owners. The Industrial Print in Production conference (7-9 March 2017, Hamburg, Germany) will explore the innovative use of print and related techniques within the production process. The programme will address multiple market sectors including telecoms, automotive, aeronautics, architecture, white goods, healthcare, printed electronics and sports equipment. Speakers will be drawn from both the manufacturing and printing communities, with the aim of sharing informative and inspirational examples of how print can be used in production processes.

Ricoh launches Pro 8200S Ricoh has launched the Ricoh Pro 8200s series allows the high

| SCREENTEX | October - November 2016

speed black and white digital print platform to enhance and expand the print production capabilities possible. It allows front and back covers or inserts, printed on offset or digital printers, to be added post-fusing, into books and manuals. This inline capability also streamlines production. Another service expanding capability is the long sheet (banner) printing of up to 700mm while an improved stacker allows heavier media use. The Ricoh Pro 8200s series can be tailored to suit client needs. It offers users active registration to help ensure more precise, clean output. It can run at speeds of up to 136 ppm, maintain 1,200 x 4,800 dpi VCSEL quality on a wide variety of media, including coated media, up to 350 gsm. It supports NCR and preprinted media.

Esko launches new version of Studio software Esko has given 3D packaging design software Studio 16 its very own makeover with the launch of Esko Studio 16, part of the Esko Software Platform 16. Studio is a unique set of tools for 3D packaging design made for all packaging artwork professionals. The ability to create 3D compositions 50%

faster, fast artwork application in scenes, tools to select materials and apply print effects are few among the new features included in the suite.

Xeikon to introduce wall covering solutions at Heimtextil At its third Heimtextil Xeikon will showcase highly unique wall paper designs produced

using its wall decoration production suite. Xeikon will be located in Hall 6, in Frankfurt, from January 10 to 13 2017, next to the Heimtextil theme park. In addition to the live printing of unique wall coverings, the display will feature printed patterns and murals projected using new video mapping techniques. This will provide visitors with a “virtual reality” like experience and present the creativity of digitally produced wall coverings.

Kiian Digital to showcase Digistar display at Fespa China Kiian Digital will highlight


QUICK BYTES SPGPrints & Stovec show printing tech at India ITME 2016 SPGPrints, a textile, label, and industrial printing company and India’s Stovec Industries Ltd, will present the latest SPGPrints digital inkjet and rotary screen printing technologies that enable textile printers to optimise uptime and print on the widest range of fabrics at India ITME 2016, in Mumbai, The company will show the Pegasus EVO that offers all the functionalities required by ever increasing quality conscious customers for rotary screen printing at the expo. With new features and many options, Pegasus EVO offers quality, reliability and an attractive price-performance ratio that makes it ideal for Indian and international customers. Digistar Display, the new sublimation ink designed for direct and transfer printing intended for all Epson print heads at FESPA China (Guangzhou 21-23 November – Hall 1, Stand 1080). Kiian claims that Digistar Display ensures vivid colours along with excellent printability in both applications. The range consists of 8 colours; 4 process, 2 light colours and 2 spot colours. This enables wide colour gamut reproduction.

entrants for all categories will be required to submit their work by the 27th of January 2017. Judging will take place over the 1st and 2nd March objects up to 300x250x150mm. The machine drops jets onto a bed of alumina powder and uses a water-based binder to layer the object being created. After printing, the object is dried in an oven for around an hour, before it goes through a conventional 24-hour sintering process, which involves a heating and cooling sequence.

by an independent panel of industry experts.

Visitors will also see a vast gamut of printed textiles produced with Kiian Digital’s extensive textile portfolio of sublimation, pigment and disperse inks.

Roland unveils ceramic 3D printing technology Roland DG has presented for the first time a prototype of its new 3D printer, which it says will be aimed at small and medium-sized companies. The prototype uses alumina powder and new jetting technologies making it possible to create complex ceramic objects based on jetting binder material into alumina powder. It can currently produce

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| SCREENTEX | October - November 2016

A

consortium

of

print

manufacturers, led by the Centre for Process Innovation

MagnaColours launches a new ‘non-drying’ textile ink

(CPI),

Water-based

market. The company said the

textile

inks

supplier MagnaColours has launched a new ‘non-drying’

has

completed

an

18-month project to develop and scale up a print energyharvesting device for the mass device “will play an important role in the development of packaging

with

electronic

functionality”. Powered

FESPA 2017 Awards now open for entries The FESPA 2017 Awards are now officially open for entries. With 15 categories designed to celebrate the achievements and innovations across the print industry and nonprinted signage industry, the FESPA Awards is the print industry’s only independent, global Awards programme to recognise outstanding contributions. Now in its 26th year, the FESPA Awards programme is renowned for unearthing talent across all disciplines of the printing industry. As in previous years,

CPI to build printed electronic energy harvester for retail applications

by

near-field

communication

(NFC)

technology, the device can textile ink that allows several layers of ink to be applied without requiring a separate drying process. The ink has been developed to print vibrant colours onto high mesh-count textiles, and will help brands achieve a unique and eyecatching finish, according to the firm. The ink, which has a shelf life of 12 months, is said to be more economical than any PVC alternative. Its quality and

technical

performance

has been designed to rival the resolution achieved by digital printing. MagnaColours has also launched a raft of other products this year including an environmentally friendly range of inks and the Reflective range of toxin-free inks.

soak up and draw energy from devices such as mobile phones held at close proximity and then use that stored energy to power small sensors incorporated into items such as POS products and branding. This technology is essential for realizing the Internet of Things, a world in which smart objects about

sense their

information environment,

process this information to respond

appropriately,

and

communicate with individuals or other electronic devices.


REPORTS

Industry 4.0 megatrend arrives in printing sector

The Industry 4.0 megatrend has also arrived in the printing sector. “Data is the new raw material for our industry,” stressed Michael Neugart, Chairman of the Board of Heidelberger Druckmaschinen Vertrieb Deutschland, at a convention of the print and media associations (VDM) for the German states of Baden-Württemberg and Bavaria in Wiesloch. Under the banner “This is the Future! Printing Industry 4.0”, around 150 experts explored the question of how the print media industry can use the digital age to its advantage. “As yet, there’s no conclusive definition of what Industry 4.0 actually means for the printing industry,” explained Alexander Lägeler, Managing Director of the VDM in Baden-Württemberg. He said that companies were still finding this out. Bernhard Niemela, Editorin-Chief of the Deutscher Drucker trade journal, confirmed there were, in any case, “a whole host of excellent opportunities” on offer, including for SMEs. “The opportunities in our sector may well be even better than elsewhere, because we’ve been working with digital data for some time and

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don’t have to start from scratch,” he added. It will be virtually impossible for printers to do without an IT infrastructure in the future. For Professor Klaus Thaler from Stuttgart Media University, Printing 4.0 represents “nothing more and nothing less than a paradigm shift, breaking the old rules and defining completely new ones.” The speakers agreed that digitization means far more than printing digitally or automating print processes. “It’s no longer sufficient to say we can print well,” said Thaler. He stressed that market players need to provide services “extending far beyond printing technology” and said that personalized print products were a good start. Torben Schanz from Star Corporation, a media logistics service provider in Stuttgart, underlined the importance of using web portals in the data interface to customers. “As simple printers and suppliers, we’re replaceable, but not if we control the interface to the customer,” he pointed out. Steffen Setzer from Berlin-based online print shop

Laserline went one step further. “We need to network all customerrelated processes, especially when it comes to service,” he said, adding that intelligent use of data already makes it possible to take significant steps in the right direction. “Data means customers,” stressed Setzer. According to him, there is actually no longer any need for conventional web shops. “Why shouldn’t it be possible for a secretary to simply order more letterheads at the touch of a button?” he asked, looking ahead to the digital future of customer relations. Heidelberg already offers a range of components for automated printing and interface management – collecting, analyzing, and utilizing data – at what it calls a smart print shop. With the new Push to Stop operating philosophy, the software-controlled printing process runs largely autonomously. The printer only intervenes in the process if absolutely necessary. Another approach is to use several thousand sensors integrated into the press to predict expected faults and errors in the printing process and eliminate them before they actually occur. Heidelberg also boasts of comprehensive IT expertise for interface management between print service providers and their customers. “We are the driving force behind digitization in our industry. The digitized value chain will be indispensable for most printing companies simply to remain competitive and fit for the future,” said Neugart.


ADVERTORIAL

The Signs Are Promising: SAi’s Sarit Tichon Looks at Developments in the Sign & Display and Large Format Markets Sarit Tichon, Senior Vice President Worldwide Sales for SAi, Niche markets are growing, and new attitudes and technologies are making a real impact.

With indications that growth is coming back to the industry, Sarit Tichon, Senior Vice President Worldwide Sales for SAi, discusses challenges and opportunities in the sign & display and wide format industry. How would you describe the state of the sign & display and wide format printing markets today?

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The market feels like we’ve gone back to a growth scenario, and printers and suppliers are facing the new conditions and demands of the post-Great Recession world. There is more optimism than there has been for a while; there are also some major changes that successful sign & display printers should pay attention to, and new strategies are needed for success.

Tell us more about the major changes that you think sign & display printers should pay attention to? One is that green issues are moving up the agenda for brands, governments and printers. In Europe, these issues have been part of the scene for some time, but now, in the vast markets of the US and China, concerns for the environment are becoming a major factor. The environmental impact of print production is affecting the decisions of sign & display and large format print buyers, and also affecting sales of new printing equipment. Also, HP’s increasing focus on the sign market with its HP Latex 300 printer series – featuring SAi Flexi RIPs – is changing the landscape. As a result, we are seeing the rise of UV-curable, latex and other printer technologies, with a consequent decline in solvent printing. This is one of the trends that sign & display printers should watch closely when investing in new equipment. What do you make of the suggestion that traditional signmaking is dead? At SAi, we have access to customer data that currently covers some 21 million jobs


ADVERTORIAL worldwide, and that’s growing by two million each month. While it might surprise some, we have learned that 56% of all jobs still involve vinyl cutting. This shows that after 20 years, digital printing is adding to the overall sign and display market, and not replacing traditional methods on anything like the scale anticipated. There are many characteristics about vinyl that end-users like, ranging from the depth of colour, to weather and abrasion resistance. A lot of signage is still simple lettering; letter cutting is fast and pieces are easily mounted. Also, no printers are needed and there are no ink costs. What about digital screens for sign and display applications? Is that a threat? Digital screens are most effective where they provide information that changes. In certain markets, they can be found everywhere: in supermarkets, subways, airports, train stations, shopping malls and sports venues. Traditional signs remain the best and most cost-effective solution for information that does not change. Again, I think it’s a case of being a supplemental technology, not a replacement one. It’s not uncommon to see a digital screen surrounded with traditionally printed signage. This is a great way to provide static information while providing current and changing messages. It’s a powerful combination and I think we’ll see more of it. Do you see other areas where there is particular growth? Non-traditional areas for large format printing are growing rapidly. Changes in business strategies as a result of the economic downturn; innovations

in technology, and new marketing trends are driving the growth of non-traditional markets. Systems are being developed for areas like textile, ceramic and glass printing. In China and other parts of Asia, textile printing represents 5-10% of the jobs we see printed by our customers. Much of this is soft signage, but in South America, for example, we are seeing apparel printing becoming a major component of the total work. Other growth areas are in labels and packaging related applications where customers are looking for fewer suppliers while at the same time, large format printers are looking for new revenue streams and ways of doing more work for their existing customers. How does sign-making align against competitive processes? Apart from those processes discussed above, the enormous interest in 3D printing (additive manufacturing) has given rise to predictions that there will be a surge in manufacturing carried out by consumers. Personally, I see its real future more in smaller volume, more local manufacturing. With this I see a rising demand for packaging for these 3D-printed products. That need will be for smaller volumes of packaging, often designed specifically for short runs of products. This is where there is a great opportunity for SAi’s customers to move into short-run or custom packaging. As such, we hope to announce a packagingfocused software solution within a year, enabling the design and

imposition of folding cartons to meet this new requirement at a cost that makes sense for the supplier and printer. What do you see the future holding for sign & display printers in the next five years? I think we’re already seeing a transformation of sign & display printing as suppliers offer more allin-one solutions. Avery-Dennison’s TrafficJet™ Print System for retroreflective road and industrial signage is a good example. It’s a complete solution including substrate, inks, software and printer. HP’s wallcovering solution is another good example, bringing together latex ink, substrates, software and printers. I expect to see similar solutions for textiles, ceramics and glass, too. While the future of signmaking looks good, it will be the sign-makers who differentiate themselves by establishing a reputation for providing at least one specialist peripheral application that will be the most successful. At SAi, we’re confident about the future of the markets we serve: sign & display, large format, and our routing software business. While these markets are growing and full of exciting potential, the need to add value and differentiate is key to everyone’s success.

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GUEST COLUMN

Mastering the art of inkjet printing by Sonja Angerer

Inkjet is a unique printing technology; there is no other option to print on such a wide varieties of substrates with such efficiency and ease. Just how does it work, and what does it all mean to a print buyer? When Germans come across some fine spirits or wines, they often colloquially say “Das ist aber ein gutes Tröpfchen”, which may roughly be translated as “this indeed is a very fine little drop”. This is not a common English phrase, but still is just the perfect way to describe inkjet inks: very, very fine drops. Inkjet printheads in modern small-format photo printers are able to jet drops as small as 1pL (a

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picolitre which is one trillionth of a litre), while high quality wide-format inkjet printheads usually offer around 10pL as their smallest drop size. Tiny drop sizes are generally desirable, because they guarantee fine detail, crisp type and perfect gradients. The nozzles to achieve this have to be minuscule. So as not to clog these, particle sizes in inkjet ink are usually under 200 nanometres in diameter, while in an analogue dispersion they are bigger than 10 micrometres. The basic ingredients of conventional and inkjet inks are not so very different – a mix of pigments and/or dyes, solvents (including water) and additives to prevent sedimentation, clogging, deterioration or to help the ink dry more quickly on the substrate, but not while printing. What makes inkjet inks so precious, is the enormous effort required to ensure the smallest particle size, purity and uniformity. Designing inkjet inks is indeed high-tech; companies like Fujifilm or Agfa spent millions on their

research and production facilities. Inkjet inks are always specifically designed for a certain inkjet printhead type or family. While changing printing ink to meet the needs of different applications is the norm within analogue printing technology, it is often impractical with inkjet printers. Most inkjet printers come with one type of ink which they print for their entire lifecycle. There might be more than one sort of ink available, typically a third party, budget or very flexible option for use say with car wrapping or thermoforming applications. But even so, changing inks is a hassle so tends not to happen all that frequently. Most inkjet inks are able to work with a very wide range of roll-to-roll or flat rigid substrates, though a receptive coating or primer may be needed. HP Latex printers, for example, can print on a very broad range of materials from papers to PVC and non-PVC banner, back- and front-lit materials, canvas and even textile substrates using just one type of ink. A quick update on inkjet technology. Inkjet inks are able to print onto almost any surface from paper to metal. As a fully digital technology, inkjet printing does not require a printing plate. The finished designs are transferred directly to a Raster Image Processor (RIP), which calculates the raster data viewed on screen for output at a resolution suitable for the printhead and quality expectation, calculating drop sizes and placement frequency as required. Thus small print runs are economically viable and customised/variable print content is commercially feasible. High-


GUEST COLUMN speed inkjet presses like the EFI Nozomi C18000 are able to run at up to 75 linear metres per minute, pushing inkjet and customisation further into high-volume printing for the global packaging industry. Most wide and super-wide format inkjet presses work with grey-scale Piezo inkjet technology: a Piezo crystal bends when exposed to an electrical current forcing drops to be ejected from the printhead in sizes suitable for the colour density and overall image quality requirement. Piezo inkjet technology is suitable for a wide variety of liquids, including functional fluids for solar panel or consumer electronics production. White and metallic speciality inks, such as those used in Mimaki inkjet printers, are currently only commercially available for Piezo inkjet heads technologies. Inkjet printing often takes advantage of more than four process colours. Adding light (50%) Cyan and Magenta makes for more natural skin tones, adding Red, Blue, Green or Orange helps to expand the colour gamut to include almost all Pantone colours. Using up to three additional black inks can guarantee photo lab grade black-and-white photo prints. Thermal inkjet heads are known for having a very large number of individual nozzles and ejecting water-based inks by forming minuscule heat bubbles inside the head. HP Page Wide and Memjet Waterfall Technology harness an integrated circuit production process to create very fast print and cost-efficient thermal inkjet heads for the wide format, commercial print, marking and packing print industry. Inkjet? It’s all French to me! A typical print buyer might not be very interested in inkjet

technology itself, but first and foremost in the options the technology offers. It is still important to know, that even though inkjet as a technology is able to print onto almost anything, not every inkjet is suitable for any application. Water-based inks are best when used for indoor or shortterm outdoor applications. For perfect image quality, a reception layer on the substrate is required – printing on just any paper or self-adhesive will end with blurry or smudged colours. HP Latex inks are often included into the “water-based” category, as they share their typically odourless, planetfriendly qualities. The outdoor durability of HP Latex prints extends up to three years in Central European weather conditions, and up to five years with lamination. Water-based dye sublimation inks are typically used with polyester-based substrates, for example sportswear. Both transfer and direct sublimation is common, embedding the ink deep into the fibre. Gifts and promotional items like printed mugs and plates also very often are the result of an inkjet sublimation process. Solvent and eco-solvent based inks are most suitable for printing onto vinyl and selfadhesives, because the solvents help the inks to “sink” into an uncoated substrate, rendering prints very durable even when stretched or under harsh weather conditions. Eco-solvent ink prints are mainly used for outdoor applications, stickers and car wrapping. Typical outdoor durability is up to five years. UV-curing inks could legitimately be called “jack-ofall-trades” inks, because, being

cured with powerful UV-lights about a second after jetting, they stick to almost any type of uncoated rigid or flexible surface, including textiles, forming a matte or glossy layer of ink on top of it as the application requires. They are common for indoor and outdoor use, with outdoor durability up to five years. Depending on ink brand and substrate, prints may have a typical, but non-hazardous smell. UV-inks are available in white and some spot colours, as well as clear for beautiful spot varnish and textured 3D effects. The Future Is Now Inkjet has also been taking over many industrial processes where pictures, coatings or functional decors previously have been the prerogative of a screen or pad printing process. Taking advantage of inkjet’s unique ability to print singular items, it is now possible to design custom curtains, bed linen, glass decor, laminate, cork or wooden floors, carpets, tiles and other ceramics and have them produced in industrial grade quality even in small batches. There has never been a better time to design and deploy the most amazing advertising and marketing campaigns than today. Inkjet makes it possible to harness the power of an individualised media universe to influence, inform and delight. All you need is creativity!

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Duratech Automation Pvt. Ltd.


GUEST COLUMN

Statistical process control of colour difference data By Anna Harris and David Parker

In this series of article on colour difference data, John Seymour advocates statistical process control “more or less simple”. But he reiterates that it’s not really that simple at all as it seems. Statistical process control (SPC) of colour data -- specifically of colour difference (ΔE) data -- can be done, but there is a bit of a twist. Colour difference data doesn’t behave like your garden variety process control data. Since ΔE doesn’t follow the rules, the classical method for computing control limits will no longer work. Hopefully, by the time I get around to the third blog post in this trilogy, I will have thought of some new footings on which to erect a new SPC specifically designed for ΔE. Review of process control The premise of statistical process control is “more or less simple”. I say that in the sense that

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it’s not really that simple at all. And I say that because I want to make sure that you understand that what I do is really pretty freaking awesome. But really, the basic idea behind SPC is not all that tough to comprehend: You only investigate your widgetmaking machine when it starts to produce weird stuff, and you shouldn’t sweat it when the product isn’t weird. The complicated part lies in your algorithm for deciding where to draw the line between “normal” and “weird”. The red dress on the far left? Elegant, chic, and attractive, and pretty much in line with what all the women at my widget factory are wearing. The next one over? Yeah... I see her in the cafeteria once in a while. But I’m just not getting into the outfit on the far right. Sorry. I’m just not a fan of horizontal stripes. But in between... how do you decide where to draw the line?

Statistical process control has an answer. You start by characterizing your process. As you manufacture widgets, you pull out samples and measure something about them. Hopefully you measure something that is relevant, like the distance between the threads of a bolt, or the weight of the cereal in the box. Since you are (apparently) reading this blog post, it would seem that the widget’s colour might be the attribute that interests you. Next, you sadistically characterize this big pile of data. Open up a spreadsheet, and open up a bottle of Black and Tan, a Killian’s Red, a Pale or Brown Ale, a Blue Moon, or an Amber Lager. And unleash the sarcastical analysis. The goal for your spreadsheet is to come out with two numbers, which we call the upper control limit and the lower control limit. Then when you saunter into work the following day, after recovering from a colourful hangover, you can start using these two numbers on brand new production data. Measure the next widget off the production line. If it falls between the lower control limit and the upper control limit, then relax and pull another Black and Tan out of your toolbox. You can relax because you know your process is under control. When a part falls outside the control limits, the camera doesn’t automatically cut to Tom Hanks saying “Houston, we have a problem”. We’re not sure just yet whether this is a real problem or a shell-fish-stick anomaly. The important thing is, we start looking for Jim the SOP Guy, since


GUEST COLUMN he is the only one in the plant who knows where to find the standard operating procedure for troubleshooting the widget making machine. Note that I was careful not to start the previous paragraph with “when a part is bad...” Being outside of control limits does not necessarily mean that the part is unacceptable for the person writing out a check for the widgets. Hopefully, the control limits are well within the tolerances that are written into the contract. And hopefully, the control limits that are used on the manufacturing floor were based entirely off data from the process, and the SPC code of ethics has not been sullied by allowing the customer tolerances to be used in place of control limits. That would be icky. Identifying control limits But how do we decide what the appropriate control limits are? If we set the control limits too tight, then Jim the SOP Guy never gets time to finish the Blue Moon he opened up for breakfast. And we all know that Jim gets really ornery if his beer gets warm. If on the other hand, we humour Jim the SOP Guy and widen the tolerances to the point where Tom Hanks can fly a lunar lander through them, then we will potentially fail to react when the poor little widget making machine is desperately in need of a little TLC. So, every time we encounter another measurement of a widget, we are faced with a judgement call. Setting control limits is inherently a judgement call where we balance the risk of wasted time troubleshooting versus missing a machine that’s out of whack. Deming Why is it so bad to spend a little extra time troubleshooting?

It is, of course, a business expense, but there is an insidious hidden cost to excessive knob gerfiddling. It makes for more variation in the product. If we try to control a process to tighter than it wants to go, we just wind up chasing our tail. Well, lemme tell you about when I worked with Deming. This was back in the late 1940’s, just after the Great War to End All Wars. Oh wait. That was WW I. Deming did his stuff just after WW II - the Great War After the Great War to End All Wars. I was about negative thirteen years old at the time. A very precocious young lad of negative thirteen, I was. Deming learned me about the difference between normal variation and special cause. Normal variation is the stuff you can expect with your current process. You can’t get rid of this without changing your process. Special cause means that something is broke and needs attending to. he characterizing of our process is pretty simple. You know, when you opened up the spreadsheet and took a long drink of the Amber Lager? You don’t have to tell your boss how simple it is, but here it is for you: Compute the average of the data. That goes in one cell of a spreadhseet. Compute the standard deviation. That goes in a second cell. Then, multiply the standard deviation by the magic number 3. Subtract this product from the mean (third cell in the spreadsheet), and add this product to the mean (fourth cell). This third and fourth cell are the lower and upper control limits, respectively. If the process produces normal data, and if nothing

changes in our process, then 99.74% of the time, the part will be within those control limits. And once every 400 parts, we will find a part that is nothing more than an unavoidable tansistical anomaly. The big IF Note the sentence that predicated assigning the numbers to the likelihood of false alarms: If the underlying distribution is normal There is a scenario that suggests there may be a difficulty. Let’s just say for example, that the average of our colour difference data is 5 ΔE, and that the standard deviation is 1 ΔE. That puts our lower control limit at 2 ΔE. Let’s say that we happen to pull out a part and the difference between its colour and the target colour is 1 ΔE. What should we do? Classical control theory says that we need to start an investigation into why this part is outside of the control limits. Something must be wrong with our process! The sky is falling! But stop and think about it. If the part is within 1 ΔE of the target colour, then it’s pretty darn good. Everyone should be happy. Classical control theory would lead us to the conclusion that something must be wrong with our process because the part was closer to the target colour than is typical! The obvious solution to this is that we simply ignore the lower control limit. That will avoid our embarrassment when we realize that we fired that incompetent operator for doing too good a job. But, this simple example is a clue that something larger might be amiss. Stay tuned for next week’s exciting blog post, where I explain how it is that colour difference values are really far from being normally distributed!

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TECHNOLOGY

August - September 2013 | SCREENTEX |

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THE INDIAN LION IS TAKING A GIANT STEP FORWARD

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MARKET WATCH

Digital inkjet textile print volumes to grow at 17.5%

Smithers latest report, The Future of Digital Textile Printing to 2021, values this global market at €1.17 billion in 2016 with growth forecast at an annual average of 12.3% for 2016-2021. This will see the market more than double in value over five years, reaching €2.42 billion in 2021. Smithers’ analysis tracks how this will drive an even more rapid increase in the volume of fabric printed with inkjet equipment – from 870 million m² in 2016 to 1.95 billion m² in 2021 – a 17.5% CAGR. In 2016 for textiles the market share for digital processes is 2.8% of overall volume. But digital’s share is set to boom in a segment where the mean growth is just 3%. As this develops, major print companies are increasingly taking an interest in the textile segment, fostering the development of new business models, printheads, inks, media, and high throughput machinery. The greatest acceleration across the study period will be in clothing, which has the key

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sub-segments of fashion, haute couture and sportswear. Household textiles are predicted to grow at the next fastest rate. Displays and signage are growing somewhat more slowly –from a larger base – but will maintain double digit annual growth across the Smithers study period, which will convert into the largest absolute increase in value for 2016-2021.Technical textiles will lose ground slightly, which is indicative of a lack of visibility of, or focus on, these smaller niche markets. Quick turnaround is an increasing priority as the fashion segment embraces multiple miniseasons and print-on-demand delivery models. This suits inkjet production with its reduced set up times. Global textile industry dynamics are changing and the importance of Asian economies continues to increase, though there is also some backshoring/ reshoring of production to North America and Europe to ensure quality in high-value applications.

The parallel trend of near-shoring – shortening global supply chains – was poised to benefit Turkey, though this is likely to be cancelled in the short term. “Growth is continuing at an attractive pace for investors and large corporations. This is witnessed by very important merger and acquisition activity in the past two years, with conglomerates from Japan and the US creating groups of companies. Old family textile printing businesses have been purchased and are being incorporated into these larger businesses. Global near-exponential growth rates cannot be sustained in the longrun as a market matures; but several very high growth regions remain. The revolution digital printing has created in graphics, and more recently in ceramics, shows a market penetration of over 70% can occur within a few years, if there is extensive cost parity or better, and if barriers to change are removed,” said Dr Justin Hayward, author of the report.


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LIMELIGHT

Neon Knit Print has expansion on its mind

Neon Knit Print is blessed to be in textile printing hub of the country, Tirupur. However, not many are aware that this textile printing company was once started with the aim of catering to the commercial printing business. “We started with a conventional printing unit in 2009. However, the unit was closed in 2013 due to falling profitability and lower volumes in the sector,” says Raghunath, director of Neon Knit Print. The same year, the directors discussed if closing the unit was the only option or if they could rather venture into textile printing. In the end, it was the change of strategy that scripted the success

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of what is today known as Neon Knit Print. “It was March 2013 and we decided it was time to shut shop and being afresh. By the end of the year, we had installed the screen printing machines and started smooth operations,” he says. The company began its operation with two machines and last year, installed the third machine at their printing facility. Interestingly, the company is also an example for those who believe printing is more about creativity than engineering. The director is not a print engineer, and began his affection to printing while witnessing how textile printing jobs were done in

another company. He adds that the company is looking to installing two more machines in the near future and will consider adding sublimation as a separate division to its shopfloor. The facility is manages by 45 employees who have been trained for different functions in textile printing. He says that one of the biggest challenges today is to retain talented and skilled employees. “We ensure that all our employees get a chance of improving and adding on to their skills,” he says. “For an organization to maintain quality work, quality workforce is very critical.” Another reason for high attrition rate is the increasing pace with which


LIMELIGHT automated machines are entering the Tirupur market. “Ramesh Ganduri of Spoorthy has installed several machines across different printers in the market,” he points out with a smile. “This means that the market is moving towards automation. And when automated machines make way into your shop floor, you need to have trained and skilled workforce to operate them. A simple demand supply phenomenon then pushes the wages, and perks to surge, and the availability of skilled workforce to turn into job hoppers,” he explains. Regardless of the challenge, Neon is today known for its reflective, dark prints, radian prints, discharges and a plethora of other value additions. Since Tirupur is hardly within 30 kms radius of industrial belts, it becomes easy

to procure raw material and parts as per the need, he says. However, he wishes if the ease of procurement could also have reflected in the ease of doing business. “Government policy has not been very encouraging towards textile industry. The industry has been facing tough days from some time, and still it was busy jumping the EPCC and license hurdles,” he adds. Tirupur printers largely have an export oriented outlook, and Neon too gains a major share

of its business from exports only. But according to him, domestic market is slowly catching-up pace in comparison to exports, but a lot of it is untracked since it’s largely unorganized.

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TEXTILE PRINTING CHEMICALS TRUSTED NAME IN PRINTING TECHNOLOGIES WORLDWIDE

M

E C I

R OU TO T O

Y

BEST

UALI

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TECHNOLOGY

Circuitry layer printing durometer squeegees provide an excellent choice, e.g. 90/70 shore.

This simple How to Guide will show you the best way to reliably screen print the circuitry layer for a conventional membrane touch switch or printed sensor application. Let’s start with few recommendations: Substrates: The Autostat range of heat stabilised polyesters have low residual shrinkage at elevated temperatures, making them the perfect choice for MTS and circuitry applications. Frames: It is critical that the mesh releases from the ink film immediately after the squeegee passes, so a high tension mesh (> 25 N/cm) on a rigid metal frame is required. Mesh: Always choose the highest quality polyester or stainless steel mesh for printing conductive or dielectric inks. The required ink film

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thickness will ultimately dictate which mesh count to select. The table below provides some guidelines on where to start: It is essential that the mesh is completely clean and free from all ghost images before the stencil is made. Contamination in the mesh will lead to poor ink flow and may even affect the functionality of the ink. Always use Universal Mesh Prep or Auto Degreaser Concentrate to ensure the best mesh preparation possible. Use Autokleen Plus to remove any mesh staining from polyester screens if they have been used before. Printing: To improve the image quality and to maintain overall dimensional accuracy always select a sharp, undamaged polyurethane squeegee blade and use the lowest squeegee pressure possible. Dual

Stencil selection for conductive inks: Controlled profile capillary stencil films are always recommended over emulsion stencils. Capillex CX has been specifically formulated to give a low EOM and low Rz stencil for optimum print reproduction and control with conductive inks. Controlling the EOM (stencil profile) is critical for quality printing, as even a 1μm difference in EOM can give up to a 1μm difference in wet ink film thickness. If a conventional Capillex film is preferred, then either Capillex 20, 25 or 35 are recommended. For best edge quality and surface levelling, a slow print speed is advisable for both Silver and Carbon conductive inks as this helps to optimise the flow. Even small print defects that reduce the cross sectional area of the conductive track can have a large impact on their resistance. Good track edge definition also helps to reduce the potential propagation points for Silver migration failure. Drying conductive inks High temperature curing of the conductive ink is required to give the lowest resistance possible. Efficient drying is also critical for interlayer adhesion and flex life. Dielectric inks: Printing a complete, uninterrupted film for the dielectric layer is critical. These layers are typically large negative images so primary control of the printed ink deposit will be determined by the mesh. It is best to avoid high EOM stencils as these can lead to thick edges on


TECHNOLOGY the image. If the print speed is too fast this can generate air bubbles in the dielectric layer which will lead to pinholes and potential circuitry failure. Often a double print pass is used for the dielectric layer to mask any pinholes and provide the desired thickness and performance requirements. When printing the dielectric or carbon tabs, a quality dual-cure direct emulsion such as PLUS 7000 or PLUS 8000 is ideal, or if a one-pot emulsion is preferred, then PLUS 1-SR can be used. Curing dielectric inks: Complete UV curing of the dielectric is critical for good interlayer adhesion and flex life. Follow the ink manufacturers’ guidelines for their curing recommendations.

How to minimise dust contamination Dirt or dust in the print can lead to circuit failure. • Remove any contamination from the dry screen prior to printing with a low tack roller • If the print room is not a ‘clean room’, then create a cleaner environment around the press by curtaining. Note that an extractor hood will be required for local exhaust • The operators should wear clean room clothing

• Fit antistatic bars/static dissipaters to the press • Try to restrict personnel movement in the area during printing • Place tack mats around the press and entry points to the print room • Cover the screen during stoppages or remove the ink • Never return ink from the screen back into the pot • A slightly higher relative humidity (RH) in the print room helps reduce static build-up during printing

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August - September 2013 | SCREENTEX |

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TECHNOLOGY

Solving problems in the real world – Part 1 By Anna Harris and David Parker

Over the years we’ve built up a large number of case studies of problems found in the real world. In the first part of the two article series, we share our experience of the things that have caused screen printers real problems – and the solutions we have found for those problems. Dirt Dirt obviously can mess up your print in many ways. Dirt on the mesh during coating can cause streaks. Dirt on film positive or on the stencil during exposure can cause pinholes. Dirt during printing gives pinholes and streaks. The highest quality screen printers do their work in cleanrooms. It’s amazing how

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much easier life is when you don’t have to fight with dirt. If you don’t have the luxury of a cleanroom then here are tips we’ve found make a real difference. 1. Install a simple filter in the water supply used for your stencils and meshes – and remember to change it regularly. It costs a few cents yet can save large amounts of money in avoidable rework. 2. Clean all surfaces and floor. Use a damp cloth or vacuum with a HEPA filtered exhaust. 3. Close doors and use tack mats to minimise dust and dirt entering the screen printing

area. Also minimise the number of people moving around in the area. People are the biggest source of dust. If adding additional enclosure take care that air movement into the area is from a clean source. For instance shutting the door will be a waste of time if the air is then going to be pulled from a dirty air space above ceiling tiles. 4. Use lint free wipes 5. Avoid fibrous packaging, sheets should be removed from the transit box prior to use. Card and paper should be kept away from the printing area if possible. 6. Raise humidity (this reduces static). If you damp down the floors, take care to avoid slip hazards 7. Wear clean room overalls 8. Filter air conditioning. If you turn off air conditioning on days that it is not necessary, make sure that the alternative source of air is not dust laden 9. Use an ionising air-gun to clean your mesh. An ordinary air-gun can create static (yes, we’ve measured the effect) and attract dirt back onto the mesh. The ionising air gives a really clean result. Static control Static causes dust to be attracted to surfaces. It is produced in 3 ways 1. Separation 2. Friction 3. Induction The simple act of removing a sheet of film from a stack, or passing a film through a rubber roller nip produces static by separation and friction. Static is hard to eliminate once it has been produced so


TECHNOLOGY the best thing to do is to reduce the chances of creating it. An environment with a relative humidity greater than 50% helps. Reduce handling and rubber-roller nips to a minimum. Then make sure you have anti-static devices at critical positions. An ionising air-gun is useful for spot work (especially for the final cleaning of a screen). An ionising airsystem installed on a press keeps critical areas static free. And although “Christmas tinsel” does a reasonable job of removing static, it doesn’t look too professional and is easily broken; modern anti-static bungeecords are a better alternative. The wrong mesh We’re astonished at how often printers choose the wrong mesh. The most common error is to use white mesh, then complain about lack of resolution. Next is an inappropriate choice of mesh-count and diameter. What is puzzling about this is that the choice should be very simple. If the print contains large blocks of open image then desired ink deposit can only come from a relatively small number of meshes – too coarse and the deposit is too large, too fine and the deposit is too thin. If the print contains lots of fine detail, then the rule-of-thumb — 2.5X the thread diameter is the minimum size of printable feature —gets you fairly close to the right answer. For fine-line printing there is no alternative to the finest stainless mesh you can handle. And if you are after accurate registration then a stainless or liquid-crystal mesh are your most likely choices as polyester simply does not have sufficient long-term stability. The other aspect of mesh choice is more subtle. You must

avoid mesh moiré. Fortunately, the Mesh Moiré Calculator helps you find the right mesh-count for your 4-colour settings. As most high-resolution screen printers are moving to stainless, there’s one more tip we’ve learned from our most advanced customers. Get hold of blackened stainless mesh as this has a dramatic effect on improving resolution. It’s currently hard to get hold of, but the more customers who demand it, the more the stainless mesh manufacturers will start to supply it. Image too close to the frame If you have a few mm snapoff (off-contact), the pressure from the squeegee needed to force the mesh into contact with the substrate might be modest in the middle of the mesh, but will be higher when the squeegee gets close to the edge of the frame. This comes from simple geometry. It’s therefore important to make sure your image area is not too close to the frame, both in the lengthwise and crosswise direction. What happens if you get too close to the frame? First you get large image distortion. Second, you are forced to use a larger squeegee pressure which can damage the squeegee and can also cause judder and extra dot gain (graphics) or positive sawtoothing (technical). There is also evidence that the squeegee gets distorted near the edge and cannot do a good job of scraping off the excess ink, thereby giving a higher ink deposit in the areas near the frame. Of course, as you go to lower and lower snap-off, the problems get less and less so you can go to a larger % image size.

Poor cleaning Failure to properly clean and reclaim a mesh gives you ghost images. For many years the effect puzzled us. Often we couldn’t see any residue on the mesh, yet the ghost was still there. Where was it coming from? The answer was that the knuckles of the mesh are where most of the ghosts hide out. Why is this important? Because the amount of ink held in the mesh, and the amount of ink remaining on the mesh when it comes out of the ink both depend strongly

on the knuckles. A small amount of ghost hiding in the corner of a knuckle is enough to change the printed ink volume. See Steve’s mesh marking section for his hypothesis about mesh marking. Emulsion coating The advice about cleanliness is really important for emulsion coating. When we developed ultraclean emulsions for the high-end electronics printers we were not able to properly test our own product till our QC department moved into a full clean-room environment. Only then could we be sure that our emulsions were as clean as they had to be – before that we could never tell if a defect was in the emulsion or from the test laboratory. We’re not going to say much about coating troughs. Our

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TECHNOLOGY

preference is for a simple, sharpedged trough and we take good care of them because any defect in the trough ends up as a defect on the stencil. Not everyone knows that controlling the level of emulsion in the trough is important. The amount that flows out as you coat is highly dependent on the level. A full trough gives a higher EOM. So if you don’t control this level, every stencil will turn out to be different. Everyone knows about producing 1+1 or 3+2 emulsion coatings, but we are surprised that there are still printers who don’t understand why, for example, the simultaneous coating on both sides from an automatic machine must give different results from individual coatings. The reason is simple, only the individual squeegee side coating can push through enough emulsion to the print side to give a significant EOM – when you have two troughs opposite each other, they don’t allow any excess on either side. The high Rz of a simple emulsion coating gives lots of problems during printing. We often have to remind printers where the

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Rz comes from. You start with a uniform coating and the water evaporates. Let’s suppose (for simplicity) you have a 100μm total wet coating on a mesh that is 50μm thick. And suppose it’s an advanced 50% solids emulsion. Then the 100μm of emulsion in the open areas of the mesh dries to 50μm, so is just level with the surface of the mesh. But the 50μm of emulsion sitting above 50μm of solid mesh also halves in thickness to 25μm. So above the solid mesh you have 25μm, and in the mesh holes you have 0μm. This means you have an Rz of 25μm. The lower the solids, the higher the Rz. If we had a 25% solids emulsion in the example above then in the holes it would shrink to 25μm below the mesh surface and in the solid areas it would shrink to 12.5μm, giving an Rz of 37.5μm. Here’s a 3D view of how Rz is caused by shrinkage above the holes in the mesh: The advantage of wet-on-wet coating is that it is quick and easy. The disadvantage is that it doesn’t do all that much. As you put on subsequent coats you drag away plenty of the previous coats. The benefits to both Rz and EOM are modest. Wet-on-dry coating involves much more work. Each drying stage takes up precious time. But the results speak for themselves. You can get much closer to the ideal of a low-Rz and lowEOM if you are prepared to take the time to do multiple wet-ondry coats. Our own experience is that by far the best way to achieve a low-Rz, low-EOM stencil is to use a capillary film especially designed to give that balance of properties. It’s much faster and more reproducible than all those wet-on-dry coatings!

Drying It’s amazing how many printers don’t understand that you can’t dry a stencil without some warmth and some flow of air that isn’t already saturated with water vapour. The theory of drying says that air flow is usually more important than mere temperature. Just think of the difference of drying your hair with a cool hair dryer (plenty of air flow but little heat) and with an electric heater (plenty of heat but little air flow). The hair dryer wins every time. And remember that overheating the stencil will cause it to fuse and give poor reclaim. A quick tip to help with a poor drying setup is to install a dehumidifier in the system. There’s a different sort of drying issue we see from time to time. If your print is being dried on a belt going through the oven, the pattern on the belt sometimes shows through on the print. The higher thermal conductivity of the belt means that that part of the print dries faster, so ink flows from the less dried part to fill in, and the net effect is more ink corresponding to the areas in contact with the belt. Exposure control Everyone’s in a hurry and likes to underexpose. It obviously helps with resolution too. But it’s very easy for the current level of under-exposure to be regarded as being full-exposure, so someone under-exposes a bit more … till you get a soft stencil with poor edge definition and a poor print life. Drifts downwards in levels of under-exposure, coupled with the drift downwards in output from the lamps is the single biggest source of problems we’ve found in the whole screen-print business!


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CASE STUDY

Foaming PROBLEM

Foam visible in ink pail or pump, missing print areas.

CAUSE

SOLUTION

1. Ink exposed to too much air

1. Check pump speed & for leaks in ink lines

2. Ink fountain level too low

2. Ensure ink fountain is filling properly

3. Ink return too long for job

3. Reduce return line distance

4. Ink viscosity too high

4. Ensure viscosity is reduced to to allow entrenched air to escape

5. Ink not correct/appropriate for job

5. Check ink supplier or make ready ink tech

6. Poor cleanup/ink contamination

6. Ensure housekeeping/cleanup procedures are being followed

Float/Film on Ink PROBLEM

Ink separated or contaminated.

CAUSE

SOLUTION

1. Old or dirty ink

1. Check ink chemistry, check with make ready/ ink tech; replace ink with fresh supply

2. Incompatible ink additive

2. Check with ink supplier/tech

3. Improper mixing

3. Ensure ink is mixed and agitated

Ghosting/Tracking PROBLEM

Printed image duplicated, or part of printed area missing.

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CAUSE

SOLUTION

1. Ink dries too fast

1. Check solvent compatibility

2. Anilox line screen too fine

2. Use lower line screen roller

3. Press speed too fast for job

3. Reduce press speed

| SCREENTEX | October - November 2016


CASE STUDY

Halo, Light Image and / or Dirty Image PROBLEM

Printed image light or devoid of ink, residual dirty image.

CAUSE 1. Improper impression setting

SOLUTION 1. Adjust “kiss” impression to acceptable level.

Kick-Out PROBLEM

Clumps or particles in ink, out of suspension.

CAUSE

SOLUTION

1. Ink/ solvent ratio incorrect

1. Check solvent for ink compatibility

2. Excessive moisture buildup

2. Check solvent for ink compatibility

3. pH too low (Water-based)

3. Adjust pH to proper level

4. Mixing incompatible inks

4. Ensure unlike inks are not being mixed together

5. Inadequate mixing

5. Ensure ink in pail is properly mixed

6. Housekeeping

6. Ensure cleaning procedures are being followed

Mottle PROBLEM

Intermittent light & dark print; dirty colour.

CAUSE

1. Substrate absorption or caliper not correct 2. Viscosity too low

SOLUTION

1. Try lower durometer plate or inks 2. Add virgin ink and maintain viscosity

3. Improper impression

3. Ensure “kiss” is adequate for print job

4. Dirt or contaminated plate surface or impression roller

4. Ensure plates and impression roller cleaned prior to job

5. Improper plate for job

5. Ensure proper plate material and durometer

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MANUFACTURER OF PRINTING INKS. SPECIALIST IN: PVC PRIMA INKS, PVC REDIMIX SILVER, PVC DELUX INKS, VYNOSHINE INKS, PAPER GLOSS INKS, EVA GLOSS INKS, EVA INKS, PVC PEARL INKS, PVC FLOROCENT INKS, ALUMINIUM FOIL PRINTING INKS, FLEXO PRINTING INK

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Suntex Enterprises H. Office: S 121, Harsha Compound, Site 2 Industrial Area, Mohan Nagar, Sahibabad, Ghaziabad-201007, U.P. India. Tel.: +91-9312262087, 9811028144 Email: info@suntexprintingink.com Website: www.suntexprintingink.com Kanpur Office: +91-9335589233, 9454897984 Email: riteshagarwal635@gmail.com


CHERAN’S JUMBO MODEL MC TECHNICAL SPECIFICATION Model

CF 2638

CF 3844

CF 3242

CHERAN’S SWIFT ROLL SUBLIMATION MC TECHNICAL SPECIFICATION

CF 3848

CF 4252

Model

CFR 1250

CFR 1750

CFR 1950

Working Area

44”

65”

72”

Actual Size

51”

72”

79”

Heater Power

6KW

9KW

12KW

Temperature

220 C

220 C

220 C

Speed

0 to 99 Sec

0 to 99 Sec

0 to 99 Sec

AMPS

10 Amps

18 Amps

18 Amps

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

24”x36”

30”x40”

36”x42”

36”x46”

36”x46”

Power

440V, 50HZ

440V, 50HZ

440V, 50HZ

440V, 50HZ

440V, 50HZ

Heater

6.5KW

12KW

12KW

14.5KW

18KW

Temprature Timer

O

O

O

O

O

220 C

220 C

220 C

220 C

220 C

0 to 99 Sec

0 to 99 Sec

0 to 99 Sec

0 to 99 Sec

0 to 99 Sec

Air Pressure

0 - 8 Bar

0 - 8 Bar

0 - 8 Bar

0 - 8 Bar

0 - 8 Bar

AMPS

10 Amps

18 Amps

18 Amps

22 Amps

27 Amps

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

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

O

O

O

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


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| SCREENTEX | October - November 2016

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ueeiele Jeeuee nes mekeÀlee nw Deewj FbkeÀ keÀF& Deueie lejn kesÀ Òees[keÌì kesÀ mlej kesÀ efueS yengle De®íe DeOesMeve (ieeWo) nes mekeÀlee nw~ m¬eÀerve efÒebefìbie keÀeHeÀer mece³e mes nw Deewj FbkeÀ [sJeueHeme& ves efoceeie mes He³ee&Hle GHee³e keÀj efueS nQ efpememes cewv³egHewÀkeÌ®eefjbie ûeenkeÀ keÀer ceeBie keÀes yevee mekesÀ pewmes DeveskeÀ leeHeceeve Hej FbkeÀ keÀes Oeesves ceW yeoueeJe Deelee nw~ ìskeÌmeìeF&ue keÀHe[s Hej efÒebì keÀjves keÀe efJe®eej keÀeHeÀer Hegjevee nw~ Deewj Òee³e: Leesæ[s mece³e kesÀ efueS neslee nw~ efpemeceW meeF&vespe veS ieejceWì ef[peeF&ve Meeefceue nw~ neue ner kesÀ Je<eeX ceW ìskeÌmeìeF&ue Fb[mì^er ves FbkeÀpesì efÒebefìbie keÀes ieues ueiee³ee nw Deewj keÀF& Fb[efmì^³eue FbkeÀpesì efÒebìj meeceves DeeS~ GoenjCe kesÀ efueS keÀuej yeesmìj meerjerpe keÀes efJekeÀefmele efkeÀ³ee pees 2.5 mes 3.2 ceerìj ®eewæ[s jWpe keÀe nw~ pees meerOes oesveeW ìskeÌmeìeF&ue Deewj [eF& meyueercesMeve efÒebì kesÀ efueS me#ece nw~ ³es ceMeerveW Del³eefOekeÀ efÒebìns[ Deewj kegÀue GlHeeove keÀer oMee ceW keÀeHeÀer keÀevHeÀeriej nQ~ ³es ûeeefHeÀkeÌme ef[mHues Deewj Fb[efmì^³eue ìskeÌmeìeF&ue Òees[keÌMeve kesÀ efueS me#ece nw~ Hetje meej ³en nw efkeÀ JeeF&[ HeÀecexì efÒebefìbie ìskeÌveesueespeer Fb[efmì^³eue Òees[keÌMeve kesÀ efueS De®íer lejn GHe³egkeÌle nw~ ®eens lees G®®e mees®e Jeeueer ûeeefHeÀkeÌme ³ee cewv³egHewÀkeÌ®eefjbie Òees[keÌMeve ueeF&ve ceW efHeÀì nesvee nes, cegK³e cegÎe ³en nw efkeÀ mlej efpeme Hej FbkeÀ ef®eHekeÀlee nw,efÒebìj keÀe ì^ebmeHeesì& efmemìce mlej ³ee efÒebì nesves Jeeues DeeypeskeÌì keÀes meBYeeuelee nw efkeÀ veneR~ uesefkeÀve ³es kegÀí cegÎs nQ pees JeeF&[ HeÀecexì Òe³eesie keÀjves Jeeues Deewj JeW[j meHeÀueleeHetJe&keÀ meeueeW mes Fvemes [erue keÀj jns nQ~ DeeHe ìskeÌveesueespeer Hej efJeéeeme keÀj mekeÀles nQ Deewj Ssmee HeefjCeece os mekeÀles nQ pees ÒeYeeJeer Deewj SHeÀes[&yeue nes~ October - November 2016 SCREENTEX |

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ìskeÌveesuee@peer

DeeHeÀmesì efÒebefìbie FbkeÀ keÀes ef[keÀes[ keÀjvee oslee nw~ MeerìeqHeÌue[ FbkeÀ Fme Fme lejn yeves nesles efkeÀ Jes DeekeÌmeer[sMeve mes metKe peeS (efmkeÀefvebie)~ kegÀí Jespeerìsyeue Dee³eue Deeme Heeme keÀer nJee kesÀ DeekeÌmeerpeve kesÀ ÒeYeeJe mes keÀþesj nesles nQ ~ efueveefme[ Dee³eue DeefOekeÀ Òe³eesie efkeÀ³ee peelee nw~ [^e³ej kesÀìeefuemì metKeves keÀer Òeef¬eÀ³ee keÀes lespe keÀjlee nw~ Sef[efìJme kegÀí Sef[efìJme efHeieceWì ûeeF&ef[bie Òeef¬eÀ³ee kesÀ efueS Òe³egkeÌle nesles nQ ³ee FbkeÀ keÀes efJeMes<e iegCe osles nQ pees Òesme Hej FbkeÀ kesÀefueLeesûeeefHeÀkeÀ J³eJenej Hej ÒeYeeJe [euelee nw~ JeskeÌme (ceesce) keÀe Òe³eesie metKes FbkeÀ efHeÀuce keÀer Ie<e&Ce ÒeeflejesOe Deewj efHeÀmeueves kesÀ iegCe keÀes yeæ{eves kesÀ efueS efkeÀ³ee peelee nw~ MeerìHesÀ[ FbkeÀ ceW kegÀí Spesvì keÀe Òe³eesie efkeÀ³ee peelee nw efpememes Kegues kewÀve ³ee FbkeÀ veueer ceW efÒebìs[ FbkeÀ efHeÀuce Deewj FbkeÀ melen keÀer efmkeÀefvebie ÒeJe=efÊe ceW Gef®ele meblegueve yevee jns~

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| SCREENTEX | October - November 2016

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October - November 2016 SCREENTEX |

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EVENTS CALENDAR

NATIONAL DECEMBER 2016 03 - 08 December 2016 INDIA ITME 2016 Exhibition on Textile Machinery & Technology Exhibition At: Bombay Exhihition Center, Goregaon East, Mumbai. www.india-itme.com 15 - 17 December 2016 PACKTECH INDIA 2016 Exhibition on Printing, Processing & PackagingIndustry. At: Bombay Exhihition Center, Goregaon East, Mumbai. www.packtech-india.com

10 - 13 February 2017 KNIT TECH 2017 Leading Exhibition on Knitting Technology. At: Tirupur, Tamilnadu. www.hitechtradefairs.com 16 - 18 February 2017 INDIAN TEXTILE SOURCING EXHIBITION 2017 Leading Exhibition on Textile Sourcing. At: The Exhibition Centre, Gandhinagar, Gujarat. Email : info@itmach.com

JANUARY 2017 06 - 09 January 2017 KNIT WORLD 2017

20 - 21 February 2017 PPAI EXPO 2017 Leading Expo on Promotional Products Industry.

Leading Exhibition on Kniting, Garmenting Industry.

At: Nehru Centre, Worli, Mumbai.

At: Dana Mandi, Bahadur Ke Road, Ludhiana, Punjab.

www.ppai.com

www.knitworldexhibition.com 19 - 23 January 2017 PLASTIVISION INDIA 2017 Leading Exhibition on Plastic Industries.. At: Bombay Exhihition Center, Goregaon East, Mumbai. www.plastvision.org 20 - 23 January 2017 KNIT VISION 2017 International Exhibition on Kniting, Printing & Garmenting Industry. At: Dana Mandi, Bahadur Ke Road, Ludhiana, Punjab. www.showmanexhihitions.com 30 - 31 January 2017 NATIONAL GARMENT INDUSTRY 2017 Leading Show on Garment Industry. At: Bombay Exhibition Centre, Goregaon (E), Mumbai. www.cmai.in

23 - 25 February 2017 MEDIA EXPO 2017 ( MUMBAI ) Leading Exhibition on Indoor & Outdoor Advertising. At: Bombay Exhibition Centre, Goregaon (E), Mumbai. www.themediaexpo.com

MARCH 2017 01 - 03 March 2017 INDIA CERAMICS 2017 Leading Exhibition on Ceramics Industry. At: Gujarat University Exhibition Center, Ahemdabad, Gujarat. www.indian-ceramics.com 03 - 06 March 2017 GTE 2017 Leading Garment Technology Expo. At: NSIC Exhibition Centre, Okhla, New Delhi.

FEBRUARY 2017 04 - 08 February 2017 PRINT PACK INDIA 2017 Internatioanl Exhiition on Priting & Packaging Industry. . At: India Expo Center, Greater Noida, Delhi NCR. www.printpackipama.com

www.garmenttechnologyexpo.com 09 - 11 March 2017 ASIA COAT + INK SHOW 2017 Leading Exhibition on Inks & Coatings Industry. At: Bombay Exhibition Centre, Goregaon (E), Mumbai. www.aipima.com

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| SCREENTEX | October - November 2016


SPARKLE Foil n Films

Textile Foils

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


EVENTS CALENDAR

INTERNATIONAL DECEMBER 2016 08-11 December 2016 FESPA EURASIA 2016 International Exhibition on Screen - Digital - Textile Printing. At: CNR EXPO, Istanbul, Turkey. www.eurasia - fespa.com

JANUARY 2017 08-10 January 2017 ARAB PLAST 2017 International Exhibition Plastic Industry. At: Dubai, U.A.E. www.arabplast.info.

10-12 January 2017 PSI 2017 Euroeâ&#x20AC;&#x2122;s Leading Expo on Prmotional Products. At: Messe Dusseldorf, Germany. www.psi-messe.com

15-17 January 2017 SGI DUBAI 2017 Leading International Exhibition on Signage Graphics & Imaging Industry. At: Dubai World Trade Center. www.sigmiddleeeast.com

18 -21 January 2017 GARMENTECH BANGALDESH 2017 International Exhibition on Garment Industry and Appreal Machinery . At: International Converntion City, Basundhara, Dhaka, Bangladesh. www.garmentechdhaka.com

22 -24 January 2017 SAUDI PAPAER & CONVERTING SHOW 2017 Leading Exhibhition on Paper & Converting Industry.. At: Riyadh INternational Convention & Exhibition Center, Riyadh, KSA> www.Paperconv-ksa.com

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| SCREENTEX | October - November 2016

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 : arrowmultimedia@yahoo.com

Mahedra M h d SSethia h - 92824 37480


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| SCREENTEX | October - November 2016


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


AD INDEX Advance Syntex (P) Ltd. 43 Aeon Commercial India (P) Ltd. 76 And Global Sales Corporation 04 Arrow Multimedia 68 Balaji Chemicals 41 Beauty Flex 51 Bharat Fushing 72 Blue Coat India Pvt. Ltd. 31 Chaiyaboon Inknovation 21 Cheran Machines I Pvt. Ltd. 59 Chromoline 13 Domex 06 Duratech Automation (P) Ltd. 03, 35 Epta Inks India Pvt. Ltd. 23 Febchem Pvt. Ltd 45 Fespa Asia 2017 42 GTE 2017 26 GURJAR GRAVURES PVT. LTD. 05 Imegico India 01 J N Arora & Co. (P) Ltd. 19 Kumar Textile Industries 47 KNIT Vision 2017 50 Kunal Enterprise 25 Kishore Brothers 55 Litel Infrared Systems 38 Mac Dermid Autotype Ltd. 51 Meetesha Enterprises 30

NBC Japan

02

Omkar Engineering

06

Paper N Films International

74

PAMEX 2017

71

Print Fair 2017

69

Photokina Chemical Pvt. Ltd.

17

Print Pack 2017

46

Ratan Industrial Engineering

04

SAi 27 Sefar Switzerland

75

Santi Arts

70

Shriram Enterprises

49

Shree Balaji Industries

39

Smilax International India

34

Sneha Enterprises

73

Sparkel Foil & Films

67

Spoorthi Technologies

07

SunShine Graphics

30

Suntex Printing Ink

58

Varsha Transprint

63

Vee Jain Dyes and Chemicals

30

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.

72

| SCREENTEX | October - November 2016


Introducing whole sale Sublimation Products Like : Mugs / Ceramics / Glass / Crystals / Acrylic, MDF Wood & Many More... Cotton Textile Transfer Paper (Laser / Inkjet) for LIGHT & DARK GARMENT

New Variety Of Inkjet & Laser Transfer Paper for Cotton Garment Water Reppelent Paper for Printing & Packaging Industry.

+91 9833 99 7772 +91 9833 99 7776

pb7772@gmail.com Tel.: 07506 676969 MUMBAI, INDIA

www.texprints.com



October - November 2016