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FESPA Global Print Expo 2020: Where print comes alive



India needs one united printing federation: Dayakar Reddy


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Process Control for wide format printing Making a case for non-OEM inks

Digital textile printing and software innovations revolutionise fashion sampling


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Attracting young talent into the print industry


5 things to consider before investing in DTG


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The basics of image enhancement The apparel market shifts towards automation and the nearshoring



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How to combat counterfeiting with new print technologies The robot revolution

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Colors launches eco-friendly water-based paper screen inks To support the environmentfriendly movement, apart from its UV Inks range, Colors one of India’s leading ink manufacturer, has introduced water-base screen inks for paper. Usage of paper as a packaging media is increasing rapidly, specially craft paper. The vibrancy of screen printing adds a value to these product / packaging. UV and solvent inks either have limitations or do not fit in the costs. And hence there is a need for innovation. Since its setup in 2003, under the technical guidance of Huber Group, Colors has been providing quality inks and speciality products to printers across India. After a lot of research and trials, the company claims it has now developed a range of eco-friendly screen inks, formulated with the latest technology of waterbase system.Water-based paper Screen Inks (WBPS) are

ready to use inks and available in high opaque and bright shades with excellent results on craft, coloured and coated substrates. As value addition, it also has a range of transparent inks for four-colour printing, fluorescent and metallics as well.Since the water-based inks are odourless, they are suitable for food packaging as well.These inks are designed to run seamlessly on automatic, semi-automatic and table printing machines with excellent screen stability, zero choking and no clogging of screen. Colors’s range of water-based inks can be cured with IR / Hot Air or air-dried for 20-30 minutes. Colors is a specialised ink manufacturing firm and color matching center offering a wide range of customized products for Screen, Dry Offset, Offset, Flexo, Metal Decoration, and high-end speciality inks and varnishes. It is also the first Ink Matching Center to be certified with the Quality Management System requirements

of ISO 9001:2000. The quality system generated at our end ensure that batch by batch our inks meet the highest technical benchmarks and enrich your printing process. Each special shade is carefully matched and tested using the GretagMacbeth Spectrophotometer against the specific L*a*b values and density “With the ever growing need of consistent quality and a standardised process required to achieve this quality, we at CöLöRs believe in constantly upgrading our resources to match International Standards and client satisfaction., said Mustafa Kapadiya of Colors. “We believe in envisioning the future of print. We strives for technical excellence and continuous research and innovation. We are always focused on consumer satisfaction through high-quality service, and committed to help our customers achieve the highest standards of printing,” he added.

High electrical conductivity water-borne inks for textile printing In a present study waterborne dispersions of conductive grades of carbon black were converted into finished inks. When high electrical conductivity is required, inks are preferably made from metal nanoparticles such as silver. However, such inks are expensive and generally not known to withstand severe washing and wearing to which textiles are normally subjected during the end use. In a present study, which forms a part of

a larger study by the authors, water-borne dispersions of conductive grades of carbon black were converted into finished inks followed by washing and creasing tests to ascertain the durability of these inks. The researchers found that not only were the inks stable after letdown with different binders, but they possessed high electrical conductivity despite the fact that the final pigment loading in all of the formulated inks was significantly less than the pigment loading that is generally found in commercial conductive inks.

Electrical conductivity of the formulated inks significantly greater In addition, the electrical conductivity after washing and creasing tests of the formulated inks was found to be significantly greater than that of the tested commercial conductive inks. This shows that using large surface area, highly conductive grades of carbon black pigments in relatively small amounts in inks for textile printing is beneficial in achieving some of the critically required characteristics, particularly those pertaining to durability of the ink film.

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Quad/Graphics exiting the book business Announcing its result Quad/ Graphics recently reported results for its third quarter ending September 30, 2019. The company while announcing its exist from book business that generates annual sales of $200 million as part of ongoing portfolio optimization. It also announced expansion of the cost reduction program to $50 million in annual savings. “We are making bold decisions to accelerate our transformation through investments in our business that will drive long-term growth and shareholder value, and provide us with the ability to take advantage of opportunities in the rapidly changing print industry,”

said Joel Quadracci, Chairman, President & CEO. “Our Quad 3.0 transformation strategy is working as evidenced by $125 million of expected organic incremental sales growth in 2019, which helps offset over three percentage points of annual print sales decline. Our Quad 3.0 strategy is centered on our unique integrated marketing solutions platform that includes customer analytics, campaign strategies, media optimization and global production. These integrated services,

supported by an industry-leading manufacturing platform, help clients drive growth by reducing complexity, enhancing efficiencies and improving marketing spend effectiveness across all channels.” Quadracci continued: “We have made the strategic decision to divest our book business, which follows our recent sale of our non-core industrial wood crating business, Transpak. We will continue to optimize our product portfolio for the long-term to advance our Quad 3.0 transformation strategy.

Brand Print announces new show concurrent to Label Expo India 2020 The organizer of the Brand Print and Labelexpo Global Series’ of international trade shows, Tarsus Group, has unveiled the latest addition to its portfolio of events targeting the branded print market - Brand Print India 2020. The show will be held between 29 October and 1 November at India Expo Centre, Greater Noida, and will be co-located with Labelexpo India 2020. As with other Brand Print shows, which are aimed at printers of all types of signage, promotional materials and collateral for brands, Brand Print India 2020 is intended to be a one-stop shop for all their


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large format and digital printing needs, focusing on fast-growing areas of the print market. These includes point of sale, point of display, fleet graphics, sampling packs, collation packs, corrugated luxury packaging and promotional graphics. Show floor exhibitors will primarily be leading manufacturers of large format printing machinery, software and materials, there to educate printers on the best technology choices for them to grow their business in this rapidly expanding market. Running simultaneously to this, Labelexpo India 2020 will place manufacturers of label and package printing machinery right in front of printers and brand owners in India. The last edition in 2018 reportedly attracted almost 10,000 trade buyers of print machinery. Lisa Milburn, managing

director Brand Print and Labelexpo Global Series, explained: “India is an emerging market where a rapidly growing youth-led consumer demand, coupled with the rise of global brands choosing to invest in the region, is driving massive growth in the branded print market.” Milburn added: “The colocation of Brand Print India will be a fantastic asset to Labelexpo India as it allows us to strategically connect the entire print supply chain at a single location for the very first time in the region; from manufacturers showcasing machinery and technology, to general printers aiming to specialise, labeling and packaging specialists considering expansion, and brand owners looking to realize their vision. In doing so, we can leverage all levels of print decisionmaking influence, right from the factory door through to the shop floor.”


Xerox aims to disrupt Indian market with its printing capabilities The all-new Xerox PrimeLink C9065/C9070 printer delivers the most adaptable capabilities, superior image quality, and professional-grade finishing that comes along with advanced tools and automation. For the PrimeLink C9065/C9070, the accessory expands the device’s color capabilities and opens new doors to growth, allowing printers and creatives in all fields to produce brilliant and unique pieces such as booklets,

greeting cards, flyers, invitations, posters, and signage. “With the launch of our 2-in-1 capability of the print and scan engine, printers can push the boundaries of commodity print at a price point that is unmatched in the Indian market,” said Vineet Gehani, Director, Technology & Channels, Xerox India. Boosting productivity is the printer’s 270 impressions scanning and 70 ppm printing capabilities. Even at these speeds, the quality is true to type. The PrimeLink C9065/C9070 delivers best-in-class performance with 2400 x 2400 dpi color image quality, outstanding fine-line detail, images, color transitions, and color accuracy. To scale for production

environments, PrimeLink C9065/ C9070 offers heavyweight media and extra-long sheet (XLS) capabilities, supporting printing materials up to 26 inches/660mm extended such as banners, book jackets, and calendars and holds up a maximum paper weight capacity of 350 gsm. Additional professional-grade feeding and finishing capabilities include oversized, high-capacity feeding, stacking, punching, twosided and square-fold trimming for full bleed documents, and booklet, tri-fold, C/Z folding. Equipped with the Simple Image Quality Adjustment (SIQA) tool and choice of EFI servers, the PrimeLink C9065/ C9070 allows printers to set up jobs seamlessly with consistent, optimal print quality in less time.

Former HP and Canon Executive Gido van Praag joins Color Concepts Gido van Praag, family man, enthusiastic blue-water sailor, Master Scuba diver & Divemaster, and marathon runner, is an industry veteran who spent over 30 years in the printing industry at Océ/Canon and HP in a variety of different roles. In his last position at Océ/ Canon he was the President & CEO of Océ Display Graphics Systems. One of the key achievements in this position was that he played an instrumental role in developing the Océ Display Graphics Business Group into the fastest growing top- and bottomline business unit within the Océ Group. At HP, Gido served initially as Vice President


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& General Manager Graphics Solutions Business for Asia-Pacific & Japan, followed by leading Europe Middle East & Africa for the same division. In both roles at HP, his responsibilities included, driving the overall business strategy for the graphics segment with a portfolio of products ranging from large format printers to digital printing presses. Color Concepts CEO Marco Roos, commented, “We are overjoyed to welcome Gido to our team. His wealth of experience, open minded approach and leadership experience are giving our fast-growing team a tremendous boost and the confidence to execute on our disruptive strategy. Color Concepts is undergoing a transformation and is having an exciting future ahead, building

a strong team, along with our technology and services, is our top priority. Gido’s active contributions help us to get there faster and more efficiently.” Gido van Praag commented, “I am thrilled to partner with the Color Concepts team because of its talent, energy, and the strategic direction. I am impressed with the evergrowing global market footprint, huge customer base, and dataset Color Concepts has built over the past 16 years. Presently, Color Concepts has the technology and market reach to expand the delivery of mission critical products & services to the Large Format Printing industry (printer/press manufacturers, media manufacturers, RIP software manufacturers and last but not the least the Print-Service-Providers themselves).


Memjet and COASO announce the iCueLabel Press Memjet, a leading developer of inkjet printing technology, and COASO Incorporated, today announced that COASO has used Memjet’s DuraFlex technology to develop a new label press called the iCueLabel Press. COASO, along with Memjet representatives, debuted this new breed of label press at the Shanghai World of Packaging Conference (SWOP), which took tak place Nov. 25-28 at the Shanghai New International Expo Center (SNIEC) in Shanghai, China. DuraFlex is a modular single-pass print solution that combines

Memjet’s signature features of speed, simplicity and affordability with new attributes that include enhanced durability, A4- and A3-plus widths in a four-color printhead, a high-speed data path and modules that control all printhead functions. “Our iCueLabel press is an example of what an OEM can accomplish with DuraFlex technology,” said Frank Xu, general manager of COASO. “In less than three months, we were able to develop a new breed of label press that is a viable performance alternative to more expensive toner or other inkjet-powered printers. Converters can use the iCueLabel Press to produce high-

quality labels the market demands — including food-safe and highsecurity labels — in a fast, affordable way.” The revolutionary iCueLabel 420 will create a new market for itself due to its market-leading 1600 dpi print quality and ultracompetitive pricing. Print speed is as fast as 46m/min in production mode and 27m/min in high-quality mode. “Our goal with designing DuraFlex was to create a simple yet robust technology that could give OEM partners the resources to create printing solutions that are powerful but also affordable,” said Bent Serritslev, senior vice president, business development, APAC at Memjet.

BST eltromat and SeeOne Signed a Partnership Agreement at K 2019 BST eltromat International, a leading manufacturer of quality assurance systems in webprocessing production processes, and SeeOne Vision Technology srl, a manufacturer of surface inspection systems headquartered in Florence, Italy, signed a partnership agreement at K 2019. BST eltromat Italia, a 100% subsidiary of the BST GROUP, has been working with SeeOne for years on special surface inspection requirements. The excellent cooperation has now resulted in the partnership agreement, which was signed by BST eltromat Managing Director Kristian Jünke and Leandro


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Giovannoni, General Manager of SeeOne. SeeOne has been developing and producing surface inspection systems for a variety of industries for over 30 years. Their product portfolio covers a range of applications from rewinders, slitters, blade coating machines, foil extruders, calenders, milling machines to coating and application machines. SeeOne’s systems detect various defects such as holes or inclusions of foreign bodies like insects and dirt in different materials such as foils, metallized foils, paper or cardboard. They therefore complement the portfolio of BST eltromat perfectly. “With SeeOne, we have gained an experienced partner for surface inspection. Together we can respond even more

flexibly to the special challenges and individual requirements of our customers and support them more effectively in optimizing their production processes,” says Jünke, welcoming the closer cooperation with the Italian company. Leandro Giovannoni also sees decisive benefits for his company in the partnership with BST eltromat. The findings gained from surface inspection with SeeOne systems can be used in various ways to optimize production processes. At K, BST eltromat presented SeeOne’s LINESCAN surface inspection system to show its customers in film extrusion the benefits of this additional component in quality assurance. The findings from surface inspection can have ramifications for the further converting of the foil, such as in printing.


Kyocera plots growth with inkjet production print expansion Print technology provider Kyocera Document Solutions UK has set its sights on acquiring new customers after expanding its services into the inkjet production print market with the launch of the new TASKalfa Pro 15000c. The TASKalfa Pro 15000c is Kyocera’s first production printing device, with a top speed of 150 prints per minute in A4 format meaning it has the ability to deliver up to one million prints per month. Users of the new machine will also benefit from a modular design that allows for different scales, with storage for up to 14,310 sheets, as well as the ability to use papers up to 360g/sq m. Other key attributes include a

warm-up time from standby and time to first print of 5.5 seconds, while a low average energy usage of 1.5 KwH for the standard configuration means that the machine is an environmentally friendly choice for print companies. Speaking about the new TASKalfa Pro 15000c, a Kyocera spokesperson told media that the launch marks a major milestone for the manufacturer, explaining that the machine is based on the manufacturer’s experience of other areas of the print market. “We have seen a significant trend in bringing back in-house print services which have been recently outsourced and thanks to Kyocera’s new production solutions we can help our customers in exactly achieving that. Customers have been asking

for a cost competitive device that can handle significantly high print volumes without compromising on quality,” the spokesperson said. In terms of what sort of companies the TASKalfa Pro 15000c would be suited to, Kyocera said the machine would be a good fit for a wide range of production print environments, such as central reprographic departments and transactional and transpromotional applications. “Here at Kyocera, we constantly strive to deliver the very best solutions to our customer requirements, whether it’s office or production print, content services or managed services. We have used out technology heritage to develop the most reliable print production device so that customers can boost their productivity,” the spokesperson told media.

Roland DG sets versatility focus with new IU-1000F Digital print manufacturer Roland DG has unveiled its new IU-1000F high-speed large-format UV-LED printer in response to increased market demand for a high-production solution that can deliver against ever-shortening turnaround times. Capable of printing on a wide range of substrates and objects at speeds of up to 116sq m/hr in CMYK, Roland DG said that the IU-1000F has been designed to meet the diverse needs of print service providers and commercial printers around the world.


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In terms of precise printing time for jobs, Roland DG this will differ depending on the type of application. The manufacturer gave the example of a typical 1,220 x 2,440mm rigid board, with the device averaging at 15 boards per hour, or 48.5sq m/hr, in ‘standard’ print mode for typical point-of-purchase display jobs. Boasting 12 highperformance printheads in a staggered three-row arrangement, the IU-1000F can print up to 635 x 1800 dpi with variable droplet technology. Paul Willems, head of business development and product management for Roland DG EMEA, said that as the IU-1000F can accommodate substrates up to 2,510mm x

1,310mm and 110mm in height, this opens up exciting application possibilities for customers. “The market is also not willing to sacrifice print quality or accurate colour reproduction and the IU-1000F delivers on both, with high-adhesion gloss and white ink options, in addition to CMYK, expanding the range of print effects which are possible,” Willems said. “Its high-performance UV inks cure immediately and the primer option enables adhesion onto typically difficult media such as metal and glass, plus more standard materials including acrylic, PETG, PVC board, foam board, PC, wood, corrugated polypropylene board and aluminium composite plate.




itesha Enterprises has received an excellence award from Avery Dennison India Pvt. Ltd for highest sales of conspicuity tape in the country. They have a decade-old relationship being an associate of Avery Dennison and have recently started supply of its reflective tapes and vinyl. The company is growing at a higher pace since the advent of the next generation. They are diversifying with an aim to provide one-stop solution to the printing industry of screen, digital and reflective printing.




ormer DuPont Chairman and CEO Ellen Kullman is taking the reins as President and CEO of Carbon, a 3-D printing tech venture best known for its manufacturing partnerships with Adidas, Ford and Ikea.Carbon’s founding CEO Joseph DeSimone is stepping into the role of Executive Chairman of the board. Kullman, who has served on the board of directors at Carbon since 2016, told CNBC she views her appointment as a partnership with the founder, who she described as a scientist and storyteller, well-paired with her expertise in business process, operations and scaling companies globally. During her tenure at DuPont, Kullman achieved double-digit growth in DuPont’s “safety and protection” division, which makes materials like Kevlar and Nomex that are used to make body armor, helmets, suits, gloves and other protective gear for firefighters, construction workers, police and more.

arly bookers can start planning their visit to drupa 2020 and buy their tickets online in the drupa Ticketshop. At the same time, the exhibitor database for the world’s leading trade fair from 16 to 26 June 2020 is online on 4 September 2019. The database contains the profiles of all exhibitors including the range of products and services and further information. In addition to travel planning, early bookers can also start planning their visit to the trade fair in detail starting in October with the newly launched, redesigned drupa App. Its algorithm analyzes your search queries and areas of interest and derives personalized suggestions for further exhibitors and visitors. The drupa App also serves as an indispensable aid during the eleven days of drupa in June 2020. With an interactive hall plan, it enables quick orientation and short distances on the extensive exhibition grounds.




he International Outreach Program designed to promote PAMEX 2020 among our neighbouring countries saw Team PAMEX visit Nepal on an 8-day tour of the country. Headed by Prof. Kamal Chopra (Chairman- PAMEX), the Team started from Delhi in the early hours on 4th November, 2019. The objective of this exercise was to understand the issues being faced by printers across the country as well as the promotion of PAMEX 2020. “The issues faced by the printers in Nepal are similar to the issues faced by us in India. The industry is changing. We need to change with the times. The need of the customers is also changing. We need to identify this need and cater to it. For that, we need to join hands and produce at a larger rate to bring down the costs. Hence the main theme of out Print Odyssey was to Produce Cheaper” said Chopra.


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ew BigRed 4D-54 conveyor dryer from Vastex features a pre-heating zone and high-efficiency air flow mapping, achieving ultra-high rates and side-to-side curing uniformity, while cooling the chamber skin, reducing noise and preventing dust contamination, it was announced by Mark Vasilantone, president. Narrower than its predecessor by nearly 18 cm, the compact dryer is equipped with a 137 cmwide conveyor belt, dual heating zones and four infrared heaters capable of curing up to 950 plastisol printed garments/h, 432 water-based or discharge-printed garments/h, and 144 garments/h printed with digital white ink. A high-powered pre-heating zone surges ink temperatures past 150°C within the first several centimetres of conveyor travel, maximising dwell time at optimum curing temperatures and, in turn, conveyor belt speeds and dryer output.


FESPA Global Print Expo 2020: Where print comes alive

FESPA has launched its visitor campaign for FESPA Global Print Expo 2020 and its co-located exhibitions, European Sign Expo 2020 and Sportswear Pro 2020, which will take place from 24th to 27th March 2020 at IFEMA – Feria de Madrid, Spain. The campaign strapline, ‘Where Colour Comes Alive’, highlights the vibrant, creative range of print and signage applications, processes and materials that can be found at the show and emphasises FESPA Global Print Expo’s role as an annual hub of innovation and ideas for the wide format graphics, industrial and textile print sectors. “’Where Colour Comes Alive’ is a powerful theme that expresses the boundless opportunities within our industry,” says Neil Felton, FESPA CEO. “’Colour’ has multiple connotations – it refers to media, inks, finishing, colour management,


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as well as the vivid end products being created using print. I’m confident it will resonate with the whole spectrum of our visitors and exhibitors, whether their focus is on graphics, signage, décor or textile.” 2020 marks the return of FESPA Global Print Expo to Madrid, where the exhibition was last held in 2002. Covering five halls of the Feria de Madrid, the event is expected to host 600 exhibitors and will provide an international platform for the latest innovations that the digital wide format, screen and textile printing markets have to offer. The event’s popular educational features are all set to return, including Printeriors for interior and exterior decor, Print Make Wear for garment printing, World Wrap Masters for vehicle wrap, and the Trend Theatre, as well as the Colour L*A*B* colour management showcase, which

was first introduced at FESPA Global Print Expo 2019 in Munich. Part of the comprehensive offering for visitors to Madrid will be European Sign Expo 2020, Europe’s largest exhibition for non-printed signage and visual communications. A dedicated showcase of technology solutions and materials for non-printed signage applications, the event offers brand owners and visual communications professionals the possibility to explore untapped opportunities beyond print, including channel lettering, engraving and etching, LED and neon signage, as well as digital signage. Making its debut alongside FESPA Global Print Expo 2020 will be Sportswear Pro 2020, a brand new exhibition that capitalises on FESPA’s roots in textile printing. Dedicated exclusively to sportswear manufacturing, Sportswear Pro will focus on the latest technologies in on-demand and customised sportswear production, bringing together suppliers of solutions for design, production and garment decoration. Neil concludes: “The annual flagship FESPA Global Print Expo continues to be the key destination for speciality print and signage professionals looking for the tools and inspiration to enhance their output and grow their business. In the coming months, we look forward to seeing what our exhibitors plan to launch at the show. It’s always invigorating to see the rich potential and colourful possibilities that these open up to our global print community.”


India needs one united printing federation: Dayakar Reddy

How is the feeling since the Printpack India team led by you was re-elected unanimously? I am really grateful for the fraternity to re-elect us to the committee. I always believed individual cannot perform in large scale. When it comes to Printpack, IPAMA, individual cannot never deliver results. If anyone assumes it is possible, he is living in a fool’s paradise. I would like to


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congratulate the whole team – a majority comprising 14-15 of our last governing council members - for winning the trust of the industry and getting re-elect. Team is very important. The experience you had in Printpack was a result of team effort. Printpack India saw 509 Indian and foreign exhibitors display their state-of-the-art machinery and other equipment, on a gross

area of 65,000 square meters. The net area was 24,450 square meters. There was an overall growth of 47% in space booking, in comparison to the previous edition of the exhibition. For the first time, IPAMA had earmarked halls, exclusively for different segments of the Industry, which action was highly appreciated by exhibitors, business visitors and high-level decision makers. When we took over IPAMA in the last term, the association was not in good financial condition. However, due to the efforts of the team and the goodwill of IPAMA, despite demonetization, we had a great show. We could also offer a special discount for members. This played a very vital role in building trust with our members. Across the globe, never has any association has paid back money to the exhibitors. It was not a small amount. We are now entrusted with the responsibility again. In every country there are people who resist change. We faced similar situation in our country as well. However, the governing council supported all the new initiatives. Industry partner friends also offered an unwavering support to these initiatives. Our vision is not to just create a great show but create a federation of Indian graphic arts industry. This is our top priority now as well. We are now meeting presidents and general secretary of all association to create one single federation. The meeting will lead to the finalization of the name of the new federation, its aims, and its objectives.

WALK THE TALK This was also perhaps the first time when the participation from Tier 2 and 3 cities or the hinterlands surge. How did you make this happen? The overall increase of 47% space booking was from different cities and segments of the graphic arts industry. The proper planning was done, prompt decisions were taken. When I took charge as the President, reaching out to our printers and manufacturers in the hinterlands was the first goal. The credit of this should also be given to Screen Printers Association’s secretary, Jignesh Lapasiya. In one of the Print Innovations roadshows he conducts, the hall was full with around 140 participants. He asked them to raise their hands if they knew Printpack India. Surprisingly, only 4 people raised hand. He sent it along with a picture to me and said, the hinterland of India still doesn’t know Printpack, can we do something about it? I realized that in printing and postpress we have a reach but there are still many sub-segments of printing and packaging where we were not present. Our team then took it as a challenge. Since then I have been part of at least 17 Print Innovation roadshows across India. Even our GC members have been participated with the sole objective of introducing Printpack India to people. Last few years, the industry has been on a pessimistic note owning to the liquidity crunch in the market, the diminishing consumer demand, GST and demonetization. Do you see that finally waning? The Indian Graphic Arts Industry has never been on pessimistic note owing to socalled liquidity crunch in the market. The growth of the industry

is on the right track, but only we have to judge the demand of the market. In the past, IPAMA had taken up issues concerning the industry with the concerned Ministries of the Government of India which were promptly attended too and corrective measures were taken with respect to the manufacturing segment of the Industry, which IPAMA mainly represents. While there are mixed reactions to demonetization, as the President of IPAMA, let me state that we believe it was a good move by the government to achieve a long-term objective. It shouldn’t be judged prematurely. These long term initiatives take time for ironing out. For instance, the industry is still facing taxation issues with respect to export orders. This is why one federation for the whole printing industry is a necessity. When we faced issues with the GST slabs. The paper industry, the ink manufacturers, among others, made separate representation with the Ministry. Industry should have made one united representation.

In fact, before last Printpack, we had written to a majority of these colleges to put 5 top finalyear students to work on live projects during Printpack. This was an opportunity for them to build bridges with the 500 exhibitors too. For the exhibitors, this would have meant meeting top 200 young printing engineers. Unfortunately, we hardly got any confirmation from the institutions. There is a lot of stress on teaching these students how to be great engineer, supervisor etc. What about entrepreneurship? Isn’t that important? I agree with you. We are going to request all leading institutions to have an entrepreneur development cell (EDC) so that students can be trained on the nitty-gritties of being an entrepreneur.

Printing technology students are realizing that the curriculum has not been updated for years. That is a reason to worry as the gap between employment and employability is widening. What are the steps IPAMA plans to take to counter this? The subject matter does not come within the purview of IPAMA and thus cannot be answered as its President. However, as a responsible association, we are planning to meet AICTE officials to suggest implementation of a mandatory 10-day training in new printing technologies for professors.

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measurement of one copy may be needed. For longer runs a sampled will need to be assessed in relation the stability of the process and client needs. The sheets with be measured either by inline spectrophotometers which are on some wide format inkjet devices, or off-line using a handheld spectrophotometer and process control software. Even this more manual approach only takes a minute or two. These systems take the intended printing condition, which can be an ISO standard or the chosen simulation ICC profile. They measure the colour bar and report the accuracy in De. The measurements usually cover: • CMYK primaries • RGB overprints • Grey balance • Dot gain, in the digital world this is using the colorimetric values of usually three tint areas to check against • Paper or substrate white point They often then report a percentage score based of the areas above. Scores over 80% are considered acceptable, but for many markets and higher score on 90’s may be needed. These measurements and scores can then be recorded ‘jobby-job’ and stored in a database. They can be used for monitoring press performance and KPI‘s for colour control. They will show very quickly when a press

needs a new device profile or calibration. They can be provided to clients to prove colour accuracy and consistency for a project or individual job. The investment needed is not large. It some cases the digital front end used to drive your wide format presses may have a process control tool, usually in this case, using a Fogra Media Wedge. Also, often a spectrophotometer, such a as a X Rite iOnePro, will be supplied with the press in order to produce device profiles and calibration. This, and other spectrophotometers, will work with the process control software’s and systems mentioned above. These process control

software’s are not expensive, ranging from 2500 euros for a single user to 8,000 for a multiuser server-based system. Most will run on Mac or PC. So, what benefits will be achieved by using these systems other than mentioned above? • Printed work can be measured and verified to an agreed and known specification or standard • This then can be shared with clients • Less wastage and reprints due to poor colour • Provides diagnostic data on press performance, in order to correct colour issues before they effect quality • Greater customer satisfaction and confidence

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

Key Features Print Heads Printing Resolution Rip Software Speed


Sales and Serviced by 2015

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


Making a case for non-OEM inks

While many print service providers prefer to use ink from manufacturers, more companies are exploring the option of using products from other sources. Rob Fletcher takes a closer look at the benefits of non-OEM inks. There is certainly no shortage of non-OEM inks, with a whole range of products on offer from various sources. But one of the primary factors that put printing companies off these inks is whether they can trust the products to perform in terms of output quality. That said, there are a lot of trustworthy suppliers in the market that are able to provide high quality inks as an alternative to manufacturer inks. By discussing your requirements with these suppliers, ensuring the inks will work with your print production


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setup, then you can identify quality alternatives. Economic benefits of nonOEM One well-respected supplier in this field is Nazdar, which stocks a wide range of non-OEM ink products. Stephen Woodall, market segment manager for aqueous and solvent digital at Nazdar, said its inks are designed to be a close match to the OEM product. “It is not possible to formulate an exact chemical clone of the OEM ink as there are a number of factors that prevent this including limitations on physical analysis equipment, the ability to source identical raw materials and propriety technology preventing the use of particular raw materials,” Woodall

said. “However, our team of skilled and experienced chemists can formulate inks that are 100% chemically compatible and deliver comparable performance and reliability to the OEM inks.” In terms of the benefits of these inks, Woodall said the primary driver why end-users consider non-OEM inks is the economic benefits that their use can bring, due to the lower production costs and increased competitiveness that the enduser will potentially have in their markets. However, he also noted that any reduction in costs is worthless if the inks don’t perform as required, with increased printer downtime, job rejections and dissatisfied customers being a real risk.

GUEST COLUMN “It does not have to be a binary choice between quality and cost; by choosing wisely, a business can benefit from OEM ink quality at a lower price,” he said. “Nazdar has nearly 100 years of ink development experience including developing inks for OEMs. The enduser does not have to compromise on quality, reliability or consistency when trying to reduce their consumables bill.” Josh Lutz, market segment manager for UV Digital at Nazdar agrees, saying that quality inks should limit the chances of failure. He also said Nazdar is seeking to keep pace with developments in the wider market, outlining its focus on LED technology. Lutz said: “Aftermarket inks can help a printer create a competitive advantage by having an ink that has a different focus in functionality which fits that a specific printer’s needs. “We are moving with the market on LED technology, yet we also have a large amount still on conventional mercury. Therefore, we are designing chemistries that are capable of curing by both UV and LED. We have marketed the LWU710 as our hybrid dual cure ink system with much success.” Woodall concurs, adding: “The objective is always to formulate ink solutions that deliver the same level – or on some cases superior levels – of performance as the OEM ink.” Performance, flexibility and application fit Elsewhere and another supplier held in high regard across the print industry is Sensient Imaging Technologies. Dr Simon Daplyn, marketing manager, said one of the key benefits of nonOEM products is access to a wider product portfolio and greater choice when it comes to selecting

the best ink for a particular application. Daplyn said: “Choosing a non-OEM ink enables differentiation from a standard that allows printers little option than to compete on price. By selecting a good non-OEM ink, printers can then increase performance, flexibility and application fit. “Typically, the primary focus for an OEM is on developing advances in hardware and the ink is a secondary consideration. Whereas for an ink manufacturer, their sole focus is on the ink and its performance in the printhead, printer and application. By working directly with the ink manufacturer, you have access to highly skilled chemists whose focus is on understanding the science behind the ink and how it fits to your application.” Daplyn also had advice for print service providers looking at using inks outside of the OEM provider, saying there are a number of considerations that need to be taken into account to ensure the optimal performance of the printer. He said: “Not all non-OEM inks will be right for all users.

As such, it’s important to work with a partner who understands the unique requirements of the specific application to provide an ink that delivers the best possible performance, consistency and reliability.” With this in mind, Daplyn said Sensient has a very diverse series of inks spanning a wide range of applications, from textiles to packaging, to pharmaceutical to food. Sensient recently unveiled ElvaJet Coral, an ink for direct printing of polyester without the need for water in the fixation or post process. Available for mid viscosity printheads such as Kyocera and Panasonic, ElvaJet Coral inks are being used in sportswear, fashion and soft signage applications. Also available from Sensient is the ElvaJet Opal set of sublimation inks in both mid viscosity (Kyocera) and low viscosity (Epson) options to offer a wide compatibility to the most common printheads in the market. Opal is compatible with a wide range of transfer papers from very low weight uncoated papers to tack coat papers for sports and stretch fabrics and maintains colour consistency and superior

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GUEST COLUMN print definition regardless of paper type. Daplyn added: “We are always looking to evolve our offering by adding new ranges, complimentary colours or investing in a new segment where we can bring expertise and a fresh approach. Whenever we invest in a new development there is a need for it to be rooted in sustainability by offering reductions in waste or process steps, removing primers for difficult materials or removing the need for water or post process steps. “Ultimately, we provide our customers with colour they can trust by understanding our customers biggest challenges – as well as opportunities - and translate this to the development of high-performance, sustainable and vibrant inks.” Saving costs without compromising on quality Also weighing in on the debate is Sun Chemical, one of the largest suppliers of non-OEM inks in the world. Business manager Tony Cox said the main benefit of non-OEM products to Sun Chemical customers is that they can enjoy an ink that has the same quality and performance as the equivalent solvent-based OEM product, but at a more realistic price point. Cox said: “Sun Chemical invests a lot of time and resource in matching the performance of solvent-based OEM inks, so that


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printers who choose to use our inks are able to do so without having to re-profile their machines and can confidently produce repeat jobs, knowing that they are going to be of exactly the same quality and colour. “Except where an improvement would affect the output or the machine settings, there are also instances where we can produce better solventbased inks than an OEM. For example, if we can reproduce the same colour and performance as a solvent-based OEM ink, but with a lower odour, we’ll proceed with that, as we’re able to offer an additional benefit over the OEM ink.” That said, Cox said print companies should ensure that they are only investing in quality non-OEM ink products or risk putting the quality if output, and their kit, at risk. Cox said: “The use of poor quality digital inkjet inks can have a significant negative impact on production. Whereas with analogue processes, such as screen printing, poor quality ink may affect productivity, it may also be possible to make some adjustments or change the job and carry on. “However, if a low quality ink blocks an inkjet printhead, the machine will be completely offline until the head has been recovered, which could potentially take several days.” With this in mind, he highlights some of the latest advances in Sun Chemical’s quality non-OEM ink solutions. Cox said the company is focusing on two key areas at present: solvent-inks and aqueous inks. Concerning solvent-based inks, with printheads firing

smaller droplets and at higher frequencies, he said Sun Chemical been spending a lot of time improving the performance, the manufacturing and the quality control of its inks so that it can produce even better quality products. Regarding aqueous inks, in the last 18 months, with the move away from solvent-based technology to aqueous-based technology in the wide-format poster market, Sun Chemical has developed a new aqueous ink for high speed poster printing – APY – which it is currently trialling with specific customers. Cox said: “A new addition to our Streamline range, APY offers faster drying compared to competitive aqueous inks, improved print finish, higher colour vibrancy and lower energy consumption for drying systems. “Our focus remains on ensuring that we continue to produce reliable and consistent products for our customers and that the range and quality of our inks continues to meet the demands of the market. At the same time, however, the way we develop, manufacture and distribute products, as well as how we work with our customers and suppliers, continues to be guided by our ongoing approach to sustainability.” While some print companies may still have reservations about using non-OEM inks instead of products offered by the manufacturer, it is clear from speaking to highly regarded suppliers in this market that there are plenty of benefits from opting for non-OEM inks. As long as you ensure you are working with quality products, your business could feel the benefit of making the change.


Digital textile printing and software innovations revolutionise fashion sampling

Digital Textile Printing and 3D software for Fashion Sampling are a perfect fit. As the fashion designer searches for viable, sustainable manufacturing solutions, designers and manufacturers are increasingly turning to digital textile printing and 3D product simulation software to provide the aesthetic and practical background for their creations. Aesthetic, because in Digital Printing there are no limits or frontiers to creativity. Available colours are counted in the millions and there are no practical limits to scale. Digital Printing can, for example, faithfully reproduce the many and subtle hues of a rose leaf, at any size or scale from the minute to the massive and in any volume. Once the digital file is created, meterage can be printed on demand and manufactured in any location.


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Practical, because 3D software in conjunction with Digital Textile Printing offers speed and energy to the design process and the ability to produce samples literally within minutes of conception. A Digitised workflow using software such as Optitex, Gerber, Lectra or Bronzwear allows the designer to prepare virtual Toiles (sample garments), which only exist virtually, and digitally on screen, with no requirement for a physical sewn sample prior to approval. Available as 3D simulations, the Designer can adjust and fine-tune the garment for fit, and style and also apply the printed artwork pattern. Defining the printed pattern scale or switching fabric choice, to display a virtual twin of the final garment on screen

in real-time. As a digital twin the garment can be approved remotely and sent on into the supply chain for production, saving time and precious resources. The flexibility and speed of the digital process cannot be emphasised enough, digitized production sampling offers a sustainable alternative to the Fashion, Sportwear and Athleisure Industries. Harnessed by the Fashion designer such technologies facilitate efficient, creative workflows the have been embraced by the worlds fashion Industry and the Fashion catwalks are bursting with digitally print collections. Mary Katrantzou, who started her digital journey more than ten years ago. Her first Pret a Porter collection was launched during London Fashion Week in 2008, and

GUEST COLUMN with sponsorship from the British Fashion Council her brand has gone from strength to strength over the years. Katrantou has featured collections inspired by the artworks of Rene Magritte, fragments of Design Publications, and her work embodies volume, depth and perspective, where the brands clothes utilise the creative freedom of the digital panel printing process to create a three-dimensional quality in their Katrantzou collections. “With digital printing you get that precision engineering where everything is marked around the body in a perfect way” Mary Katrantzou Many have followed her path utilising digital technology as an essential component to their collections, and of these, perhaps the most notable of the last few years is Richard Quinn. Richard first created a stir with his MA graduate show at Central Saint Martins, London. In 2016, Richard won the international 2017 H&M Design Award, and has been featured in Vogue magazine, endorsed by supermodel Adwoa Aboah on Instagram, and has been marked by both The Sunday Times, Dazed Magazine and the British Fashion Council as a cultural influencer and one to watch. With the aid of Epson dye sublimation technology and their expertise, Richard’s star has been in the ascendant. Central to this rise has been the Richard Quinn Print Studio. Conceived by Richard to be a creative hub to work and explore, the London studio is kitted out with an Epson SureColor SC-F9200 wide-format dye sublimation printer. The digital dye-sublimation printer sits alongside manual screen-printing lines and has

enabled Richard to create and produce his cuttingedge textile collections in their entirety – from the initial sketch through to the first strut on the catwalk. The Epson’s SureColor SCF9200’s ease of use, reliability, and ability to print on many different fabrics have given life to Richard’s bright, vibrant collections – some of which even feature pieces printed on foil. “I love the SureColor because it produces superb quality printed textiles,” says Richard. “I used Epson printers at Central St Martins for my graduation collection and it was important that I had one here in my studio working around the clock, producing vibrant colours, and capturing all the fine details and textures I want. This flexible machine gives me the freedom to experiment with many different fabrics and new substrates. It’s great being able to create a textile design, print it and create an outfit - all on site within hours.” Digital Textile Printing for fashion is advancing on all fronts, and on all the worlds catwalks, in London with IA Design, Simone Rocha, Dries van Noten, Peter Pilotto and Hussein Chalayan, in Paris with Anrealage and Issaye Miyake and in Milan with Laura Strambi. It’s a successful story of progress for Digital Textile

Printing in the fashion marketplace, defined by design but also hard commercial common sense. As sustainable manufacturing becomes a driver for change, apparel and textile manufacturers find themselves increasingly forced to find ways to bring their supply chain under control. The digitised workflow meets the demands of a sustainable culture. Digital Textile Printing and applied software solutions continue to demonstrate how to control costs and increase the agility and diversity of the fashion brands inventory. Stock control and on demand production offers a sustainable business model utilising digital technologies. Hard economic good sense is finding these new roads to market to increase profitability and deliver product diversity, with Digital Textile Printing leading this Fashion Revolution. As the undoubted benefits of Digital Textile Printing come to be understood by all, from entry level businesses to the super brands, Digital technologies will continue to gain potency as the powerhouse of design to become an essential component of the fashion business model of the future.

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Attracting young talent into the print industry

The print industry needs to tempt younger people through its doors – so what can businesses and educational institutions do to bring in some fresh talent? While the thousand-yearold practice of print is revered for its rich and important history, it is struggling to recruit younger people. According to FESPA, the average age of its members is 43, while findings from the Bureau of Labour Statistics puts the average print industry employee at 46.7. Clearly, the industry needs to start encouraging fresh talent to ensure its longevity, but it faces a number of challenges in doing so. “The biggest problem is definitely the misperception of the industry as a whole,” says Christoph Degel, Head of Training and Event Management at VDMB. “The only thing people hear about is newspapers and magazines going broke, so a lot of younger people just assume it’s a lifeless industry


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where nothing is happening, and that we’re all just waiting a couple of years to close our doors for good.” Youth appeal Of course, this is not the case. While it’s true that newspapers and magazines may be on the wane, industry examples such as packaging, personalisation and direct-togarment printing remain vibrant. Innovations such as 3D printing and interactive print give the industry the tech-friendly edge that should, in theory, appeal to a younger audience. “But this is not being communicated to the next generation of printers,” says Christoph. “When young people think about what they want to do there are so many obvious career paths – be a doctor, a vet, a policeman and so on – but print is never on the table.” And on the rare occasions

that it is, he says, it’s dull. “You can go to a careers fair and put a sign up and have an employee in their 30s talk about how amazing the field is, but that’s not going to have much of an impact on 16- and 17-year-olds.” Instead, over the last year, Christoph and his team have been attending careers fairs along with young apprentices in the middle of their training. “They’re much better consultants for young people than we could ever be,” he says, noting he’s since observed a marked rise in the number of young people enquiring about the industry. Sarah Tishler, Development Director at Simpson Group in the north-east of England, agrees that it’s difficult to pique the interest of young people. “But if you bring practical things, they can get their hands on, such as 3D printing, you have a better chance of getting their attention.” However, Sarah believes the industry should be making itself


5 things to consider before investing in DTG

Dmitry Sarbaev, Managing Director of Fluxmall DTG in Vietnam, addresses the key points hopeful DTG specialists should be asking themselves. So, you want to purchase your first DTG printer? Before splashing out, Dmitry recommends you do your homework – thoroughly analyse the big picture in light of your business model. Don’t jump into an extravagant purchase too early. Perhaps building up your business first and buying a machine second might be the smart move. This way you can avoid hidden costs and maintenance problems and, in the interim, subcontract a specialist DTG printer or hook up with a fulfilment company to handle your orders.


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This leaves you to build up your margins and get better acquainted with your customer base. Still ready to invest? DTG is being driven by the consumer trend for personalisation,the market trend for fast fashion and drop shipping print on demand for micro brands. It’s a competitive market, but an ever-growing one, which means you can find a niche: custom-made apparel, fashion designers and garment manufacturers, promotional and event products, educational institutions, and so on. Five things to consider

1. BUDGET Don’t let budget be the be-all and end-all. You can spend nothing and, as you might expect, achieve nothing. Conversely, you can spend a great deal of money and not be any more profitable. You can’t let the budget fully dictate your choices because you may end up paying smaller amounts upfront, but larger amounts at the end. Figures for global digital DTG installations show that commercial entry-level businesses (up to €20,000) had 70% of market share (printer units) and had a compound annual growth rate (CAGR) of 7%, whereas industrial mid-level claimed only 4% of market share but had 22% of CAGR – with Asia-

BUSINESS Pacific the fastest-growing region on the planet. You can start with any of the well-known original equipment manufacturers (OEMs) available in your region but remember that budget has to be justifiable for your needs. One of the key decisions to make is whether to buy multiple low-cost DTG machines to meet order requirements or to buy a single high-volume machine. The benefit of several machines is maintaining up time because if one goes down the others can take on the orders. 2. SPEED Output speed is something that is necessary to assess for a strong, viable business. Output speed is imperative – the more you print, the more money you make. But it is not the defining factor: that is your business model. Don’t overinvest if you are selling customised one-off shirts for $100 each because you don’t need to print thousands of shirts an hour. However, in Dmitry’s experience, when you start to do faster prints, and your output is consistent, you start to see more orders coming in. Speed is evident, but efficiency is not. This is every DTG printer’s homework: measure your speed by running your own tests with a stopwatch and mind the time for T-shirt/platen change and table movements – don’t trust the figures in the brochures. Remember, you can always start with a single printer and add on later. 3. SPACE Space is a commodity: make sure you don’t run out of space by arranging it properly. To grow your business, consider the size of any other equipment in DTG production

such as pre-treatment and heat presses for curing. Don’t neglect the importance of a proper layout in light of potential growth. Temperature and humidity are key variables to control within your space and keep business ticking over. 4. OPERATIONAL COSTS Get an idea of what the real costs of other players on the market are, and try and tap into their real-world experience. What are their expenses? How easy is it to find spare parts? Machine downtime is expensive and loses customers, ensure your support contract includes next day engineering or similar. Find out what support you can get from dealers or other printers – with a new machine, the learning curve will be steep, however tech savvy you are, and you will need it. 80% of DTG printers on the market are still Epsonmodified printers, but printers are moving towards purpose-built DTG machines. In the volume market, there is now an increase of machines like M&R’s digital squeegee combining screen printing and DTG. This shift brings its own problems in terms of technological know-how. Many DTG printers focus on the price of ink. Its cost is essential, but there are many other factors to consider. For example, printing 10 shirts a day, your ink cost might be around $1.50 on each shirt, but overheads $6 or $7. These costs include pretreatment, maintenance, spare parts, labour, rent, electricity and water bills, taxes, accountancy, legal and marketing. The cost per shirt of ink on lower cost machines can be very high, with significant reduction when investing in

a medium to high through put systems. It’s important to take into account that smaller machines will not provide access to longer runs particularly due to the cost of white ink. Calculate your true costs, including the hidden costs of maintenance and spare parts. After what specific number of prints is your machine cleaned? How does it depend on the room environment variables? Work out the average total cost of wasted ink in normal, powerful cleanings and autocleaning cycles to find your hidden cost. 5. ROI Evaluate the efficiency of your potential investment by looking at your specific business model. OEMs may use generic ROI calculators to forecast your future success, but these are generic, and you should analyse your own individual circumstances – and ambition – to make the right choice. Finally, fundamental consideration needs to be made to the cost required for setting up web to print workflow and the commercial considerations, as the production machine is likely to represent a small proportion of the overall cost of the DTG business.

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The basics of image enhancement

Paul LindstrĂśm discusses the basics of image enhancement and more advanced possibilities including Camera RAW and High Dynamic Range (HDR) photography. There was a time when all images prepared for print were checked and often thoroughly retouched and optimised by imaging professionals. Not so anymore: many images are used more or less straight out of the digital camera, without much work done on them. This is mostly fine,


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but there are still some general aspects of digital imaging that still hold so even more advanced image processing might be worth the effort. Let’s go through some of the basics and then touch briefly on some more advanced possibilities. While modern digital SLR cameras, and even top of the range mobile phones, create very good photos without much need for manual editing, there are some core aspects of what makes a photo look really good,

technically. The following list isn’t necessarily in order of what is most important, because that is somewhat subjective. It often depends on what kind of motif is in the picture, and what kind of usage the image will have. But one of the first aspects in sharpness, if the resolution is high enough. Next is contrast that is, are the white areas actually white or are they greyish? And are the deep blacks really as black as they should be? If not, the image will look flat and dull.

TECHTALK Then there is the grey balance, which is where not all cameras manage to process the raw image, what the sensor captured, in an optimum way. If the grey balance is wrong, all other colours look slightly wrong as well. Finally we have the question of colour accuracy. Are key colours true to what we know them to be in real life? If not, there are some actions we can take to fix the problem, either manually or by applying colour management to the best of our knowledge. We’ll go through those four steps one by one and see what can be done in different software to help us improve our images and optimise them for final print. Sharpness How sharp an image appears depends on a number of factors. One is the resolution at which the image was captured, but also the quality of the lens, and if the shot was taken without movement of the camera. We won’t have room for a full photography lesson here, describing how to take the perfect photo, but instead let’s assume we need to do what we can to try and sharpen up a photo that isn’t perfect. Of course we have made sure we have access to the original image, and we can make use of all the image data available. The rule of thumb still applies: a photo should be at twice the resolution in Pixels Per Inch ( PPI) than the resolution used in print, Lines Per Inch (LPI). That’s where the commonly suggested image resolution of 300 ppi, comes from, since a 150 lpi screen resolution was more or less default in offset printing for many years. While the output screen types and resolutions are different in digital printing than with analogue printing methods, an image

resolution of 300 ppi is still a good general suggestion. If the image is to be viewed at distance, you might settle for a lower image resolution, to avoid unnecessarily large file sizes. The most common trick to help an image to look sharper is by applying an unsharp mask in, for example, Photoshop. The word may seem strange, but it comes from the old manual way to do this in a repro camera when creating colour separations of the image. A copy was made of the image using a diffusing film to blur the copy slightly. This copy was then inverted and placed on top of the original image. A contour appeared at the edges of objects in the image, which was copied onto the final image of the black separation. This thin contour created a visual effect to make the image look sharper. Use this function in software with some moderation and care, because if you try and sharpen the image too much it will look strange, and the contours around objects will stand out in a disturbing way. One trick is to only sharpen selected areas of the image, like the eyes of a person, or single objects in an image such as a piece of jewellery. And leave the rest of the image as it is, even if it’s not as sharp as you might have preferred.

Contrast The most common way to check that there is enough contrast in an image is to open the histogram image analysis function (in Photoshop it’s called Levels). Here you can see if what should be near white or near black are at the end points of the tone curve. If not, adjust the curve so that pixels that are white in reality get that pixel value, (near RGB 255, 255, 255), while deep blacks should be near RGB 0, 0, 0. Now the image should look much better, and an image that looked flat and dull before, will suddenly come to life. Grey balance While all cameras try and adjust both white point and grey balance to be correct, some images come out looking not just right. It could be that the light condition when the photo was taken introduced a colour cast, for example bluish if the photo was taken outdoors and the picture is dominated by shadow areas. Or if the photo is taken with artificial light, and the light source introduced a greenish or yellowish

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colour cast. If you have access to the raw image file for this photo you can adjust the white point in, for example, Adobe Lightroom, or some other Camera RAW image processor, such as DxO PhotoLab. When you modify the white point, the overall grey balance will also be affected. If this isn’t enough, you can modify the grey balance further. In Photoshop this can be done with the Levels function, in the same window as was mentioned earlier (find it in the Image/Adjustments/ Levels menu).

you don’t get the result you hope for with this tool, you can try the Replace Color tool and pick the areas in the image which need to be modified. If you have control over the light used in the image, for example if take you photos in a studio, you can calibrate your camera and make a customized ICC profile for that light environment. In this way you will get more colour accurate images directly out of the camera, with less need for manual adjustments. But this only works for photos taken in the same light setting, and is only worth doing if you create a lot of images in the same session. A custom made ICC profile for a digital camera only applies for that very lighting setup, not for photos taken in different light conditions.

Colour accuracy In many cases you want key colours in the image to be as accurate as possible, so grass should look green, a blue sky should look blue, chocolate should look yummy brown etc. If not, you can either make selective colour changes manually, or try and calibrate your camera to produce more colour accurate images in the first place. To modify single colours you can try the Selective Color tool in Photoshop, where you start from the base colours Red, Green, Blue, Cyan, Magenta, Yellow as well as being able to modify the white, neutral (grey) and black areas. If

More advanced image enhancements The above deals with images that have already been taken, and where you try and make the most of them, after the fact. We will now suggest some techniques for getting higher quality images, if you can influence how the photos are taken in the first place. We mentioned Camera RAW before, and professional photographers normally use this to get the most out of their cameras. But as the name indicates, this image file format doesn’t process the images, but saves the captured image data

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unprocessed, a bit like with old colour negatives. The image data has a 16-bit tonal depth, which means you can play with over 65,000 levels of grey when you process or edit the image. If an image is saved as sRGB or Adobe RGB, it’s normally in 8 bit, so it only has 256 levels of grey per RGB channel. This reduces the scope for changes in the image without loosing colour data in the process. So use Camera RAW if you can, or suggest the photographer to do so for the images you order, and you will have more room and possibilities for final adjustments later on. Another way to achieve stunning images is to use the High Dynamic Range (HDR) technique. This means taking multiple exposures of the same scene, and then combining them into one final image. While a photo taken with one exposure has the dynamic range of perhaps 12-14 f-stops (where you can see details in both shadow areas and the highlight areas), using HDR you can increase this range to be perhaps 24 f-stops or more. With three exposures you take one shot with normal, optimum exposure, typically based on the tone values of the mid-tones, and then one over-exposed image and finally one under-exposed image. Photoshop has a basic function to merge such images into the final HDR version, but there are other dedicated softwares for this, such as Aurora HDR from Skylum Software. Make the most out of your images before you send them to be printed. Quickly go through the four basic steps mentioned above, and if you want to go further experiment with different RAW image processors and HDR photography.


The apparel market shifts towards automation and the nearshoring

Debbie McKeegan discusses how sewing robots, speed factories and digital printing are pioneering the way forward as machines and artificial intelligence take a grip on our imagination and expectations. Textiles and automation are no strangers, forty years ago Schlafhorst and Rieter were using robots to make piercings on every spinning frame that they sold, and Colour Kitchens from Van Wyk and Stork produced millions of litres per annum of custom ink formulations, on demand, perfectly mixed and milli-metrically accurate. Now the agenda has moved on and it is Sewing Robots, Speed factories and Digital Printing that are pioneering the way forward as machines and artificial intelligence take a grip on our imagination and expectations. As these disruptive


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technologies take hold, the perpetual quest of the Textile Industry for cheaper and cheaper labour sources seems set to end, as a new market dominated by customisation, personalisation and sustainability lays down the agenda for a new way forward. Conceptually, the Textile Industry of the future is perceived as one in which factories hardly consume water, energy or chemicals, where labour is nearshored and upskilled to shorten the supply chain thereby reducing the environmental impact of long distance product travel, and where, driven by the new technologies, Textile production is symbiotically linked to actual demand, dramatically reducing the overstocks that populate our landfills at this time. In the Global Apparel Industry, which employs over 80

million people worldwide, Sewing continues to be the most labourintensive production process. In the past, the Textile Sewing Sector has been able to rely on developing economies to satisfy their search for low labour costs to fund their supply equation. However, as a recent survey in China showed, developing economy labour costs have tripled in 15 years, showing that this model is exhausted, and with their comparative advantage eroded, these developing economies no longer have the solution. In the eighties, mass-market apparel brands couldn’t move their production quick enough to Asia, where low labour costs gave them exemplary profits. This strategy morphed in the early 2000’s as China’s competitive advantage faded, and production was moved on to low cost frontier

TECHTALK economies such as Vietnam, Cambodia, Ethiopia and Algeria. These moves were met with considerable success as it became obvious that all these economies could deliver products that consumers wanted, at prices they could afford, whilst still maintaining speed of delivery, high quality, and regulatory compliance. Yet now, as Internet shopping and Ecommerce have made competition more cutthroat, and demand more changeable than ever,. In this maelstrom of change, the competition is now on-line start-ups, web-shops and young brands driven by strong internet and social media presence, who can dictate hot styles on a daily rather than a seasonal basis, and can deliver their product, at the right price, the right quality and the right look, to their clients within hours. Small wonder that some of the biggest brands in the global apparel industry, which employs as many as 75 million people worldwide, are exploring automation. Sportswear giant Adidas already has fully automated factories operating in Germany and the US, it expects these new so-called Speed factories to ramp up production and reduce manufacturing lead times for product to a matter of days. In 2019, TY Garments USA started production, with an investment of 20 million-dollars in a state-of-the-art production plant in Little Rock, Arkansas. TY Garments will employ 400 people in Arkansas and produce an annual volume of over 100 million garments. The facility features 330 robots designed by Softwear Automation and 21 automated assembly lines. On an eight-hour shift, a sewing robot equipped with sensors and cameras can produce over a thousand T-shirts.

By way of comparison, a 10-person crew working on a standard production line can only produce 669 T-shirts in the same amount of time. For TY CEO Tang Xinhong, the factory is a milestone in the company’s history, and he is convinced that: “Around the world, even the cheapest labour market can’t compete with us.” The US-based clothing company Levi Strauss & Co. has patent protection for an automated laser solution for finishing its jeans. The contrast between the previous finishing process and the new one is a striking illustration of the potential of automation. In the new system, a pair of jeans can be laser finished in 90 seconds, as opposed to the 20 minutes that these operations took previously. These examples show why tomorrow’s successful apparel companies will attempt to enhance the apparel value chain in three ways, nearshoring sustainability and automation. But so far they have lagged behind in the adopting nearshoring and automation partially because they have continued to rely on low-cost Asian sourcing , but also because of the technical and financial challenges for only recently have fully-automated solutions for sewing become market-ready. But now, as on-demand production gains importance and technologies develop, automation is becoming critically important for the main players and there will be a steady stream of developments over the next few years reflecting this. The recent report by McKinsey on the State of Fashion 2019 predicted this that to meet customer’s needs,

apparel companies need to focus on nearshoring, automation and sustainability. Mckinsey say that within five years semi -automated factories will be ‘lighthouse’ projects for most of the apparel brands and that within ten years fully automated factories will enable full nearshoring of production. Citing five significant textile automation areas, Mckinsey suggest that special attention is paid to progress being made in Sewing Automation, Intra-Logistics Automation, Digital Printing, Gluing & Bonding And Knitting. The end result will definitely be a migration of jobs from the traditional low-cost manufacturing countries to the developed economies of the Industrial world, recent estimates have suggested that this could men an additional 150,000 jobs in the USA alone. The automation of the Textile Industry however, is only symptomatic of a world-wide trend, Robot Systems are set for a meteoric rise over the next few years, with a recent market report suggesting a CAGR of 37.4% will take place between now and 2025. This will result in a rise of the value of installed robots from $39.3bn in 2017 to $498.4bn in 2025, a staggering fact that bears out Oxford Economics prediction that 20 million manufacturing jobs will be lost by 2030. Equally, it predicts that in the UK alone robots will generate an additional £5bn of GDP, as well as creating as many jobs as are lost. But for Textiles, the story is still the same, as the pressure for smaller batch sizes and on-demand replenishment grows, they will have to rise to the challenge embrace the new technologies and re-equip to keep their cost base and commercial offers intact.

October - November 2019 | SCREENTEX |



How to combat counterfeiting with new print technologies

What are printing companies doing to help brands protect their products? One unique solution comes from Swiss specialists IQDEMY. As many brands and businesses will tell you, counterfeiting is so much more than simply producing fake money, as criminals seek to make a tidy profit by conning unsuspecting people out of their own, real cash. A large number of these activities involve print in some way or another, whether it is printing fake money or producing counterfeit credit and debit cards. But fear not; much as it has done for hundreds of years, print also has a major role to play helping combat counterfeiting. New, print-focused techniques to tackle counterfeiting activities


| SCREENTEX | October - November 2019

are coming into play all the time. One of the latest to hit the market is Quantum Dot printing technology from IQDEMY, which uses the technique as part of its security solutions. Quantum Dots technology – what exactly is it? Founded in 1998, IQDEMY Group includes the firms IQDEMY for customised and industrial printing equipment manufacture, DPS-Innovations for control electronics and modules production, and IQDEMY Chemical – a laboratory for inks, primers, and specific formulations development including the idea of Quantum Dot printing technology. Such is the flexibility of this method that it can be used to help tackle counterfeit

activities across a range of markets and industries such as in consumer goods, brand protection, pharmacology, medicine electronics, defence industries, etc. Both quantum dots’ lifetime and luminescence parameters are higher than luminophores and their particle size allows use in digital printing But what exactly is Quantum Dot printing technology? Yulia Trubitsyna, Special Projects Manager at IQDEMY, told us more about this exciting method. To put it simply, Quantum Dots are nano-size particles of conductors or semi-conductors, with diameters from 2 to 10nm. Made up of either a single or multiple elements, each can have a multi-layered structure where the core is made of one mixture

TECHNOLOGY and the outer shell out of another. Quantum Dots vary in colour – over 30 options in total – and range in size to allow for more colour combinations. “Quantum dots are smaller than traditional luminophores; both their lifetime and luminescence parameters are higher than that of luminophores and their particle size allows for use in digital printing,” Yulia said. Why should we consider this sort of technology? This all sounds very impressive – if not a little complicated – but what good will it do us and why do we need it in the first place? Many security print companies already have their own tried and tested techniques for protecting products, so what does Quantum Dot technology offer that others do not? That’s why just going digital without any ground-breaking technology is not worth the deal. Here comes IQDEMY technology of printing with Quantum Dots Many companies opt to use digital print for security

measures, but Yulia flags up an issue in doing so: “Traditionally, organisations related to security printing, including governmental bodies, use offset, intaglio and screen printing technology, and going digital for them is timeand cost-consuming. “The smaller the company is, the easier it is for it to switch to digital. However, from another point of view, digital printing is a world-leader for counterfeiting techniques, with more than half of counterfeited money being printed on digital equipment. “That’s why just going digital without any groundbreaking technology is not worth the deal. Here comes our technology of printing with Quantum Dots.” Where and how can Quantum Dots security inks be put to use? Quantum Dots can help save on time and costs when it comes to security printing, but what key benefits does this offer over other kit? In addition to the colour benefits already outlined, Yulia says that it can be incorporated

into many existing secure documents without having to use any other processes. This includes incorporating Quantum Dots security inks into the sewing or stitching threads in passports, printing into holograms – which are commonplace on banking cards – and securityprinted documents. There’s also the option to use inks with Quantum Dots for coding applications, with one example being that IQDEMY replaced the traditional magnetic strip on the back of a payment card with a quantum dot-printed strip, quick response (QR) type code. This was precision-printed using five different QD security inks over a background colour, which, according to IQDEMY, allows for the encoding of some 2,500 symbols. In relation to this, IQDEMY can use QD security inks to print encoded QR codes. Here, the code is printed with several types of ink, which vary in wavelengths (colour), brightness and intensity. This type of QR code isn’t readable under usual UV light, only under a special scanner adjusted to specific wavelengths.

October - November 2019 | SCREENTEX |


TECHNOLOGY known only for the producer of the original product, it is genuine; if it does not pass, then it may be a counterfeit. Yulia says there is also the option to produce more complex custom-made instruments to detect certain parameters of Quantum Dot inks and other forms of marking. For example, some barcodes and QR codes have particular light emission spectrums and would require such a device.

Yulia says that there is also the option to use Quantum Dot technology in applications with tactile relief effects and also incorporate it into polymers film materials, both of which can be used in certain secure documents like ID cards. In addition, upconverting – or anti-Stokes (converting infrared to visible light) – Quantum Dot inks have been developed to absorb infrared radiation and emit in the visible spectrum. How is this possible? While the term ‘quantum’ may suggest that this sort of technology is complicated and as such not a longterm or widespread solution to counterfeiting problems in print, it appears that this is not the case. Yulia says that those with responsibility for checking products, such as passport control officers or bank staff running checks on credit cards, would only


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require a simple UV flashlight for initial detection of Quantum Dots. Alternatively, they can use a fine-tuned UV scanner, which is preselected to be sensitive to a particular wavelength or narrow range of wavelengths, depending on what they are scanning. In terms of whether a product passes these checks is also easily measurable, in that it is a simple yes or no answer. If the product has the correct Quantum Dot “code”: wavelength, full width at half maximum (emission intensity) and brightness – the parameters

Where do we go from here? Quantum Dot technology certainly looks like it has all of the key attributes to offer a solution to security printing demands across a range of industries. What stands out most is the flexibility of this technique compared to some of the existing methods and technologies already available on the market. Quantum Dots can be changed and manipulated for use in various security verification tools. From bank card strips and holograms, to QR codes and hidden patterns, Quantum Dots offer a new level of flexibility to help brands and organisations combat counterfeiting.


The robot revolution

Will the rise of robotics destroy print jobs or open new horizons? For years, Hollywood movie directors have been filling our minds with all of the incredible things we can expect from robots. Ranging from the helpfulness of the human-like machines in I, Robot with Will Smith, through to the not-to-positive actions of the Terminator in Arnold Schwarzenegger’s film of the same name, it appears robots can be programmed to carry out all sorts of roles. Some of the leading manufacturers in the print industry are seemingly behind this revolution, integrating robotics with their printing technology. Although we are not quite at the stage where you can employ an entire workforce of robots to carry out printing tasks, the kit that staff work with is


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increasingly utilising robotics. But what does this mean for both printers and their staff? Does the increased use of robots threaten the position of some employees and do PSPs risk being left behind if they do not embrace new technology? Why should you “do the robot”? Robots may certainly sound and look impressive, but what specific benefits can they offer to the printer? Stefanie Schumann, European Product Specialist DGS, Industrial and Production Solutions at Canon Europe, says automation is key in the modern print market and PSPs must realise this if they are to remain both competitive and successful. Schumann said that robots can be used for labour-intensive short run jobs more efficiently, meaning staff are freed up

for more interesting work that requires human creativity and adds value to the business. She said: “PSPs are most likely to operate complex workflows that include pre-press, finishing, packing and delivery as well as the actual print process, and by integrating robotic coworkers into the line, they can operate for longer – in some cases 24/7.” Chris Logan, Director of Product Management for digital finishing at Esko, is very much of the same view, pointing out that a number of significant trends are impacting printers, meaning robotics and automation in general are coming to the fore in their investment planning. Logan said increasing business globalisation means that printers are no longer competing on a local or national

TECHNOLOGY scale, but having to respond to an international marketplace, which in turn increase labour costs – and robotics can help with such costs. Another concern is an increase in production complexity, shorter run lengths and faster turnaround times as a result. With this in mind, Logan said as more printers seek automation solutions to drive their business, robotics can help solve modern challenges He said: “Our current view is that the penetration of robotics is fairly limited in general today in the print market. However, as labour issues impact on US and European converters in particular, we are likely to see an acceleration of their adoption, similar to say the automotive or electronics manufacturing sectors.” Practising what you preach Having established that robots can help boost efficiency, next up is to consider exactly how they can assist the printer: i.e. what can they actually do? Logan said Esko has observed a range of low value-added or heavy activities turning to robotic options. Examples include material handling throughout the print workflow, stacking or placing of products pre- or post-printing,

Chris Logan, Director of Product Management for digital finishing at Esko

as well as internal movement of product through to packing, palletising and shipping. Logan said an additional benefit of this is the data capture coming back from automation solutions bringing “huge value” in understanding the business, workflow and bottlenecks. Logan said: “Printers are recognising the ability to integrate and connect their entire print workflow from design to finish, to bring about quality, efficiency and long-term cost competitiveness, as well as service differentiation.” Canon’s Schumann agrees, saying the increased ability of robots to identify and handle different kinds of media like paper or carton board creates more opportunities for use in printing lines. She added that robots are reliable and can perform unattended as part of a workflow with defined tasks. Schumann said: “They can take care of a range of work, mainly repetitive tasks such as picking, packing and sorting, or airing and separating sheets. They can also perform heavy manual tasks such as lifting huge rolls and pallets of paper. This takes the strain off

human employees, and because robots don’t have to work shifts, they enable printers to operate overnight with ease.” Debbie Thorp, Business Development Director at software specialist Global Inkjet Systems (GIS), said the company is taking this a step further by using robotics to inkjet print (and coat) directly onto complex 3D objects, particularly industrial parts. Thorp said: “Depending on the application or object these items are currently decorated or coated using screen, stencil, pad, float graphics or spray technologies.” Stretching the boundaries Heavy labour tasks appear to be the main focus for robotics, but as demonstrated by Thorp and GIS, there is potential to take this much further. Thorp said there are already examples of inkjet being used to replace spray coating on injection moulded parts – which can reduce fluid waste and VOC emissions by over 70% – and GIS is developing the workflow and software to implement inkjet printing onto these complex shaped objects. Thorp said: “We create print paths that take into account the constraints of the

October - November 2019 | SCREENTEX |



object to be printed, the inkjet printhead, the capability of the robot – and through intelligent image management apply colour correction, printhead stitch correction, nozzle-out compensation, geometry and nozzle density correction.” Schumann also weighs in, saying that as PSPs work more with this technology, they will identify other areas in the business where robots can help. For example: in more complex finishing or combining robotic process automation (RPA) with artificial intelligence to handle and sort incoming jobs. And such is the pace of this evolution, Schumann said that some customers are now looking for digital printers that can run in fully automated operation. Logan largely agrees with Schumann, saying while print is still some way behind the likes of the automotive, pharmaceutical or electronics industries in terms of using robotics, Esko is expecting to see the integration of more virtual reality solutions in manufacturing, the take up of simplified robotics in small to medium sized companies and demand for robotics to continue for value added, repetitive tasks. Logan said: “For Esko, our success with the Kongsberg digital cutting table range and the


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latest launch of the Motorised Roll Feeder for soft signage applications, are indicative of the need for printers to automate and simplify heavy and/or repetitive tasks with accuracy and efficiency. The solutions work alongside the human but offer improved quality, efficiency and cost performance.” Taking this sort of development into account, Logan said the industry is likely to see an increase in the number of manufacturers looking at integrating robotics with their kit as part of ongoing R&D efforts Logan said: “This is a large focus of R&D efforts across the world and robots that are empowered with this technology can improve on their own, learn new techniques and adapt to a specific business environment.” Schumann concurs, saying that what Canon learns from robotics applications in practice will then be channelled back into development. She added this includes major collaboration between Canon’s wider business: Canon EMEA, Canon National Sales Organisations, Océ R&D and integrator Rolan Robotics. Humans vs robots – the battle for print? Despite encouraging the uptake of robotics, both Logan and Schumann are keen to stress that print will not get to a point where robots can replace human workers. Logan said robotics are likely to mean that low-skilled, low-value-adding roles are replaced with different, more complex jobs, with research suggesting that when a robot is installed to replace a job, the number of staff in a business actually increases. Logan said: “Supported

with appropriate retraining and investment, robotics should mean improved quality of jobs and satisfaction for employees, rather than a low-skilled or declining workforce.” Schumann agrees, pointing out that while robots can be helpful when it comes to certain tasks, they are not creative and cannot think up new business models like humans can. Instead, what robots do is give business owners and staff more time to devote to these important tasks. She said: “Robotics has the potential to improve employee satisfaction and give people greater opportunity to learn new skills, meeting the growing drive for life-long learning in our era of digital transformation.” While some see robotics as a threat to the traditional print workforce, it seems that this sort of kit, as useful as it is, has its limitations in what it can do. Yes, it is likely that some manual labour positions are at risk from robots, but the creative talent that drives the print industry cannot be replicated in robot form. Robots working alongside humans to drive print towards a positive future – it sounds like a Hollywood blockbuster waiting to happen, if you’re reading, Mr Spielberg?


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efÒebì ceW keÀuej

efÒebefìbie ceW efJeéemeveer³e iegCeJeÊee keÀe Deeéemeve mener Deewj megmebiele keÀuej efjHeex[keÌMeve megefveefM®ele keÀjves Hej keWÀefêle nw~ FbkeÀ Deewj meymeì^sì kesÀ jbie kesÀ DeueeJee, ÒecegKe ÒeYeeefJele keÀjves Jeeues keÀejkeÀ FbkeÀ efHeÀuce keÀer ceesìeF&,neHeÀìesve (Jewu³et) ceeve,jbie meblegueve, FbkeÀ mJeerke=Àefle Deewj efÒebefìbie ¬eÀce nQ~ FbkeÀ efHeÀuce keÀer ceesìeF& DeeHeÀmesì efÒebefìbie ceW ,lekeÀveerkeÀer kebÀmì^sveìdme meercee DeefOekeÀlece FbkeÀ efHeÀuce keÀer ceesìeF& 3.5 ceeF¬eÀesceerìj nw~ peyeefkeÀ, m¬eÀerve efÒebefìbie kesÀ ³eneB efJemle=le mebYeeJevee³eW nesleer nQ~ DeeF&SmeDees 2846-1 kesÀ Devegmeej Òeesmesme FbkeÀ kesÀ meeLe Deeì& HesHej keÀe GHe³eesie efkeÀ³ee peelee nw, lees 0.7 Deewj 1.1 ceeF¬eÀesceerìj kesÀ yeer®e FbkeÀ efHeÀuce ceesìeF& kesÀ meeLe mener FbkeÀ efveoxMeebkeÀ ÒeeHle efkeÀ³ee peevee ®eeefnS~ ³eefo DevegHe³egkeÌle FbkeÀ He=LekeÌkeÀjCe GHemlej (meyemì^sì) ³ee FbkeÀ keÀe GHe³eesie efkeÀ³ee peelee nw,lees meerDeeF&F& ¬eÀescewefìefkeÀìer DeejsKe kesÀ ceevekeÀerke=Àle keÀeve&j


| SCREENTEX | October - November 2019

DebkeÀ ÒeeHle veneR efkeÀS pee mekeÀles nQ~ ³eefo meble=Hlelee F®íevegmeej veneR nw,lees efHeÀj mes GlHeVe nesves ³eesi³e FbkeÀ iewceì Yeer keÀce nes peelee nw~ meeceves Deeke=Àefle ceW ueeue-Oeej Jeeuee #es$e SkeÀ iewceì efoKeelee nw efpemes leerve Òeesmesme FbkeÀ keÀes jsKeebefkeÀle keÀjves kesÀ HeefjCeemJeªHe keÀce efkeÀ³ee ie³ee nw~ ³eefo mew®egjsMeve F®eíevegmeej Leer lees veerues Oeej Jeeues #es$e keÀes ÒeeHle efkeÀ³ee pee mekeÀlee nw~ YeeweflekeÀer kesÀ ¢ef<ìkeÀesCe mes,¢M³e GHeefmLeefle Hej FbkeÀ efHeÀuce keÀer ceesìeF& kesÀ ÒeYeeJe keÀes efvecveevegmeej mecePee³ee pee mekeÀlee nw : efÒebì FbkeÀ DeHeejoMeea kesÀ yepee³e HeejYeemeer nw~ ÒekeÀeMe FbkeÀ ceW ÒeJesMe keÀjlee nw~ FbkeÀ mes iegpejles mece³e ³en efHeieceWì Hej He[lee (DeìwkeÀ) nw pees lejbieowO³e& kesÀ DeefOekeÀ ³ee keÀce efnmmes keÀes DeJeMeesef<ele keÀjlee nw~ efHeieceWì SkeÀeûelee Deewj FbkeÀ efHeÀuce keÀer ceesìeF& kesÀ DeeOeej Hej,ÒekeÀeMe keÀce ³ee p³eeoe mebK³ee ceW efHeieceWì Hej Heæ[lee nw, FmekesÀ keÀejCe ÒekeÀeMe keÀer efJeefYeVe cee$ee DeJeMeesef<ele nes peeleer nw~

ÒekeÀeMe keÀer efkeÀjCeW Deblele: mlej keÀer melen lekeÀ HengB®eleer nQ Deewj FmekesÀ Üeje HejeJeefle&le nesleer nQ~ FmekeÀe celeueye nw efkeÀ DeeBKe lekeÀ HengB®eves mes Henues ÒekeÀeMe keÀes efHeÀj mes FbkeÀ efHeÀuce mes iegpejvee ®eeefnS~ FbkeÀ keÀer SkeÀ ceesìer Hejle DeefOekeÀ ÒekeÀeMe IeìkeÀeW keÀes DeJeMeesef<ele keÀjleer nw Deewj SkeÀ Heleueer Hejle mes keÀce keÀes oMee&leer nw,He³e&Jes#ekeÀ FmeefueS SkeÀ ienje Deewj DeefOekeÀ meble=Hle jbie osKelee nw~ oMe&keÀ keÀer DeeBKe Hej HengB®eves Jeeuee ÒekeÀeMe IeìkeÀ Òel³eskeÀ jbie keÀe DeekeÀueve keÀjves keÀe DeeOeej nw~ ìesveue Jewu³et peye keÀuej kesÀ Mes[dme keÀer GHeefmLeefle keÀer yeele Deeleer nw lees neHeÀìesve FbkeÀ kesÀ DeueeJee meyemes cenlJeHetCe& keÀejkeÀ neslee nw~ efHeÀuceeW ³ee ef[efpeìue Fcespe HeÀeFueeW ceW,neHeÀìesve cetu³e SkeÀ efJeefMe<ì #es$e keÀe DevegHeele neslee nw,efpemes neHeÀìesve [e@ ìdme Üeje keÀJej efkeÀ³ee peelee nw~ nukeÀe efkeÀ³ee peeves Jeeuee FbkeÀ nukeÀe neslee nw,Gme #es$e keÀe íesìe efnmmee pees {keÀe neslee

ìskeÌveesuee@peer nw~ Deueie-Deueie jbie kesÀ jbieeW keÀes Hegve: HesMe keÀjves kesÀ efueS,efvejblej m¬eÀerve ( GHe&À m¬eÀerve DeeJe=Êeer) kesÀ meeLe HeejbHeefjkeÀ m¬eÀerefvebie neHeÀìesve [eìdme keÀe GHe³eesie keÀjleer nw, efpemekeÀe DeekeÀej DeeJeM³ekeÀ ìesveue Jewu³et Hej efveYe&j keÀjlee nw~ FmekesÀ efJeHejerle DeeJe=efÊe mebûeenkeÀ m¬eÀerefvebie ceW neHeÀìesve [eìdme DeekeÀej ceW meceeve nesles nQ,uesefkeÀve GvekesÀ yeer®e keÀer otjer keÀce nesleer nw~ neHeÀìesve Jewu³et Deeceleewj Hej ÒeefleMele kesÀ ªHe ceW efveefo&<ì nesles nQ~ ìesveue Jewu³et ceW HeefjJele&ve peye SkeÀ neHeÀìesve [e@ì keÀes efHeÀuce mes Huesì ,yueQkesÀì Deewj Deble ceW meyemì^sì,efpe³eescesefì^keÀ [e@ì DeekeÀej Deewj FmeefueS neHeÀìesve Jewu³et ceW mLeeveebleefjle efkeÀ³ee peelee nw, lees efJeefYeVe keÀejkeÀeW kesÀ HeefjCeecemJeªHe yeoue mekeÀlee nw~ ìesveue Jewu³et ceW Òeef¬eÀ³ee mes mebyeefOele HeefjJele&veeW keÀer YejHeeF& Òesme mes Henues keÀer DeJemLee ceW keÀer pee mekeÀleer nw~ ³en Devegceeve ueieevee DemebYeJe nw efkeÀ efÒebefìbie mecem³eeDeeW mes neHeÀìesve cetu³e ÒeYeeefJele nesles nQ ³ee veneR~ FmeerefueS cegêCe Òeef¬eÀ³ee kesÀ oewjeve Gve Hej efJeMes<e O³eeve efo³ee peevee ®eeefnS~ ³es neHeÀìesve [e@ìdme kesÀ meeLe efÒebefìbie keÀer meyemes ueieeleej mecem³ee³eW nQ : [e@ì iesve/ [e@ì uee@me [e@ì iesve peye efHeÀuce ³ee ef[efpeìue Fcespe kesÀ meeHes#e neHeÀìesve [e@ìdme yeæ{les nQ lees Fmes [e@ì iesve ³ee ìesveue Jewu³et Je=ef× (ìerJeerDeeF&) keÀne peelee nw~ ³en cegêCe Òeef¬eÀ³ee meeceûeer ³ee GHekeÀjCe -keÀejkeÀeW kesÀ keÀejCe nes mekeÀlee nw pees Òesme Dee@Hejsìj keÀes ÒeYeeefJele keÀjves kesÀ efueS DeHes#eeke=Àle keÀefþve nQ~ ³en FveceefkebÀie kesÀ keÀejCe Yeer nes mekeÀlee nw,efpemes Dee@Hejsìj efve³ebef$ele keÀj mekeÀlee nw~ YejW (efHeÀue-Fve) efHeÀue-Fve íe³ee ceW iewj-cegefêle #es$eeW keÀe HeefjCeece nw pees keÀce nes jne nw ³ee ³eneB lekeÀ efkeÀ Hetjer lejn mes iee³eye nes jne nw~ keÀYeer keÀYeer ³en muesefjbie Deewj oesnjerkeÀjCe kesÀ keÀejCe Yeer nes mekeÀlee nw~

[e@ì uee@me [e@ì keÀer neefve efHeÀuce ³ee ef[efpeìue Fcespe keÀer leguevee ceW efÒebefìbie Òeef¬eÀ³ee kesÀ oewjeve [e@ì DeekeÀej ceW keÀceer nw~ J³eJenej ceW Meyo [e@ì ueeme keÀes DekeÌmej [e@ì iesve ceW keÀceer kesÀ efueS Yeer efue³ee peelee nw~ Yeues ner efÒebì DeYeer Yeer efHeÀuce ³ee ef[efpeìue Fcespe keÀer leguevee ceW [e@ì ueeYe ÒeoefMe&le keÀjlee nw~ [e@ì efJeªHeCe mueefjbie ceW , efÒebì Òeef¬eÀ³ee kesÀ oewjeve neHeÀìesve [e@ì keÀe DeekeÀej yeoue peelee nw peye efÒebefìbie Huesì Deewj yueWkesÀì ³ee efÒebì Meerì SkeÀ otmejs kesÀ mebyeOe ceW ®eueles nQ,GoenjCe~ SkeÀ ieesueekeÀej efyeboer Deb[ekeÀej nes peeleer nw~ efÒebì efoMee ceW muesefjbie kesÀ ªHe ceW peevee peelee nw,peyeefkeÀ Fme efoMee ceW mecekeÀesCe Hej muesefjbie keÀes uesìjue mueefjbie keÀne peelee nw~ ³eefo SkeÀ ner mece³e ceW oesveeW ÒekeÀej kesÀ mueefjbie nesles nQ lees muesefjbie keÀer efoMee efJekeÀCe& nw~ oesnjerkeÀjCe DeeHeÀmesì efÒebefìbie ceW, oesnjerkeÀjCe leye neslee nw peye SkeÀ meskebÀ[ Deeceleewj Hej íesìs DeekeÀej keÀe,DemHe<ì FbkeÀ [e@ì keÀes peeveyetPekeÀj [e@ì kesÀ yeieue ceW efÒebì efkeÀ³ee peelee nw~ ³en leye neslee nw peye FbkeÀ Deieues yueQkeÀì Hej JeeHeme mLeeveebleefjle nes peeleer nw,uesefkeÀve jefpemìj mes yeenj~ Òesme meb®eeuekeÀ keÀes [e@ì iesve keÀes osKeves keÀer ke̳ee peªjle nw,Fmes efÒebì kebÀì^esue efmì^Hme kesÀ ceeO³ece mes ceeHee Deewj ¢ef<ìiele ªHe mes DeebkeÀe pee mekeÀlee nw~ efÒebì efve³eb$eCe efmì^Hme efJeMeg× ªHe mes ¢M³e cetu³eebkeÀve kesÀ efueS efJeMes<e ªHe mes GHe³eesieer nQ~ G®®e ìve cetu³eeW kesÀ meeLe m¬eÀerve ceeHeves Jeeues lelJeeW keÀe GHe³eesie keÀjkesÀ Deemeeveer mes efHeÀue-Fve keÀer efveiejeveer keÀer pee mekeÀleer nw~ [e@ì iesve Deewj efHeÀue-Fve Deeceleewj Hej Del³eefOekeÀ FvekeÀefcebie,DeHe³ee&Hle vece meceeOeeve keÀe HeefjCeece neslee nw,Huesì Deewj yueQkesÀì ³ee yueQkesÀì kesÀ yeer®e yengle DeefOekeÀ oyeeJe pees yengle megmle neslee nw~ keÀYeer-keÀYeer

Jes FvekeÀefcebie Deewj [befHebie HeÀece& jesueme& kesÀ ieuele mecee³eespeve kesÀ keÀejCe Yeer nes mekeÀles nQ~ meeceev³e HeefjefmLeefle³eeW ceW Yeer Deewj peye Huesì keÀes mener lejerkesÀ mes keÀe@Heer efkeÀ³ee ie³ee nw,lees efÒebì ceW ìesveue Jewu³et ncesMee cetue efHeÀuce ³ee ef[efpeìue [sìe keÀer leguevee ceW SkeÀ efveefM®ele meercee lekeÀ yeæ{lee nw~ [e@ì keÀer neefve Demeeceev³e HeefjefmLele³eeW ceW nes mekeÀleer nw pewmes efkeÀ peye Huesì ueieeleej ®eueleer nw ³ee FbkeÀ yueQkesÀì Hej yeveleer nw~ Fve mecem³eeDeeW mes ye®eves kesÀ efueS Òesme DeeHejsìj keÀes yueQkesÀì Deewj FvekeÀefcebie FkeÀeF&³ees keÀes DeefOekeÀ yeej Oeesvee ®eeefnS,mebYeJele: FbkeÀ Deewj jbie Deveg¬eÀce keÀes yeouevee ®eeefnS,meeLe ner HeÀece& jesueme&,efÒebefìbie oyeeJe Deewj efmeueW[j jesefuebie keÀer Yeer peeB®e keÀjveer ®eeefnS~ ueeFve m¬eÀerefvebie ceW mueefjbie meyemes mHe<ì nw~ keÀF& ceeceueeW ceW meceeveeblej jsKeeDeeW kesÀ OeerceW efoMee ceW peevekeÀejer Òeoeve keÀjles nQ~ Deeceleewj Hej mekeg&Àuesefìbie muesefjbie Huesì efmeueW[j Deewj yueQkesÀì efmeueW[j kesÀ yeer®e jesefuebie ceW Deblej keÀes Fbefiele keÀjlee nw, ³ee efkeÀ efmeueW[j SkeÀ otmejs kesÀ efKeueeHeÀ yengle cegefMkeÀue oyee jns nQ~ FmeerefueS efmeueW[j jesefuebie Deewj efÒebefìbie ÒesMej Hej yengle yeejerkeÀer mes vepej jKeer peeveer ®eeefnS~ keÀF& ceeceueeW ceW yueQkeÀì He³ee&Hle lebie veneR nes mekeÀlee nw ³ee yengle DeefOekeÀ FbkeÀ ueeiet efkeÀ³ee ie³ee nw~ Heeée& mueefjbie Mee³eo ner keÀYeer DeHeves oce Hej neslee nw~ ³eefo Ssmee neslee nw,lees GHemlej (meyemì^sì) Deewj yueQkeÀì keÀer yengle meeJeOeeveer mes peeb®e keÀer peeveer ®eeefnS~ meceeve lelJeeW keÀe GHe³eesie oesnjerkeÀjCe Deewj ce=oglee oesveeW keÀer efveiejeveer kesÀ efueS efkeÀ³ee peelee nw~ neHeÀìesve [e@ìdme keÀe efvejer#eCe keÀjves kesÀ efueS SkeÀ DeeJeOe&keÀ (cewiveerHeÀeFbie) iueeme keÀe Yeer GHe³eesie efkeÀ³ee peevee October - November 2019 | SCREENTEX |



®eeefnS,ke̳eeWefkeÀ ueeFve m¬eÀerefvebie kebÀì^esue SefueceWìdme DeHeves DeeHe ÒekeÀì veneR keÀj mekeÀles nQ efkeÀ oesnjerkeÀjCe ³ee muesefjbie ngF& nw ³ee veneR~ oesnjerkeÀjCe kesÀ keÀF& keÀejCe nQ,uesefkeÀve Jes Deeceleewj Hej meymeì^sì ³ee FmekesÀ lelkeÀeue JeeleeJejCe kesÀ meeLe ke̳ee keÀjvee nw~ DeeOegefvekeÀ MeerìHesÀ[ Òesme Hej yengle keÀce ner mceer³ej neslee nw~ peye ³en neslee nw,lees meyemes DeefOekeÀ mebYeeJevee ñeesle MeerìHesÀ[ Òesme kesÀ #es$e nesles nQ peneB Meerì keÀes leepee efÒebefìbie He#e Hej ³eebef$ekeÀ ªHe mes meceefLe&le efkeÀ³ee peelee nw~ ³eefo meymeì^sì keÀþesj nw, lees mceer³eefjbie keÀe peesefKece DeefOekeÀ nw HeeFue ef[efueJejer ceW~ neHeÀìesve Jewu³et ceW HeefjJele&ve keÀe ÒekeÀej ¢M³e efve³eb$eCe lelJeeW pewmes muej HeÆer kesÀ ceeO³ece mes lespeer mes mLeeefHele efkeÀ³ee pee mekeÀlee nw pees SkeÀ ner mece³e ceW efÒebì nesles nQ~ ³es efve³eb$eCe lelJe ves$enerve efÒebefìbie mecem³ee Hej peesj osles nQ~ ceesìs m¬eÀerve keÀer leguevee ceW [e@ì iesve,[e@ì uee@me,mueefjbie ³ee [yeefuebie pewmeer $egefì³eeb DeefOekeÀ mHe<ì nQ~ Ssmee FmeefueS nw ke̳eeWefkeÀ ceesìs neHeÀìesve [e@ìdme ceesìs ueesieeW kesÀ meceeve


| SCREENTEX | October - November 2019

ner cee$ee ceW Je=ef× ³ee keÀceer keÀjles nQ~ nebueeefkeÀ SkeÀ meeLe keÀF& íesìs [e@ìdme SkeÀ ner ìesveue Jewu³et kesÀ meeLe ceesìs [e@ìdme keÀer leguevee ceW keÀF& iegvee DeefOekeÀ nQ~ FmekeÀe celeueye ³en nw efkeÀ cegêCe kesÀ oewjeve , ceesìs FbkeÀ kesÀ DeemeHeeme DeefOekeÀ FbkeÀ ueeiet keÀer peeleer nw pees ceesìs ueesieeW kesÀ meeHes#e nesleer nw~ ³ener keÀejCe nw efkeÀ Heleues m¬eÀerve Jeeues #es$e ienjs efoKee³eer osles nQ~ efve³eb$eCe Deewj ceeHe lelJe Fme leL³e keÀe GHe³eesie keÀjles nQ~ muej efmì^He SkeÀ GoenjCe kesÀ ªHe ceW DeeFS nce mebef#eHle ªHe mes osKeles nQ efkeÀ muej efmì^He kewÀmes yevee³eer peeleer nw Deewj ³en kewÀmes keÀece keÀjleer nw (Fme He=<þ Hej DeebkeÀæ[e osKes) ³ener HeÆer ceesìs neHeÀìesve lelJeeW (He=<þYetefce) Deewj þerkeÀ neHeÀìesve lelJeeW (DebkeÀeW) keÀer peesæ[leer nw~ peyeefkeÀ neHeÀìesve He=<þYetefce keÀe SkeÀ meceeve ìesveue Jewu³et nw,mebK³ee 0 mes 9 ceW SkeÀ yeæef{³ee m¬eÀerve meÊeeªæ{ nw Deewj SkeÀ

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06 - 09 January 2020 PAMEX 2020 Leading Show on Printing & Packaging Industry. At : Bombay Exhibition Centre, Mumbai.

05 - 08 December 2019

06 - 09 January 2020 INDIA PACKAGING SHOW 2020 Leading Expo on Packaging Industry. At : Bombay Exhibition Centre, Mumbai.


16 - 20 January 2020 PLASTIVISION INDIA 2020 International Plastics Exhibition & Conference. At : Bombay Exhibition Centre, Mumbai.

FESPA EURESIA 2019 leading exhibition for the wide format printing industry. At : Istanbul, Turkey.

13 - 16 January 2020 SAUDI PRINT & PACK 2020 Leading Expo on Printing & Packaging. At : Riyadh International Convention Centre, Riyadh, Saudi Arabia. 15 - 18 January 2020 GARMENTECH BANGLADESH 2020 Leading Expo on Garment Industry. At : International Convention City, Bashundhara, Dhaka.

FEBRUARY 2020 20 - 22 February 2020 MEDIA EXPO Exhibition on indoor & outdoor advertising & signage industry. At : Bombay Exhibition Centre, Mumbai.

18 - 20 January 2020

MARCH 2020

MARCH 2020

03 - 05 March 2020 INDIAN CERAMICS ASIA 2020 Leading Expo on Ceramics Industry. At : The Exhibition Centre, Gandhinagar, Gujarat.

04 - 06 March 2020

19 - 22 March 2020 STATIONERY & WRITE SHOW 2020 Leading Expo on Stationery & Gift Industry. At : Bombay Exhibition Centre, Mumbai.

18 - 21 March 2020

20 - 22 March 2020 PACKPLUS 2020 Leading Expo on Packaging Industry. At : HITEX, Hyderabad, Telangana.

24 - 27 March 2020


| SCREENTEX | October - November 2019

GTEX 2020 Leading Expo on Textile Machinery & Chemicals. At : Karachi Expo Centre, Karachi, Pakistan.

SINO LABEL 2020 Leading Show on Printing, Packaging & Label Industry. At : Area A, China Import & Export Fair Complex, Guangzhou, China.

FESPA BRASIL 2020 Leading show on wide format print industry. At : SÃ&#x192;O Paulo, Brasil.

GLOBAL PRINT EXPO 2020 Leading show on Screen, digital & Textile Industry At : Madrid, Spain.


| SCREENTEX | October - November 2019

AD INDEX Advance Syntex (P) Ltd.


Aeon Commercial India (P) Ltd.


And Global Sales Corporation


Balaji Chemicals


Beauty Flex


India ITME 2020


Jain Silk Screen Center


J N Arora & Co. (P) Ltd.


Kumar Textile Industries


Kunal Enterprise


Lancer Group International


Navbharat Industries


NBC Japan


BlueTex India Pvt. Ltd.


Omkar Engineering


Cheran Machines I Pvt. Ltd.


Pamex 2020


CรถLรถRs 17

Paper N Film


Print Pack India 2021


Ratan Industrial Engineering


ScreenTex India 2020


Sefar Switzerland


Shriram Enterprises


Sneha Enterprises


Sparkle Foil N Film


Spoorthi Technologies


SunShine Graphics


DR Optical Disc India Pvt. Ltd. Duratech Automation (P) Ltd.

06 03,41

Epta Inks India Pvt. Ltd.


GTE 2020


Gurbaksish Group


Hari Impex


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


| SCREENTEX | October - November 2019

Profile for Jignesh Lapasiya