SCREEN TEX - AUGUST - SEPTEMBER 2019 by Jignesh Lapasiya

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NEWS

Cosmo Films adds new products to the synthetic paper portfolio Cosmo Films, manufacturer pf speciality films for flexible packaging, lamination and labeling applications has recently added two new products to its synthetic paper portfolio. One of the products is a digitally printable synthetic paper and other one is a high tear resistant synthetic paper. The product launched for commercial digital printing can print with both powder toner based laser printers as well as liquid toner based printers. Laser printing is a newly introduced feature for

the digital product and has been added keeping the huge potential of photo-album & coffee table book printing segment in mind. Apart from laser printing, the product can undergo any printing process be it conventional & UV offset printing/UV & water based flexographic printing/ thermal transfer printing/screen &letterpress printing/ UV inkjet printing or HP indigo & HP Latex printing. Brilliant whiteness of the product makes it appear very similar to paper and helps produce excellent print quality and true colour output. High Tear Resistant Synthetic Paper-The product has been engineered to be nontearable, displaying excellent tear resistance and has been designed specifically for tag applications. It is printable on

both sides by UV offset, water & UV Flexo, and thermal transfer printing processes. Some of the typical tag applications include garment hang tags, horticulture identification tags, tree tags, cattle identification tags and airport transfer tags. Speaking on the development, Mr. Kapil Anand- Global Head for Speciality Labels & Industrial Films at the company said “We have a diversified portfolio of products under the Synthetic Paper category which currently find applications in retail & packaging, commercial printing, tags & labeling, and identification & credentials. Having said that, we are continuously working to fill in the market need gaps and also expand share of the pie. With these two new additions; we now cover the entire spectrum of print technologies and also offer a robust product with high tear resistance”

FUJIFILM Dimatix showcases powerful industrial inkjet printbar innovations Advanced inkjet printbar technologies developed by FUJIFILM Dimatix, Inc. was showcased at the upcoming PACK EXPO Las Vegas, September 23 - 25, 2019, at the Las Vegas Convention Center. Featured in the FUJIFILM Dimatix booth C5000 at PACK EXPO Las Vegas was the Samba Mini 4300 Series Industrial Inkjet Printbar System for the development, commercial and packaging printing segments. The Samba Mini 4300 Series Industrial

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Inkjet Printbar System is a compact printbar system designed for integration into existing industrial practices including printing processes and manufacturing processes. It allows users to vary their output digitally with high image quality and speeds fast enough to keep pace with industrial production processes. Fujifilm’s Technology Integration team was available to guide the integration of this system to a wide variety of applications and fluids. The Technology Integration team demonstrated the Samba Mini 4300 Series on the show floor. Samba drop-on demand inkjet printheads can print drops at over 100 kHz, each directed

to a precise location, producing high resolution single-pass imprints at high speed. Fujifilm’s patented RediJet recirculation system enables printbars to be quickly primed, resulting in faster print readiness time, minimal ink waste, and improved reliability. Each Silicon MEMS constructed printhead has 2,048 nozzles to deliver a native 1,200 dpi resolution with an ink drop as small as three picoliters. “FUJIFILM Dimatix was thrilled to feature high performance industrial inkjet printbar technology at PACK EXPO Las Vegas, which attracts thousands of packaging professionals,” said Martin Schoeppler, president & CEO, FUJIFILM Dimatix, Inc.

NEWS

Mimaki drives WFP with SWJ-320EA solvent printer Mimaki Europe, a leading manufacturer of inkjet printers and cutting systems, heighted its innovative, cost-effective SWJ320EA large format solvent printer at FESPA Africa 2019 (Gallagher Convention Centre, Johannesburg, South Africa – 11-13 September 2019). “Addressing the needs of the highly competitive wide format market, the SWJ-320EA represents an important business differentiator for customers,” says Bert Benckhuysen, Senior Product Manager EMEA, Mimaki Europe. “Combining a high level of efficiency and low operational costs with a very competitive price for the hardware and the inks, the SWJ320EA makes a much more costeffective choice for investment,

particularly when compared to what our competitors in China, Russia and Turkey have on offer.” The SWJ-320EA super-wide solvent printer includes Mimaki core technologies, namely MAPS4 (Mimaki Advanced Pass System) and NRS (Nozzle Recovery System). MAPS4 helps prevent banding during the printing process. With every pass, MAPS4 is using a unique algorithm that calculates the most effective way of jetting the ink drops to avoid visible banding. This constantly changes depending on ink colour, coverage and printing speed. This feature, alongside NRS – which ensures the replacement of clogged nozzles without stopping production – enhances the printer’s performance and boosts productivity and print quality for the user. For further production benefits, the SWJ-320EA is equipped with four advanced high-speed printheads arranged

in a staggered array ensuring resolutions of up to 1200 dpi and print speeds at up to 137m2/h. It is equipped with an extremely stable media feeding system and a newly designed tension bar. These features prevent the media from cockling and ensure high grip for extremely accurate printing, resulting in steady, premium print quality, even for larger prints. For those requiring higher volumes, a twinroll printing function is available as an optional feature, enabling the printer to handle up to two rolls (with maximum width of 1,524mm each) and resulting in doublevolume production for smaller rolls per day. The SWJ-320EA uses Mimaki CS100 solvent-based ink – available in CMYK configuration and with a capacity of 3 liters per colour. The new inks have been developed to ensure lower consumption and increased weather and scratch resistance.

Spunmelt non-woven fabrics market to touch $47.48 Bn by 2026 According to Stratistics MRC, the Global Spunmelt Non-woven Fabrics Market is accounted for $22.30 billion in 2017, and is expected to reach $47.48 billion by 2026 growing at a CAGR of 8.7% during the forecast period. Some of the key factors influencing the market are growth of modern healthcare in developing markets, rise in the birth rate in emerging economies and increase in geriatric population in western countries. However, volatility in the prices of raw materials, concerns about balancing performance and cost among small manufacturers restricts the market growth of

Spunmelt Non-woven Fabrics market. Spunmelt Non-woven fabric is a fabric-like material made from staple fibre and long fibre, bonded together by chemical, mechanical, heat or solvent treatment. The term is used in the textile manufacturing industry to denote fabrics, such as felt, which are neither woven nor knitted. Some non-woven materials lack sufficient strength unless densified or reinforced by a backing. In recent years, nonwoven has become an alternative to polyurethane foam. Based on Application, Upholstery segment is expected

to grow at a significant rate during the forecast period. Upholstery is the work of providing furniture, especially seats, with padding, springs, webbing, and fabric or leather covers. It is equally applicable to domestic, automobile, airplane and boat furniture, and can be applied to mattresses, particularly the upper layers, though these often differ significantly in design. By Geography, Asia Pacific is anticipated to exhibit the considerable growth to huge consumption of Nonwoven Fabrics in automotive, construction and healthcare.

August - September 2019 | SCREENTEX |

NEWS

Memjet announces DuraFlex Memjet announced DuraFlex, a modular single-pass print solution with new attributes such as 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 goal with designing DuraFlex was to create a simple yet robust technology that could give OEM partners the resources to create affordable printing solutions,” said Kim Beswick, general manager of Memjet’s benchtop and mini-press division. DuraFlex offers speed of 1600-dpi quality and economical cost. Beswick

added, “DuraFlex complements other Memjet printing technologies, providing a resource that strategically fits between our VersaPass and DuraLink printing solutions. DuraFlex also adds a pigment ink solution to the compelling dye ink solutions provided by VersaPass technology.“ With 1600 x 1600 dpi and built-in nozzle redundancy, DuraFlex produces marketleading print quality at print speeds up to 46 m/min. DuraFlex modules and printheads will come in both A4 and A3 plus formats and can be stitched up to 1.2 meters wide. DuraFlex comes

with a powerful, embedded RIP datapath and supports external RIP digital front ends for enhanced performance and datapath control. DuraFlex uses aqueous pigment inks that are lightfast, water durable and scratch resistant. DuraFlex inks have been developed for use in indirect food contact applications and are compatible across a broad range of porous, uncoated offset, inkjet treated and inkjet coated media. “DuraFlex solves OEMs’ most pressing challenge: getting affordable printing solutions to market faster without sacrificing the quality and speed users demand in these rapidly evolving print markets,” concluded Beswick.

Roland DGA introduces VersaUV LEF2-300 UV Printer Roland, a leading provider of wide-format printers, printer/ cutters and other advanced digital imaging devices, has launched its new 30-inch VersaUV LEF2-300 benchtop flatbed printer. The LEF2 boasts all the advanced features of the 20-inch model released earlier this year, while delivering 1.5 times the print area and printing speed. Like all Roland LEF series flatbed printers, the LEF2-300 can print directly on virtually any substrate or three-dimensional object up to 3.94 inches thick. It uses Roland’s specially formulated ECO-UV inks in CMYK, as well as Gloss and White inks. Additionally, with its larger 30.3” (W) x 12.9” (D) x 3.9” (H) print area and higher-volume output, the LEF2-

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300 is an expansive solution that fits the productivity needs of growing businesses. The LEF2-300 employs UV-LED lamps. Roland’s specially formulated ECO-UV inks are designed for flexibility, enabling it to be used on curved and 3D objects, as well as a wide variety of materials, without cracking. The new LEF2-300 feature enhancements make customizing or personalizing everything from plaques and giftware to golf balls and smartphone covers quicker, easier and more cost-effective than ever. For greater maintenance efficiency and convenience, the LEF2-300 adopts a new cleaning system that helps maximize printer reliability and reduce ink consumption during maintenance procedures. The LEF2-300 is also equipped with a safe, see-

through cover that prevents dust from settling onto the surface of materials while printing. Additional new LEF2-300 features include a Multiple Print Function that allows you print the same data again with the touch of a control panel button, and a Printer Status Monitor for checking the operating status of multiple printers in real-time. “The new VersaUV LEF2-300, along with our recently launched LEF2-200 flatbed, usher in a new era of customization performance,” said Jay Roberts, Roland DGA Product Manager, UV Printers. “Built to help users expand their product offerings, build their businesses, and increase profits, the LEF2-300 is an excellent choice for those looking to create a vast array of customized and personalized products quickly and easily, while maximizing production capability, efficiency and profitability.”

NEWS

HP claims 750 units of Indigo’s B2 sheet-fed platform already installed HP Inc. has announced growing adoption of the flagship HP Indigo 12000 HD digital printing technology, with more than 100 presses chosen by print service providers worldwide to deliver breakthrough digital print quality for commercial and professional photography, further accelerating the digital print transformation. “The HP Indigo 12000 HD offers new growth opportunities through higher value, higher margin prints, along with the productivity and automation needed for customers to streamline operations and stay competitive,”

said Alon Bar-Shany, general manager, HP Indigo, HP Inc. “HP Indigo digital printing allows for customers to also help reduce their environmental footprint and reduce waste with on-demand printing and shorter runs for print applications.” More than 750 units of Indigo’s B2 sheet-fed platform are already installed, including the Indigo 10000, Indigo 12000 and now Indigo 12000 HD. Any HP Indigo 12000 digital press can upgrade to HD technology offering a range of LPI screens – 220LPI, 250LPI and 290LPI. Duggal Visual Solutions of New York bought an HP Indigo 12000 and upgraded to the HP Indigo HD. Now it is moving some

of its gallery-quality prints from wide format machines to the HP 12000 HD B2 format, expanding opportunities for new applications. Duggal recently printed the world’s first sustainably printed fashion magazine through HP’s partnership with Elle Magazine. Suvi Color Lab of India, one of the leaders in photo printing industry, installed the press at its plant in Changanacherry, Kerala. “The innovations in the photo printing segment at HP were key considerations when we bought the HP Indigo 12000 HD Digital Press, setting a new benchmark for our business in the entire Kerala,” said E.M. Wilson, CEO. “We always look forward to innovating our products for our customers using the stateof-the-art technology from HP.”

Roland DGA launches LV series laser engraving machines Roland DGA, a leading provider of wide-format printers, engravers, 3D milling machines, and other innovative digital devices, has announced the launch of its new LV series laser engraving machines. Advanced and easy to operate, the multi-purpose LV series employs state-of-the-art CO2 laser technology to cut-out, engrave or mark on hundreds of different materials with incredible ease and accuracy. Two different models are available – the 30-Watt LV-180 with its 20.4” x 14.7” table and the 40-Watt LV-290 with its 31” x 20.9” table – allowing users to choose the machine that best suits the size and thickness of the materials they will be

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working with. Both LV devices use a noncontact CO2 laser to quickly and easily engrave complex shapes and text with crisp edges out of plastics, wood, leather, paper, cork, and more. “The functionality and versatility of our new LV laser engravers make them perfect for anyone seeking to launch a new personalization business or grow their existing business by adding profitable new applications,” said Roland DGA Application Specialist Kevin Rosen. The new LV-180 and LV-290 are simple to install right out of the box and incorporate a host of features that maximize accuracy, safety and convenience. A closed-loop DC Servo Motor combined with a reliable motion system ensure smooth, reliable

operation and accurate output. An Auto-Focus Pin, which allows height to be set automatically with the push of a button, along with an included laser pointer, make media setup easy. The LV’s Windows driver, compatible with CorelDRAW, Adobe Illustrator and AutoCAD, assists in engraving and cutting operations, while the control panel lets you save and output the same processing data multiple times without returning to the Windows driver. In addition, the LV laser engravers are Class 1-compliant under the IEC608251 international standard for laser devices. Maintenance is also a breeze, thanks to a convenient lid design that allows easy access from both ends of the machine.

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

NEWS

Stratasys plans additional strategic investment in Xaar 3D Xaar, A world leader in industrial inkjet technology, announces that Stratasys, has entered into an agreement to purchase shares of Xaar 3D Ltd that will increase Stratasys’s stake in Xaar 3D from 15 to 45 percent, with Xaar plc, through its fully owned subsidiary, Xaar 3D Holdings, having the remaining 55 percent. In addition, the agreement includes an option for Stratasys to acquire the remaining shares of Xaar 3D. The transaction is subject to Xaar plc shareholder approval. The strategic investment by Stratasys is intended to enable Xaar 3D to accelerate the development of its additive manufacturing solutions based on High Speed Sintering technology. These solutions are

designed for end-use parts applications in low-to-medium production volumes, primarily in the industrial segment. Xaar plc and Stratasys announced the formation of Xaar 3D Ltd in July 2018. The purpose of the joint investment is to develop High Speed Sintering additive manufacturing solutions for Stratasys to bring to market. “Xaar 3D Ltd has great potential and we look forward to continuing to work with Stratasys to develop its full potential in this deeper relationship. I am pleased that this transaction will create good value for Xaar shareholders and unlocks the ability for more significant value in due course.” said Doug Edwards, Chief

Executive Officer, Xaar plc. “Xaar 3D has made significant progress over the past year and we see benefits to Stratasys in extending its investment in Xaar 3D’s innovative High Speed Sintering based solutions. We look forward to continue developing the technology together with Xaar and believe the combined expertise of both parties will lead to exploitation of the technology’s promising potential.” said Omer Krieger, EVP Products. “This continues our company’s strategy of complementing our own robust R&D efforts with partnerships and investments in other innovative companies to develop new capabilities and products that create new value to our customers.”

Epson and Panduit to partner in portable label solutions Seiko Epson Corporation and U.S.-based Panduit Corporation have entered into a partnership in portable label solutions. Panduit is an end-toend electrical and network infrastructure provider of OEM, Industrial Construction and MRO, Enterprise, Data Center and Industrial Networking solutions. These solutions include a wide variety of safety signage, labels, and identification products to support a wide variety of application needs. Under the terms of the partnership, Epson will develop and manufacture new label printers and supplies for Panduit apart from its own brand LABELWORKS PX series. In January

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2020, Epson will release two products that will be sold through Panduit, the MP100 and MP300. Epson will also commercialize label printer cartridges for Panduit’s special industrial label media, and both companies will add them to their product line-ups. These projects will integrate the strengths of both companies– the strength of Epson’s label printers and the strength of Panduit’s special media lineup–to realize industrial solutions that meet the needs of customers across a broad spectrum of industries. In the Americas, Epson has been selling LABELWORKS PX series printing solutions through its U.S. subsidiary K-SUN Corporation. Koichi Kubota, Representative Director, Senior

Managing Executive Officer and Chief Operating Officer of Seiko Epson’s Printing Solutions Operations Division has high hopes for the partnership with Panduit, saying, “I am confident that the combination of Panduit’s media with Epson’s label printers will help us provide satisfaction to even more customers.” Dennis Renaud, President and CEO of Panduit, “A critical element of our strategy is to accelerate the development of solutions for our customers by partnering with great companies like Epson, whose technologies can be incorporated with our offering to bring value to our customers and partners.” Epson and Panduit will provide labeling solutions that capitalize on their respective strengths to help customers raise their productivity and grow their businesses.

REPORT

Print Innovation held in Nasik & Aurangabad

Print Innovation, a one-day technology seminar and table top exhibition, updated over 300 printers each at Aurangabad and Nasik with new technology trends. The seminar was being jointly organised by SPRY Media and Screen Printers Association of India (SPAI) and is part of a series of seminars held through the year. The event received support from leading names of the industry such as Grafica Flextronica, Pinnacle, Colors, Xerox and Epson through its distributor Om Sai Marketing, AND Global, Beautiflex, Photokina, Patel Enterprise, Print Design Awards, Aarem Engineering, and Gurubakshish Group. In addition, regional associations such as Aurangabad Zila Mudrak Sangh and Nasik Zila Mudrak Sangh and the national association – IPAMA – together extended their support to the knowledge-driven seminar. At the conclave the supporting brands set up live demos and

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product experiential zones for the delegates. Visitors had the advantage of experiencing the products and gain expert advice on their queries. Dayakar Reddy, President – IPAMA, apprised delegates of the various initiatives taken to promote the next edition of Printpack India 2021. Speaking on the initiative, Jignesh Lapasiya, organiser, Print Innovations 2019, said, “Printing is one of the oldest industry. In contrast to global markets, Indian printing industry has been witnessing a healthy growth. Indian printers have been competing with global brands with high quality works. However, the industry has been witnessing a swift change in trends, and to sustain in the market, it is necessary that printers are always up to date with the technological changes. Print Innovation is a platform to exchange ideas, learn from experts and network. We are

glad that over 300 printers from Aurangabad and Nasik benefited from this.” Print Innovation was hosted on 20 August at Hotel Athithi in Aurangabad and at Hotel Greenview in Nasik on 22 August. Print Innovation techno-seminars were also covered extensively by leading media organisations. Vinayak Tambe, President of Naik Zila Mudrak Sangh said, “Print Innovation was a fantastic opportunity for the printers to update their knowledge about latest trends in printing technology. As an assocation which is committed to improve the standards of printing, we are delighted with the way the seminars were planned and hosted.” The seminars also saw a participation from Nanded and Nandurbar region. “For printers like us, often accessing knowledge is not very easy. Everyone cannot travel to seminars held in the metros. It was a good experience for us to learn from the experts,” said Prashant Wani from Nadurbar, one of the particpants from Nasik seminar. He also mentioned that further to the seminar he is contemplating upgrading his facility with newer technology. “One of the best things about hosting Print Innovation across the Tier 2 cities and smaller towns is that their is a hunger for knowledge. Since we started Print Innovation, we have been inundated with requests to take the seminars to more cities. We are working on a strategic plan to take the seminar to more cities,” added Lapasiya.

Cheranâ&#x20AC;&#x2122;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

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established. Customer service is another area for consideration, he says. “Personalised products demand a whole new level of customer engagement. There’s a generally accepted methodology for conducting traditional printing business, but personalisation is exactly that – it’s personal – and you need to be responsive.” He cites photobooks as an example. “Mothers with small kids are the biggest target audience here, and they’re most likely to create them online late at night. If there’s no-one around to help them if they get stuck, well… in these days of social media it’s not hard for just one consumer to kill a business with a bad review. I see a lot of printers putting resources into personalisation services, but aren’t always giving enough consideration to the customer journey.” Standard bearers In fact, customers are likely to be the biggest challenge in personalisation overall, says Dmitry Sarbaev, Co-Founder and Managing Director of Fluxmall DTG. “We spend a huge amount of time working with our customers,” he says. “Most of the people who want something personalised have no idea what they want, and they frequently don’t understand why a personalised item costs more, for each order – and it’s often just a one-off or short-run order – which is time-consuming before you even get to the actual printing.” And, of course, as evidenced by no end of promotional efforts gone wrong, personalisation has the potential to open up a whole can of worms around racism, obscenity and sexism. Nutella’s design-a-label campaign, #WalkersWave, Adidas and Arsenal’s

Dare to Create collaboration and the National Lottery’s partnership with Team GB have all fallen foul of jokesters – and more nefarious types – seeking to exploit personalisation for questionable means. “We have very strict policies on what we will and will not accept and we review everything personally,” says Dmitry. Once you’ve got the customers sorted it’s time to get on with the job itself, and that presents its own challenges. Despite the increasing availability of affordable technology to facilitate personalisation to print personalised products, it’s less straightforward to gain a clear understanding of the coding and programming required to establish automatic workflow. Different workflow systems often prove problematic for printers new to the arena. “Printing one item is very different to producing 1,000 of the same items in one shot,” says Printbox’s Zsolt. “You can’t take a piecemeal approach, but instead need to rethink and integrate the designs of your products, the processes used to make and deliver the products, and the configuration of your whole supply network. ” Upholding quality And this leads directly to another concern: quality. “With large runs, you have the opportunity to get the quality right. With short runs, you have to make sure every item is top notch,” says Marco Olivotto, Colour Consultant and Digital Printing Advisor. “A product can be wonderfully personalised, but if the quality is poor then it loses its merit.” Instead of flocking to

personalisation for personalisation’s sake, he says, printers would do well to spend time focusing on first achieving high levels of quality in their products, because when personalisation becomes the norm, customers will use that as a differentiator between companies. Indeed, Fluxmall’s Dmitry agrees that personalisation, particularly in the direct-to-garment industry, faces significant quality control issues: “People often expect levels of quality higher than can be realistically achieved.” However, Marco has a slightly different attitude towards personalisation overall – one that is somewhat less awed and enthusiastic than others in the industry. “The point of personalisation is that something is mine, and mine only,” he explains. “A musician writing my name on a record has meaning, but if it’s a machine doing it, then it’s industrial, and the whole process is really no different to envelope mailshot printing, which has been around for years.” There is a risk, he says, that the trend for personalised print products will eventually plateau, as their increasingly mainstream nature no longer renders them unique or special. “The question, then, is what printers will do with it to continue making it worth their while.” FESPA’s Technical Manager, Graeme Richardson-Locke, comments: “With all new business opportunities, a gimmick is not enough. Defining a market, establishing the quality expectation and delivering that on time, every time, are prerequisites. While printing requires good process control and attention to detail, the bigger question here is all about planning and defining products for specific audiences before deciding on any investment.”

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Unintended consequences by Laurel Brunner

The graphics industry is at the heart of the recycling industry, but when it comes to environmental accountability, how solid are its credentials? This is an impossible question to answer, but that doesn’t mean we should all give up on trying to answer it or on pursuing a green agenda. According to Newton’s third law, for every action there is an equal and opposite reaction. That’s certainly true in physics - not that we really know - but how does it work for the environment? It’s a bit like water in a balloon: squeeze it in one place and a bulge appears somewhere else. Any environmentally friendly choices printers and publishers make should then consider the impact elsewhere in the supply chain and on the overall environment. In graphics, developing a cogent environmental policy starts with accepting that we won’t get it right ever. There will never be a time

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for any industry sector, in any geography where there are no negative impacts, not even for circular economies. Take the example of paper cups, even the ones that are supposed to be recyclable. Unless the processing chemistries are set up to handle every type of liner, thick and thin, vegetable or oil based, additional processing steps will be required for the pulping, so these steps must be developed. In the European paper recycling industry, desperate attempts to homogenise waste streams so that only offset and gravure printed papers go for recycling have instead resulted in more paper being incinerated. The European deinking industry is doing a fantastic job of avoiding investment into new processes that can handle all forms of print efficiently and with minimum environmental impact. So fragile is this part of the recycling chain becoming that it effectively

discourages the use of print, because it is being branded as environmentally undesirable. Technological innovation should be the answer to this problem, however those new inventions might themselves have a negative environmental impact. Take email for instance. According to Tim Berners-Lee, inventor of the worldwide web, a year of emails adds the equivalent of “driving 200 miles in an average car”. And yet people still consider email to be an environmentally friendly alternative to paper communications. Understanding overall environmental impacts, doing Life Cycle Analyses, carbon footprinting your business or individual print runs, have all to be considered in context. But ultimately we cannot have absolute control over every link in a graphics media supply chain. All we can hope for is to make sure that we step lightly and that our carbon footprints are as considerately placed as possible.

GUEST COLUMN a fundamental, necessary trend for reduced environmental impact (control of rejects, less waste, better inks, sustainable papers, etc…) Some traditional printers, albeit too few of them, go ahead and develop full digital departments or replace offset presses with digital models. But that‘s not enough, digital printing requires a change of mind: towards flexibility of operation, responsiveness, different management schedules, and real tailor-made service. It is no coincidence that major players in digital printing are often derived from smaller reprographic structures that already have a ‘service culture’. A period of transformation Today’s commercial printing industry is characterized by the rise of digital printing, including inkjet printing, combined with significant modernization of traditional printing technologies. Offset is surviving thanks to technical advances: automation of calibration processes, reduction of waste, higher speed (20,000 sheets/hour), offset-digital hybrid workflow, offset-digital combinations in commercial, labels, packaging, binding with finishing equipment (as in digital). Workflow developments are seen in all areas and internet printing (web-to-print) is booming. It is now possible to respond to customer-demands that could not have been met before, such as the printing of a single copy of a book, very short print-runs for brochures or documents as well as packaging and fully customized labels. The demand for long-tail solutions can now be met with digital printing offers from Canon, Domino, Fujifilm, Heidelberg, HP, Koenig & Bauer, Komori, Ricoh, Riso, Xeikon, Xerox, etc.

The search for the best price is giving way to the search for the most profitable service for the customer. ‘Print only’ is being replaced by ‘a universe with print in it’. From order to delivery, without sacrificing creativity, quality and overall print profitability. The key question becomes “what is the ROI (return on investment) of a print?” Printed documents that can be de-materialized (into the non-physical) will continue to be de-materialized, so there’s only one way to remain in business profitably: by providing addedvalue and the related services. Customers no longer want to be told how it works, but what it does in terms of results (impact) and in this regard print must contribute (i.e. communicate effectively) when integrated within a mix of media channels. The return of print Consumers are saturated with digital information. They can however be positively sensitive (receptive) to different communications that engage them in a distinctive, personal way: invitations, brochures, books, photos, greeting cards, personalized documents using some of the advances in 21st century print: special colours (gold, silver, fluorescent, etc.), varnish, relief, new shapes, formfactors. “We see a return of print, ten years ago it was cheesy, especially for young people, now you have to know how to mix print with other modes of communication,” adds Mr. Coquard. “We are rediscovering that a well-targeted print communication allows us to weave a link to customers”. This is echoed in other industries where there is also a

return to ‘the physical’ e.g. Polaroid images in photo and the Vinyl album in music. We are heading towards more automation of the printproduction process – from receiving the order, managing the files to the shipping of the final print job. Customers want human proximity and fast turnaround time. These two requests are becoming more and more the key criteria for selecting service providers. But how to provide such capabilities when the client is miles away? Equipment wise and in order to deliver the latest services, more and more service providers are starting to use digital printing and embellishments systems (e.g. MGI/ KonicaMinolta) or largeformat flatbed printing systems (e.g. SwissQprint) with associated cutting (e.g. Zünd). The digital transformation is in small and large format as well. Signage, posters, POS/POs, interior decoration, even textile or car-wrapping are now fully digital. Last but not least, environmental concerns are, for example, driving LED dryers to replace infrared dryers in all production printing systems. New substrates are changing the market landscape enabling new applications and reducing environmental impact. Online printing factories with offset printing fleets, small and large format digital printers (e.g. Onlineprinters, Pixartprinting)

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Computer to screen: making the right choice

Thermal wax, inkjet and DLP are established as the main three techniques for CTS exposure, but which is best for your business? Screen printers must constantly search for that technological edge that will give them a competitive advantage. In markets where digital imaging improves turnaround time and reduces set-up costs, commercial screen printing must maximise its efficiency. For computer-to-screen (CTS) imaging, the technology helps users to save time in preparing screens while eliminating the need for costly film positives and the pre-press time and

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equipment to generate them. CTS imaging devices can also free up space in your workplace and eliminate the need for film storage. Another key benefit of CTS can be superior resolution and improved consistency and registration. There are a number of choices when it comes to selecting the type of technology that will best suit your needs. However, establishing which is best for your business can be a little overwhelming. The big three options in CTS are

well established in the form of thermal wax, inkjet and digital light processing (DLP) UV exposure. Counting the cost More often than not, cost will be a deciding factor when

GUEST COLUMN it comes to deciding on which piece of machinery to use. CTS systems can start low. For inkjet, the Lawson Focus-CST is an economical model aimed at those producing 10 screens a day, works straight out of the box and costs around $15,000. Ascending the price scale, the i-Image CTS imaging system from M&R starts at around $35,000. The price can reach $135,000 with add-ons. The manufacturer estimates the i-Image can output around 150 screens per shift which is very useful in high volume garment decoration Thermal wax options include Exile Technologies’ Spyder II DTS, with a redesigned control system to support Fujifilm printheads. It can produce a typical T-shirt image in under a minute. Michael Mogge, Key Account Manager at Colour Scanner Technology (CST), says investment in a DLE engraver is higher than the other technologies – around $100,000 – but offers cost advantages and superior print quality in the long term. The imaging costs for one screen are around four to five pence, but imaging with both ink and wax and replacement of heads will mean multiple consumable costs for the user. “Digital light engravers have DLP UV exposure, meaning you go direct to screen with highest quality due to sharp edges and fine halftones and fast exposure times,” he says. Expand your horizons Andreas Ferndriger, Chief Executive of SignTronic, also notes that cost is one of the big limitations in screen printing. He instead puts forward another option in the form of CTS direct exposing, saying this offers a more

effective method for screen printers. Ferndriger suggests direct exposing is the perfect technology to simplify screen making and to reduce the total number of processes, as no films or chemical are needed. Other benefits include shorter set-up time, better printing results and the fact that no extra handling between the different processes is required. He explains: “CTS direct exposing is the one-step-process from the data or file direct to the exposed screen. CTS wax and inkjet are both limited solutions because they are only a masking process, which is different and offers only limited resolution, quality and automation.”

his preferred CTS direct exposing methodology as soon as possible, arguing that this should now be the standard in screen printing both today and in the future. Mogge is slightly more conservative with his advice, recommending that printers buy in good quality and ensure the machines are upgradeable for future applications. He says: “We are producing a family of DLP machines for flat and rotary screens, as well as CO2 or YAG (Yttrium Aluminium Garnet) laser engraver and inkjets and

A leap of faith Having established there are other options available in the market, how do screen printers go about deciding which one is the most suitable for their business and when is the right time to invest in this technology? Ferndriger has no hesitation in recommending that printers make the move to

August - September 2019 | SCREENTEX |

BUSINESS

Reduce cost by focusing on workflow automation

Ryan McAbee, Director of Production Workflow at Keypoint Intelligenceâ&#x20AC;&#x201C; InfoTrends, shows how mapping strategies and assessment metrics can transform your sign and graphics workflows. What can automation buy you? Time and money. A 2019 survey by InfoTrends found that the average European printer can save over â&#x201A;Ź1.4m in a year from labour savings by automating 12 common workflow steps, such as preflighting and file corrections. Contrary to popular fears surrounding automation, most business owners would not implement staff reductions. In fact, 69% of printers said they would instead use savings from automation to expand

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capabilities and focus on new business opportunities All printers can improve their workflows by putting the power of automation to work. What is print production workflow? Simply put, it is the repeatable and auditable tasks and processes used to move work from job onboarding through to completion. A simple view of a typical print workflow looks something like this: One challenge to implementing workflow automation is the fact that print businesses grow organically over time. New equipment, with associated software, enters the

shop without being evaluated in regards to the impact to the overall workflow. Inefficiencies and bottlenecks start to pop up as a result. The reality is that workflow demands a co-ordinated effort between processes, people and technology to unlock these efficiencies. An InfoTrends survey of 130 printer respondents confirmed the lack of automation. A majority (57%) had either some automation or were mostly automated, but 41% remained mostly manual, and 2% used only manual processes. Based on experiences with workflow audits, InfoTrends typically finds that printers have automated certain parts of the workflow.

BUSINESS Automation is highly impacted by the printer’s ability to purchase and integrate software, along with its adoption by staff and customers. The 2018 FESPA Print Census of 262 respondents from sign and display shops described their ownership or investment plans for software. Most (85%) already used software for design and prepress/RIP, but only 18% for quality control and 17% for web-to-print. From online ordering to accurately tracking production capacity, web-to-print and print MIS solutions are critical to standardising job onboarding and managing work through the production processes. Despite the workflow benefits, the majority of sign and display shops are not planning on buying web-toprint (55%) and print MIS (58%) software. Of the 172 respondents out of 262 who planned to invest in software, the majority (58%) were planning to spend up to €2,000, with only 5% spending over €51,000 – a mean of €11,229. This puts sign and display producers at a disadvantage compared to commercial printers, who are increasingly adding wide formation print applications, that spend on average €49,720 on software per year.

on) and client content (artwork and data) should be standardised so that the only variations are in product and client, regardless of the route to your workflow. The less automated and less digital the job-onboarding path, the more prone the process is to have missing information that is required for print production. Creating and enforcing standard procedures for offline sales, particularly for sales representatives, is critical. In workflow audits, InfoTrends has repeatedly found that sales reps within the same company are not consistent with order

intake. In many cases the reps only agree that the customer’s name is required, overlooking other critical information such as job specs and delivery date. Each piece of missing information not captured by sales wastes the time of other staff like customer support representatives who should ultimately put the information into a print management tool. A single system of record is required to capture all these elements, one ‘brain’ that channels client intent and content smoothly into a universal workflow. This brain could be a print MIS, enterprise resource planning (ERP) software or

Workflow challenges Job onboarding is a mess. In the past, a printer would accept customer specifications in person, via files on physical media. Now, customer requests and files travel down many paths – through sales, email, EDIs and APIs, online, mobile apps and so on. So many different paths, but the same information is needed for all job onboarding: requirements for client intent (quantity, size, colours, materials, due date and so

August - September 2019 | SCREENTEX |

BUSINESS

a Universal Dashboard. A single view of operations will allow printers to see at a glance: • How many jobs are in production? • How many are delayed? • How many have missed the Service Level Agreement (SLA)? • Where is today’s bottleneck? How do we start to fix it? To get started, wide format shops should walk their workflows. Start by identifying your top applications and follow those from the point a customer requests the product to the point it is delivered. Along the way, perform workflow journey mapping to document the people, processes and technology used which will highlight bottlenecks and lead to the corrective actions to improve

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the workflow. Assessment metrics Evaluate the following: • Standard Operating Procedures (SOPs): Defined, documented, followed and translated into quick-start training. • Workflows: Optimised processes and automation following best practices to onboard, process, and output customer files • Customer empowerment: Ability for customers to selfservice and manage content, orders, and status. • Single system of record: The one repository of accuracy and truth for customer and business records. • View of operations: Production dashboards or reports

accessible to any productionrelated employee to view the location and status of a job. • Software utilization: Implementation of software to maximise the potential benefit to the operation • Disaster recovery: Policies, tools, and procedures for recovering from a natural or human-influenced disaster • Failover and overflow plan: Policies, tools and procedures to move production seamlessly across the organisation during peak demands or resource blackouts • IT infrastructure: General robustness of physical components, i.e., computers and networking. • Staff optimization: Appropriateness of roles and staffing levels to meet organisational goals. Benefits of smart print manufacturing The benefits of transforming the above workflow stages from slow, error-prone and reactive to seamless, connected, and smart processes are clear. Instead of manual touchpoints from start to finish, with each job having its own journey, a smart system would use data to drive the processing path, minimising the amount of touchpoints required by staff. A smart workflow saves time and money that can ultimately be reinvested to future proof your business.

TECHTALK

Can Neuroscience prove print still rules?

Consumer demand for magazine media (capturing all platforms and formats through which magazine brands distribute content) remains strong, despite a popular narrative that often portrays print magazines as going the way of the dinosaur. Consumers continue to read magazine media in their various forms and formats, in print and on the various digital platforms and devices on which they are available. In fact, when you tally up all of those platforms and points of contact, consumer demand for many magazine media brands appears to be more robust than ever.

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Consumers access their magazine media content via the web, different apps, video streaming services and even podcasts. As magazine media move into ever more diverse distribution channels, consumer demand grows apace. Even when attention is focused solely on younger consumers and only on the traditional printed format, the audience trend statistics show greater aggregate consumer demand for many categories of print magazines now than in past decades Critics sometimes point to declining newsstand sales as

evidence of weak demand for print magazines; while it is true that newsstand sales are continuing a long decline, many factors other than demand contribute to that trend. For example, distributor consolidation, less frequent trips to supermarkets, the rise of bigbox stores, self-checkout, and ubiquitous smartphones have all reduced consumer exposure to newsstand facings and opportunities to impulse-buy print magazines at the newsstand. However, with the exception of newsstand sales, consumer demand for print magazines has been stable and, in some areas, growing; at least in India.

TECHTALK When you consider those factors, along with the broader indicators of demand, a narrative asserting that “print is dead” is wrong— at least from the perspective of consumer demand. However, the advertising side of the print magazine business is much more problematic. The growth of digital ad spending has come at the expense of print, and even as magazine publishers have transformed their businesses to try to capture some of the growth in digital ad spending, they have struggled to make up the shortfall from declining print spending. As advertisers have become more interested in targeting technologies and applications of Big Data to create new occasions for ad messaging, their interest has waned in the older, more traditional, more expensive “quality” media. Yet there is a paradox: Though magazine publishers have to fight harder for advertiser dollars, magazine media, particularly in the print format, consistently perform well in the quantitative market mix models those same advertisers commission to evaluate the effectiveness of their media spending. What neuroscience tells us about how we read With reading, the process begins with visual activity. Because we use our eyes to read, the first part of the reading process involves activation of the visual processing areas in the back of the brain. This also requires brain processes that control the “executive attention” function by which we direct ourselves to engage our focus on something and then to move on to the next thing.

These executive attention functions are at the front of the brain, so the initiation of the reading process involves a massive increase in connectivity between these disparate parts of the brain. When we learn to read, we learn to direct our focus along lines of text via small movements (saccades) followed by very brief pauses (fixations). The eyes of the average adult take in about eight characters in each saccade and, of course, we also backtrack sometimes and reread, usually about 10% of the time. However, through this process, as we learn to read, we come to recognize whole words. In brain mapping terms, these symbol recognition functions activate specific occipital temporal areas in the back of the brain. The second step in the reading process involves memory. Scientists generally differentiate between short-term memory (what we hold in our minds for a few seconds, usually limited to just a few words, numbers or images), long-term memory (what we retain for future reference), and working memory (what we put together from our short- and long-term memory as part of our active process of comprehension and interpretation). Much of this sorting out of stimuli in our working memory process— what we might call “thinking”—takes place in the prefrontal cortex as it communicates with the other, more specialized parts of the brain. The neurons in our prefrontal cortex demonstrate a remarkable ability to process thoughts well after the stimulus (perceived object, word or sound) has disappeared. However, many things that occupy our working

memory do not get retained. Those that we remember briefly are lodged in our shortterm memory, but the duration of retention is measured in seconds. Short-term memory is very finite: Experiments suggest that we usually can only hold seven items in short-term memory (give or take two). Research has shown that the hippocampus, a small area deep in the center of the rear (posterior) of the brain, is critically involved in the process of encoding from shortterm to long-term memory and in regulating our emotions. The preponderance of research suggests that reading online tends to be faster and more superficial than reading on paper. Even studies of the reading habits of academics show a tendency toward “horizontal” reading— skimming and scanning and bouncing—when reading online. Some of this behavior was highly purposeful rather than distracted, a process described as “squirreling”—a hunt for nuggets to download now and read later. But it still represented a fast and horizontal mode of reading. In general, the preponderance of research on reading speed indicates that paper-based reading is slower and more deliberate while screen-based reading is faster and more superficial. While the implications of these differences for advertising effectiveness have not been studied systematically, the examples from the cognitive sciences suggest that effective digital ads need to be highly telegraphic, while print ads have the opportunity to seduce the reader into a longer engagement— to put themselves into the picture or to fantasize taking the trip, wearing the clothes, driving the car or being the subject of the ad.

August - September 2019 | SCREENTEX |

TREND

Processless plates the new reality by Laurel Brunner

Laurel Brunner discusses the significance of processless plates in making the print industry more environmentally friendly. Processless plate setting, makes for more efficient and sustainable production, because it removes the need to chemically remove unexposed plate coatings. It’s a big step forward in making print media production more environmentally friendly, but it has taken a while to gain traction. Early iterations were not entirely processless and the plates were not much use after a few thousand impressions. But over time the technology has improved and now it is finally starting to come into its own, even for long runs and with aggressive inks. Today the three main developers of processless plates are making very positive noises about sales. Kodak reckons that its Sonora plate installations are around 15% worldwide and Agfa has said that conventional plates will account for 80% of plate sales, leaving a 20%

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opportunity for the processless variety. But this might be too cautious and a look at the reasons why this technology hasn’t taken the market by storm over the last few years might explain why. The slow uptake has to do with the relevance of the benefits these plates deliver, beyond their greenness. Their advantages have greater resonance in today’s brutal commercial environment, than they might have had twenty years ago when priorities were not the same. Today’s printing industry is all about process efficiency and especially automation wherever possible. This means that the fewer touchpoints for workflows the better, so cutting processing steps for printing plates becomes a commercially necessary choice, as well as an environmentally sound one. The arguments for minimising waste are also more meaningful these days. Waste processing is expensive, increasingly complex and

subject to stricter regulations. The chemistries involved in processing the plates and disposing of them is getting more expensive as regulations come into force. There is also the need for much faster turnaround expectations: cutting out a processing step cuts production time. Processless plate technology has been under development since the 1970s if not earlier. In the eighties Xerox and Polaroid pioneered processless films, only to be overtaken by direct to plate digital imaging. Their efforts were intended to cut production steps using unique products that gave them new revenue streams. It was not to be with processless films, but processless printing plates are far more likely stories for success. Indeed, they might turn out to be the only printing plates available when digital printing works out its environmental kinks and gets its speed up to par with offset’s. But that will take a while. In the meantime, processless plates are where the bets should be placed.

TECHNOLOGY

generates a standard. In contrast, the digital process is highly integrated, with many variables. Substrates, ink and machine can belong to very different technologies, so no universal standard is possible. You must define combinations and their expected outcomes. The PSD has three main objectives: • Output process control • Colour fidelity • PDF/X compliant workflow. PSD is process-independent: when a print product is created, the final output conditions are not predictable. It could end up on anything from paper bags or printed cups to T-shirts or large format banners. The key to obtaining an expected result is the separation of process control from quality assurance. ISO 15311 is concerned with the latter. Process control in PSD In process control, the technology and media used in digital printing are much more variable. This remains the responsibility of the PSP and is aimed at establishing a repeatable and stable printing condition

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depends on what is used. The most important steps here are numbers 2 and 3. Step 2 – identification and check of substrate – involves checking the printability and runability parameters using properly set-up databases. Fine-tuning follows, which includes mechanical corrections, printing speeds, mass per area of the substrate, and elasticity. The media manager should connect each substrate to parameters such as screening, ink load, ink split and print mode. It is not a great idea to characterise all stocks individually: substrates should be grouped so that basic print characteristics are shared between stocks belonging to the same group. Once a substrate is selected, the choice impacts the gamut of the final print product. It is thus important to consider the typical reference printing condition to be simulated; this also applies to spot colours. Many exchange spaces are available, but if no concrete printing condition is defined, it is good practice to assume

FOGRA51 (that is, printing according to ISO 12647-2 on coated stock. FOGRA51 or the related ICC profile PSO Coated V3 (ECI) can be considered the de facto reference for digital printers in Europe and beyond. In traditional printing, the ISO 12647 standard defines only one tolerance band: if conditions are respected, the standard is met – otherwise not. The new ISO 15311 thinks differently, and attempts to define very broad guidelines for all the steps in print production: to evaluate print image quality based on processindependent colour and surface finish, homogeneity, resolution and artefacts and permanence requirements; consider different viewing types (for example Sideby-Side and media relative); and face the different needs of market sectors by providing alternative tolerance bands A, B and C. These quality types are based on ΔCoo measurements assessing three colour differences: • Substrate colour (deviation from reference) • Colour patches in FOGRA Media Wedge V3.0 • Grey balance patches (ΔCoo – disregards L* info) • Plus: a requirement on the accuracy of spot colour reproduction To summarise, many of these guidelines are machinedependent, and print service providers are reliant on manufacturers to provide information and instructions on “how to”. Technology and techniques are developing very quickly and a fixed set of rules is impossible to implement; therefore it is likely that any de facto standard may change in the next few years, with a new PDF/X-6 standard at its heart.

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TECHNOLOGY

Colour in Print

Quality assurance in printing focuses on ensuring correct and consistent color reproduction over the entire print run. In addition to the inks and the color of the substrate, the key

influencing factors are the ink film thickness, halftone values, color balance, ink acceptance and printing sequence. Ink film thickness In offset printing, technical constraints limit the maximum ink film thickness to approx. 3.5 micrometers. However, screen printing has a wider possibility. If art paper is used together with process colors according to ISO 2846-1, the correct color coordinates should be achieved with ink film thicknesses between 0.7 and 1.1 micrometers. If unsuitable color separations, substrates or inks are used, the standardized corner points of the CIE chromaticity diagram may not be achieved. The reproducible color gamut is also reduced if saturation is not optimal. In the

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figure opposite, the red-edged area shows a color gamut that has been reduced as a result of underinking all three process colors. The blueedged area could be achieved if saturation were optimal. From a physics viewpoint, the influence of the ink film thickness on the visual appearance can be explained as follows: Printing inks are translucent rather than opaque. Light penetrates the ink. When passing through the ink, it strikes pigments that absorb a greater or lesser part of certain wavelengths. Depending on the pigment concentration and ink film thickness, the light strikes a larger or smaller number of pigments; this causes different amounts of light to be absorbed. The rays of light finally reach the surface of the substrate and are reflected by it. This means the light must pass

TECHNOLOGY through the ink film again before it reaches the eye. A thick layer of ink absorbs more light components and reflects fewer than a thin layer; the observer, therefore, sees a darker and more saturated hue. The light component arriving at the viewer’s eye, therefore, is the basis for assessing each color. Tonal value The halftone value is the most important factor, other than the ink, when it comes to the visual appearance of the shade of a color. In films or digital image files, the halftone value is the proportion of a specific area that is covered by halftone dots. The lighter the color to be reproduced, the smaller the proportion of the area that is covered. To reproduce different color shades, conventional screening with constant screen ruling (aka screen frequency) uses halftone dots whose size depends on the tonal value required. In contrast, in frequencymodulated screening, the halftone dots are identical in size but the distances between them vary. Halftone values are usually specified as a percentage. Changes in tonal value When a halftone dot is transferred from film to the plate, blanket and finally the substrate, the geometric dot size, and hence the halftone value, may change as a result of various factors. The process-related changes in tonal value can be compensated for at the prepress stage. It is impossible to predict whether or how halftone values are affected by printing problems. That is why particular attention must be paid to them during the printing process. These are the most frequent printing-related problems

with halftone dots: Dot gain/dot loss Dot gain. When halftone dots grow in size relative to the film or digital image, this is called “dot gain” or “tonal value increase” (TVI). This can be caused in part by the printing process, materials or equipment – factors that are relatively difficult for the press operator to influence. It can also be caused by the inking, which the operator can control. Fill-in. Fill-in is the result of non-printed areas in the shadows being reduced or even disappearing completely. Sometimes this can also be caused by slurring and doubling. Dot loss

Dot loss is the decrease in dot size during the printing process in comparison to the film or digital image. In practice, the term “dot loss” is also frequently taken to mean a decrease in dot gain, even though the print still exhibits dot gain compared to the film or digital image. Dot deformation Slurring. In slurring, the shape of the halftone dot changes during the print process when the printing plate and blanket and/or the blanket and the print sheet move in relation to each other, e.g. a circular dot becomes oval. Slurring in the print direction is known as circumferential slurring, while slurring at right angles to this direction is called lateral slurring. If both types of slurring occur at the

August - September 2019 | SCREENTEX |

TECHNOLOGY

same time, the direction of slurring is diagonal. Doubling. In offset printing, doubling occurs when a second, usually smaller sized, shadowy ink dot is unintentionally printed next to the intended dot. It is caused when ink is transferred back onto the next blanket, but out of register. What the press operator needs to watch Dot gain can be measured and visually assessed by means of print control strips. Print control strips are particularly useful for a purely visual assessment. Fill-in can be easily monitored using screen measuring elements with high tonal values. Dot gain and fill-in are generally the result of excessive inking, insufficient dampening solution, too much pressure between the plate and the blanket or a blanket that is too slack. Sometimes they can also be due to an incorrect adjustment of the inking and dampening form rollers. Even under normal conditions and when the plate has been correctly copied, tonal values in the print always increase to a certain extent in comparison to the original film or digital data. Dot loss can occur under abnormal conditions such as when the plate runs blind or ink builds up on the blanket. To avoid these problems, the press operator should wash blankets and inking units more frequently, possibly change the ink and the color sequence, as well as check the form rollers, printing pressure and

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cylinder rolling. Slurring is most apparent in line screening. In many cases, the parallel lines provide information on the slurring direction. Circumferential slurring usually indicates a difference in rolling between the plate cylinder and the blanket cylinder, or that the cylinders are pressing too hard against each other. That is why the cylinder rolling and the printing pressure should be monitored very closely. In many cases, the blanket may not be tight enough or too much ink has been applied. Lateral slurring rarely occurs on its own. If it does occur, the substrate and blanket should be examined very carefully. The same elements are used for monitoring both doubling and slurring. A magnifying glass should also be used to inspect the halftone dots, because line screening control elements on their own cannot reveal whether doubling or slurring has occurred. There are many causes of doubling, but they generally are to do with the substrate or its immediate environment. Smearing occurs very rarely on modern sheetfed presses. When it does, the most likely sources are the areas of a sheetfed press where the sheet is supported mechanically on the freshly printed side. The risk of smearing is higher if the substrate is stiff. Smearing can also occur in the delivery pile and on perfecting presses.

The type of change in the halftone value can be rapidly established by means of visual control elements such as the SLUR strip that are printed at the same time. These control elements visually emphasize the printing problem. Errors such as dot gain, dot loss, slurring or doubling are more pronounced in fine screens than in coarse ones. This is because fine halftone dots increase or decrease by the same amount as coarse ones. However, many small dots together have a total circumference several times greater than that of coarse dots with the same tonal value. This means that during printing, more ink is applied around fine screen dots relative to coarse ones. That is why finely screened areas appear darker. Control and measurement elements make use of this fact. SLUR strip As an example, let us look briefly at how the SLUR strip is made up and how it works (see figure on this page). This strip combines coarse halftone elements (background) and fine halftone elements (numerals). While the coarse halftone background has a uniform tonal value, the numbers 0 to 9 have a fine screen ruling and an increasingly lighter tonal value. On a well-printed sheet, you can no longer see the number 3 as it and the coarse halftone background have the same tonal value.

TECHNOLOGY If the screens experience dot gain during printing, the nexthighest number with the lighter tonal value approaches the tonal value of the background. The darker you print, the higher the value of the invisible number. This works in reverse when dot loss occurs. In this case, you can no longer see the numbers 2, 1 or even 0 as you would in a good print. However, since these numbers merely indicate that the print is becoming darker or lighter, the causes need to be ascertained by examining the plate or print with a magnifying glass. The part of the SLUR strip to the right of the numbers mainly shows whether slurring or doubling has occurred. The readability of the word SLUR is no better in a lighter or darker print than in a good print; the entire

patch appears merely slightly lighter or darker. It is easy to detect the directional spread typical of slurring and doubling in the word SLUR. In the case of circumferential slurring, for example, the horizontal lines forming the word SLUR, which run parallel to the sheetâ&#x20AC;&#x2122;s leading edge, become thicker. If lateral slurring has occurred, the vertical lines forming the background of the word SLUR appear darker. If the dots of even just one color are larger than they should be, the result is a new hue â&#x20AC;&#x201C; which naturally also has an effect on the overall appearance of the printed image. In offset printing, the image

transfer from plate to blanket to substrate usually results in a certain amount of dot gain. Control strips can tell you whether the print result is good or bad, but they cannot provide absolute figures or indicate the exact nature of the problem. That is why an objective measurement method is required to assess the quality of the halftone values with quantifiable figures.

August - September 2019 | SCREENTEX |

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| SCREENTEX | August - September 2019

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ueskeÀj Deepe kesÀ mì^erì keÀueekeÀej meYeer ves SkeÀ Deece efveYe&jlee meePee efkeÀ³ee nw~ efHeieceWì kesÀ efueS DeeJeM³ekeÀlee~ Deye lekeÀ, ³en nw~ ve kesÀJeue ûesì Jesye keÌ³eesìes efJeéeefJeÐeeue³e ceW ogefve³ee keÀer meyemes íesìer yevee³eer ieF& nw,³en Henueer yeej SkeÀ efHeieceWì kesÀ GHe³eesie kesÀ efyevee cegefêle nw~ keÌ³eesìes efJeéeefJeÐeeue³e kesÀ DeeF&meerSceSme ceW H³etefjefmeìer ûegHe kesÀ ÒecegKe ÒeesHesÀmej F&meeve efmeJeeefve³ee yeleeles nQ efkeÀ ³en MeesOe efkeÀ³ee ie³ee Lee~ ¬esÀefpebie kegbÀpeer nw Jes yeleeles nQ efkeÀ Hee@ueercej peye leveeJe kesÀ mebHeke&À ceW nesles nQ - DeeCeefJekeÀ mlej Hej SkeÀ ÒekeÀej keÀe mì^sef®ebie DeeGì SkeÀ Òeef¬eÀ³ee mes iegpejvee Heæ[lee nw efpemes ¬esÀefpebie keÀne

ìskeÌveesuee@peer peelee nw~ efpemeceW Jes íesìs Heleuee HeÀeFyej yeveeles nQ efpemes ÖeÀeFefyeue keÀne peelee nQ~ ³es HeÀeFyej SkeÀ MeeqkeÌleMeeueer ¢M³e ÒeYeeJe keÀe keÀejCe ¬esÀefpebie nw peye Gyee ngDee mketÀue íe$e PegkeÀkeÀj HeejoMeea ªuej keÀes osKelee nw peyelekeÀ efkeÀ levee ngDee HueeefmìkeÀ HeejoMeea yeveves kesÀ yepee³e SkeÀ ÒekeÀej keÀe DeesHeskeÀ JneF&ì yeeoue ceW yeoue peelee nw~ ceeF¬eÀesHeÀeFefyeúe veecekeÀ cenerve ojejeW .met#ce lejbie Deewj yeeue keÀer lejn mebj®eveeDeeW kesÀ vesìJeke&À Hee@ueercej mebj®evee kesÀ Yeerlej leveeJe ne@ì mHee@ì kesÀ ªHe ceW yeveles nQ~ Fme Òeef¬eÀ³ee keÀes ¬esÀefpebie kesÀ ªHe ceW peevee peelee nw Deewj FmekesÀ HeefjCeecemJeªHe efHeieceWì keÀce efÒebefìbie nes mekeÀlee nw~ jbie efve³eb$eCe Fme Òeef¬eÀ³ee keÀes Hetjer lejn mes mecePeves kesÀ efueS, keÌ³eesìes MeesOekeÀlee&DeeW ves Deueie-Deueie mece³e Hej FueskeÌìêve ceeF¬eÀesmkeÀesHe mvewHeMee@ì keÀes mkewÀve keÀjkesÀ FmekeÀe efJeMues<eCe efkeÀ³ee~ Fme lejn ,Jes Hee@ ueercej mebj®evee kesÀ met#ce mebj®eveelcekeÀ yeoueeJeeW keÀes [e@keÌ³etceWì yeveeves ceW me#ece Les~ cegK³e yeele, GvneWves Hee³ee efkeÀ efíê HejleeW kesÀ Deblejeue (Heerjer³eeef[keÀ) mebj®evee Deewj yeouelee IevelJe HueeefmìkeÀ kesÀ meeLe efvekeÀuelee nw~ efpeme lejn ceeF¬eÀesHeÀeFefyeúme yeveles nQ GvekesÀ yeveves kesÀ lejerkeÀeW keÀes efve³ebef$ele keÀjkesÀ , MeesOekeÀlee& Hetjs ¢M³e mHeskeÌìê mes jbie yeveeves kesÀ efueS ÒekeÀeMe kesÀ ÒekeÀerCe&ve keÀes efve³ebef$ele keÀjves ceW me#ece Les~ ³en GHev³eeme efÒeefìbie lejerkeÀe,pees FbkeÀ kesÀ efyevee 14,000 [erHeerDeeF& kesÀ ÒemleeJeeW Hej Fcespe yeveeves ceW me#ece nQ,keÀes Deeie&veeFp[ ceeF¬eÀesHeÀeFefyeúesMeve (Dees Sce) keÀne peelee nw~ peerJeefJe%eeveer ,uebyes mece³e mes Fme veeve efHeieceWì DeeOeeefjle jbie Ieìvee mes Heefjef®ele nQ,efpemes Jes mebj®eveelcekeÀ jbie keÀnles nQ~ ³en þerkeÀ Gmeer lejn nw pewmes Òeke=Àefle efJeefYeVe pJeueble jbieeW keÀe GlHeeove keÀjleer nw pees efleleueer kesÀ HebKeeW ceW efoKee³eer osleer nw , vej ceesjeW keÀer Meeveoej íìe Deewj otmejs efPeueefceueeles FbêOeveg<eer He#eer~ Fme ûen Hej meyemes Meeveoej Jev³epeerJeeW ceW mes kegÀí

JeemleJe ceW efHeieceWìsMeve mes jefnle nw Deewj FmekesÀ cesmcesjeFefpebie megboj ÒeYeeJe kesÀ efueS melen mebj®evee kesÀ meeLe yeele®eerle keÀjves Jeeues ÒekeÀeMe Hej efveYe&j keÀjlee nw~ DeesSce lekeÀveerkeÀ SkeÀ FbkeÀjefnle ,yeæ[s Hewceeves Hej jbie efÒebefìbie Òeef¬eÀ³ee keÀer Devegceefle oslee nw pees keÀF& ue®eerues Deewj HeejoMeea ÒeeªHeeW Hej 14000 [erHeerDeeF& kesÀ ÒemleeJeeW Hej íefJe³eeB GlHeVe keÀjlee nw~ FmekesÀ Deveefievele SHueerkesÀMeve nQ,GoenjCe kesÀ efueS, yeQkeÀveesìdme kesÀ efueS efJejesOeer peeuemeepeer lekeÀveerkeÀ ceW~ uesefkeÀve pewmee efkeÀ efmeJeeefve³ee Hej peesj osves kesÀ efueS nw, FmekesÀ DeeJesove HeejbHeefjkeÀ efÒebefìbie efJe®eejeW mes Hejs nQ~ FbkeÀjefnle efÒebefìbie : Deye Deeies keÌ³ee ? Dees Sce nceW iewmeeW Deewj lejue HeoeLeeX kesÀ efueS PejPeje vesìJeke&À efÒebì keÀjves keÀer Devegceefle oslee nw,efpememes ³en meebme uesves Deewj Henveves ³eesi³e oesveeW yeve peelee nw~ FmeefueS, GoenjCe kesÀ efueS , mJeemL³e Deewj keÀu³eeCe kesÀ #es$e ceW, Fmes SkeÀ ÒekeÀej kesÀ ue®eerues HeÌue³eg[ meefke&Àì yees[& ceW Meeefceue keÀjvee mebYeJe nw ,pees DeeHekeÀer lJe®ee, ³ee DeeHekesÀ mebHeke&À ueWme Hej yewþkeÀj,DeeJeM³ekeÀ pewJe ef®eefkeÀlmee met®evee efkeÀ keÌueeG[ lekeÀ HengB®ee mekeÀlee nw,³ee meerOes DeeHekesÀ HesMesJej osKeYeeue kesÀ efueS,ÒeesHesÀmej F&meve efmeJeevew³ee , keÌ³eesìes efJeéeefJeÐeeue³e , peneB keÌ³eesìes

efJeéeefJeÐeeue³e ceW, H³eesjesefmeìer ûegHe kesÀ ÒecegKe Les,yeleeles nQ,Dees Sce MeeeqyokeÀ Deewj uee#eefCekeÀ oesveeW DeLeeX ceW ue®eerueer lekeÀveerkeÀ nw~ keÌ³eesìes efJeéeefJeÐeeue³e kesÀ MeesOekeÀlee&DeeW ves keÀF& Deeceleewj Hej GHe³eesie efkeÀS peeves Jeeues Hee@efuecej , pewmes Hee@ueermìeF&efveve Deewj Hee@ueer keÀeyeexvesì ceW ÒeewÐeesefiekeÀer keÀe³eeX keÀes meeefyele efkeÀ³ee nw~ yeeo Jeeuee Yeespeve Deewj oJee keÀer HewkesÀefpebie ceW J³eeHekeÀ ªHe mes GHe³eesie efkeÀ³ee peeves Jeeuee HueeefmìkeÀ nw, FmeefueS KeeÐe Deewj Deew<eefOe megj#ee ceW mHe<ì ªHe mes SHueerkesÀMeve nw,peneB megj#ee mlej keÀes Jee@ìjceeke&À keÀer lejn yevee³ee pee mekeÀlee nw leeefkeÀ ³en megefveefM®ele efkeÀ³ee pee mekesÀ efkeÀ GlHeeo Keesuee ³ee leesæ[HeÀesæ[ veneR efkeÀ³ee ie³ee nw~ ves®ej ceW ÒekeÀeefMele nesves Jeeues He$e kesÀ ÒecegKe uesKekeÀ cemesìª Fìes mees®eles nQ efkeÀ Fme peceerveer MeesOe Üeje Gþe³es ie³es yegefve³eeoer efme×ebleeW mes keÀneR DeefOekeÀ Deeves Jeeuee nw~ GvneWves keÀne nceves efoKee³ee nw efkeÀ leveeke keÀes efve³ebef$ele efkeÀ³ee pee mekeÀlee nw~ peyeefkeÀ ³en nes mekeÀlee nw ³en efve³ebef$ele keÀe³e&#ecelee yeve mekeÀlee nw~ nceves Fmes Hee@ ueercej ceW ÒeoefMe&le efkeÀ³ee, Deewj nce ³en Yeer peeveles nQ efkeÀ Oeeleg ³ee ®eerveer efceÆer keÀer ®eerpeW ojej yevee mekeÀleer nw~ ³en peevevee jesceeb®ekeÀ nw efkeÀ keÌ³ee nce Fve meeceefûe³eeW ceW ojejW peesæ[ mekeÀles nQ~ DeeHekeÀes keÌ³ee ueielee nw : keÌ³ee Dees Sce nceejs efÒebì keÀjves kesÀ lejerkesÀ ceW ¬eÀebefle ueeves Jeeuee nw? August - September 2019 | SCREENTEX |

ìskeÌveesuee@peer

efÒebì Fb[mì^er ceW vesìJeefke¥Àie keÀuee kesÀ ceeefnj kewÀmes yeveW!

efÒebì SkeÌmeHees]pe Deewj ì^s[ Mees ceW vesìJeefke¥Àie mener efyepevesme kesÀ efueS SkeÀ cenlJeHetCe& keÀewMeue yevee ngDee nw~ mener lejerkesÀ mes Fmes kewÀmes efkeÀ³ee pee³e, ³eneB ³en yelee³ee ie³ee nw... Deepe, DeeHekeÀes ³en mees®eves kesÀ efueS cee]HeÀ keÀj efo³ee pee³esiee efkeÀ meesMeue vesìJeefke¥Àie Meg× ©He mes Fbìjvesì Hej DeefmlelJe ceW jnlee nw~ peye DeeHe DeHeves efyepevesme keÀes yeæ{eJee osves Deewj efJekeÀefmele keÀjves kesÀ efueS HesÀmeyegkeÀ, eqìdJeìj, Fbmìeûeece Deewj efuebkeÌ[Fve keÀe GHe³eesie keÀj mekeÀles nQ - Deewj keÀjvee ®eeefnS, Deeceves - meeceves (HesÀme ìt HesÀme ) Yeer JeemleefJekeÀ ogefve³ee ceW ceewpeto nw, pewmee efkeÀ Jes ncesMee mes nesles nQ, Deewj keÀYeer Yeer íesæ[vee veneR ®eeefnS~ DeveewHe®eeefjkeÀ ceerefìieW nesleer nQ, efpemeceW nce nj jes]pe Meeefceue nesles nQ Deewj ûeenkeÀeW keÀes ûeerefìbime keÀjvee Deewj F&cesue keÀjvee uesefkeÀve DeefOekeÀ DeewHe®eeefjkeÀ keÀe³e&¬eÀce Yeer , pees DeeHekesÀ vesìJeke&À keÀes

| SCREENTEX | August - September 2019

yeæ{eves ,DeeHekesÀ efyepevesme keÀes efJekeÀefmele keÀjves Deewj DeeHekeÀes peevekeÀejer ÒeeHle keÀjves ceW ceoo keÀjWies~ Deeceves - meeceves yewþkeÀj yeele keÀjves keÀe cenlJe lespeer mes efkeÀmeer efJe<e³e keÀer peeB®e keÀjves keÀer #ecelee jKelee nw~ ³eefo ³en ûeenkeÀ keÀes DeeHetefle& keÀjves keÀer yeele®eerle nw, lees ³es ceerefìbime DeeHekeÀes DeefOekeÀ menpe efJemleej kesÀ efueS peeB®e keÀjves keÀer Devegceefle oslee nw~ kesÀJeue ³ener veneR, Jes DeeHekesÀ efueS veS ì^W[ Deewj lekeÀveerkeÀ peeveves kesÀ efueS SkeÀ jemlee nQ~ FmeefueS O³eeve jKeW efkeÀ ³eefo DeeHe ì^s[ Mees ³ee SkeÌmeHees kesÀ jemles Hej nQ,pewmes oef#eCeer ³etjesefHe³eve efÒebì keÀebûesme~ vesìJeefke¥Àie ceW keÌ³ee veneR keÀjvee nw - ³eeo jKeW ueeYe yes®eW ve efkeÀ HeÀer®ej - Deewj yeme kesÀJeue ne[& mesue keÀes ³eeo jKeW,Sefue³eve veneR DeekeÀef<e&le nesleW~ - efJevece´ yevevee ³eeo jKeW ~ nceW Gve meYeer ueesieeW mes yeele®eerle keÀjvee nw

pees Hetje O³eeve veneR os jns nQ~ yeele®eerle ceW yeveW jnW peye lekeÀ efkeÀ DeeJeM³ekeÀ GÊej DeeHe kesÀ Heeme neW~ - kebÀHesÀìer keÀer lejn efyepevesme keÀe[& keÀes ve HesÀkeWÀ~ yes®eeje mesumecewve neLe efceueekeÀj Deieuee SkeÀ Deewj keÀe[& oslee nw~ Henues SkeÀ yeele keÀjW - efjMleeW keÀes meerue keÀjves kesÀ efueS keÀe[& DeeefKejer Kesue nw~ - efce$e HenueW, efyepevesme yeeo ceW~ meerOes efHe®e Hej efye¬eÀer #es$e ceW ueeB®e ve keÀjW~ ³en cenlJeHetCe& nw efkeÀ DeeHe meeceev³e ceeveJe mebyeOe yevee³eW Deewj efHe®e Megª keÀjves mes Henues Deewj Henues Jeeuee yeeo Jeeues keÀes Deemeeve yevee oslee nw~ DeeefKej vesìJeke&À keÌ³eeW ? vesìJeefke¥Àie keÀer MeeqkeÌle efkeÀmeer Yeer efJe<e³e keÀer ienve mecePe kesÀ efueS Devegceefle oslee nw,pees efveefM®ele ªHe mes DeeHekeÀes peesefKece keÀes keÀce keÀjves Deewj yesnlej efveCe&³e uesves ceW ceoo keÀjleer nw~ peye DeeHe keÀesF& efyepevesme ®euee jns nQ,lees mece³e

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EVENTS CALENDAR

NATIONAL OCTOBER 2019 11 - 13 October 2019 PUNE PHOTO FAIR 2019 Leading Expo on Photography Industry. At : Pandit Farm, Karve Nagar, Pune. www.punephotofair.in

12 - 14 December 2019 PACPROCESS INDIA 2019 Leading Expo on Processing & Packaging Industry. At : NSIC Grounds, Okhla, New Delhi. www.pacprocess-india.com

11 - 13 October 2019 SIGN INDIA 2019 Leading Expo on Signage Industry. At : Chennai Trade Centre, Chennai. www.bltf.in

JANUARY 2020

21 - 23 October 2019 PROPAK INDIA 2019 Leading Expo on Packaging & Processing Industry. At : Bombay Exhibition Centre, Mumbai. www.propakindia.com

www.pamex.in

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

06 - 09 January 2020 INDIA PACKAGING SHOW 2020 Leading Expo on Packaging Industry.

NOVEMBER 2019 15 - 17 November 2019 SIGN INDIA 2019 Leading Expo on Signage Industry. At : Bombay Exhibition Centre, Mumbai. www.bltf.in 20 - 22 November 2019 TECHTEXIL INDIA 2019 Leading Expo on Technical Textiles. At : Bombay Exhibition Centre, Mumbai. www.techtextil-india.in.messefrankfurt.com

DECEMBER 2019 03 - 06 December 2019 PAPEREX 2019 International Expo on Pulp, Paper & Allied Industries. At : Pragati Maidan, New Delhi. india.paperex-expo.com 05 - 08 December 2019 ITMACH INDIA 2019 Leading Show on Textile Machinery. At : The Exhibition Centre, Helipad Ground, Gandhinagar, Ahmedabad. www.itmach.com 11 - 12 December 2019 AMTECH EXPO 2019 Leading Expo on 3D Printing Industry. At : Bombay Exhibition Centre, Goregaon (E), Mumbai. www.amtechexpo.in

| SCREENTEX | August - September 2019

At : Bombay Exhibition Centre, Mumbai. www.indiapackagingshow.com

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

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

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

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

EVENTS CALENDAR

INTERNATIONAL OCTOBER 2019 23 - 25 October 2019 PRINTING UNITED Leading International Expo on Screen, Digital & Textile Print Industry. At : Dallas, Texas. www.printingunited.com 29 - 30 October 2019 THEIJC 2019 Leading Conference on Inkjet Industry. At : Düsseldorf-Neuss, Germany. www.theijc.com

NOVEMBER 2019 04 - 07 November 2019 MYAMAR TEXTILE & GARMENT EXPO 2019 Leading Expo on Textile & Garment Industry. At : Yangon Convention Center, Yangon, Myanmar. www.chanchao.com.tw/MTG 12 - 14 November 2019 INPRINT MUNICH 2019 International Expo on Print Technology. At : Munich Trade Fair Centre, Germany www.inprintmunich.com 13 - 16 November 2019 DYE CHEM MOROCCO INTERNATIONAL EXPO International Expo on Dyestuff and Fine & Specialty Chemicals for the growing Textile and Leather Industry At : Foire Internationale de Casablanca Expo Center, Casablanca, Morocco www.ma.cems-dyechem.com 20 - 23 November 2019 VIETNAM TEXTILE & GARMENT EXPO 2019 Leading Expo on Textile & Garment Industry. At : Saigon Exhibition & Convention Centre (SECC), Ho Chi Minh City, Vietnam.. www.chanchao.com.tw/VTG 25 - 27 November 2019 SHANGHAITEX 2019 International Expo on Textile Industry. At : Shanghai New International Expo Centre (SNIEC), Shanghai, China. www.shanghaitex.cn 27 - 28 November 2019 GLASSPRINT 2019 Leading Show on Digital Printing Industry. At : Düsseldorf, Germany. www.glassprint.org

| SCREENTEX | August - September 2019

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

Arrow Multimedia

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

Mahedra M h d SSethia h - 92824 37480

SBT

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

Screen Printing Emulsion Photokina Chemical Product & Any Coating

Screen Printing Chemical Nitro / Reduser / C-9 / Amayl

Offset Ink / Chemical Textile Printing Ink Plasticsol Ink (Solvent / Water Base Ink) Binder / Thickener / Fixer Classic Pigment / Puff Fusing Paper Water Base White

Screen Printing Mesh Nylon / Polyester

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

| SCREENTEX | August - September 2019

AD INDEX Advance Syntex (P) Ltd.

India ITME 2020

Aeon Commercial India (P) Ltd.

Jain Silk Screen Center

And Global Sales Corporation

J N Arora & Co. (P) Ltd.

Arrow Multimedia

Kumar Textile Industries

Balaji Chemicals

Kunal Enterprise

Lancer Group International

Balaji Trader

Meetesha Enterprises

Beauty Flex

Navbharat Industries

BlueTex India Pvt. Ltd.

NBC Japan

Cheran Machines I Pvt. Ltd.

NEPAL 5P Expo

Omkar Engineering

Pamex 2020

Paper N Film

Ratan Industrial Engineering

EPSON 07

ScreenTex India 2020

Epta Inks India Pvt. Ltd.

Sefar Switzerland

GarmentTech Bangladesh 2020

Shriram Enterprises

GTE 2020

Sneha Enterprises

Sparkle Foil N Film

Gurbaksish Group

Spoorthi Technologies

Hari Impex

SunShine Graphics

CรถLรถRs 23 DR Optical Disc India Pvt. Ltd. Duratech Automation (P) Ltd.

67 03,33

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 | August - September 2019

Mob +91 7400451521 arvind.singh@sefar.com