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Ceramic World Review

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Ceramics China 2014 2014

World production and consumption of ceramic tiles

全球瓷砖生产与消费


广州陶瓷工 业展 我们在3.1馆,C202展位恭候您的光临 CERAMICS CHINA EXHIBITION Visit us and discover more at HALL 3.1 STAND C 202


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Year 24, Chinese Edition Supplement to n° 106 April/May 2014 Bimonthly review

Cover picture by: Giancarlo Pradelli

contents 7

editorial

Greetings to Ceramics China 2014

Fabio Tarozzi

8

economics

World production and consumption of ceramic tiles

Luca Baraldi

focus on DIGITAL DECORATION

28

54

色彩管理的前景

62

Higher print quality for digital tiles

64

products

2014广州陶瓷展致辞 全球瓷砖生产与消费

Digital tiles

数字瓷砖

The future of colour management

Alessandro Beltrami

更高质量的数字瓷砖印刷

Alteo Gardanne

Luca Baraldi

advertiser’ list

15

Intesa 3

BMR 13

I-Tech 67

Ceramics China 2015

71

LB Officine Meccaniche

Ceramicure by Ebi

73

Mectiles Italia

Colorobbia Italia

31

Megacolor 57

Efi Cretaprint

19

Poppi Clementino

1 65

2

Esmalglass 33

Remas

72

Fritta 61

Sacmi

Händle

69

Setec 60

I.C.F. & Welko

23

Siti B&T Group

Industrie Bitossi

21

Smaltochimica 17

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Greetings to Ceramics

China 2014 2014广州陶瓷展致辞

Ceramics China represents a major chance for both Chinese and Italian companies to communicate and to strengthen their long-lasting cooperation. The world ceramic market requires every day better quality tiles, for the production of which the best available technologies are needed. Italian technology for ceramics, world leader in terms of quality and innovation, will be

Fabio Tarozzi

represented in this year’s exhibition by several top companies, which will present their latest solutions and newest technologies. Confirming the support of our Association to the exhibition, we wish to all the exhibitors, visitors and organizers a very successful Ceramics China 2014. Fabio Tarozzi ACIMAC Chairman (JF)

我谨代表 ACIMAC(意大利 陶瓷机械及设备制 造商协会)向中国 陶瓷行业的中国机 构和业内人士致以 最亲切的问候。 中国(广州)国际陶 瓷工业技术与产品 展览会对中国公司 和意大利公司而言 都是一个沟通和巩 固两者长期合作的 主要机会。 世界陶瓷市场要求 瓷砖的质量逐日上 升,因此要生产这 样的优质瓷砖,就 需要目前能达到最 好的技术。在质量 和创新方面都是世 界行业内佼佼者的 意大利陶瓷技术,

将在今年的展览会 上由几家顶尖公司 作为代表参展,这 些公司将展示他们 各自最新的解决方 案和技术。 为表示我们协会( 意大利陶瓷机械及 设备制造商协会) 对这个展览会的支 持,我们对参加本 届展会的所有参展 商、观展商和展会 主办方表示祝愿, 祝愿2014中国(广 州)国际陶瓷工业 技术与产品展览会 圆满成功。 意大利陶瓷机械设 备制造商协会 (ACIMAC)主 席。 

editorial

On behalf of ACIMAC, the Association of the Italian Manufacturers of Machinery and Equipment for Ceramics, I would like to express my warmest greetings to the Chinese institutions and to the operators of the Chinese ceramic industry.

CE R AM I C W or ld R e vi e w chi n e se e d i ti on 20 14

7


World production and consumption of ceramic tiles Luca Baraldi, Ufficio Studi Acimac - studi@acimac.it

全球瓷砖生产与消费 The 2012 appointment with Ceramic World Review’s annual survey of world production, consumption, exports and imports of ceramic tiles reveals an overall positive picture, albeit with a marked slowdown with respect to the double-figure growth of 2011. World production and consumption were up by 5.4% and 4.6%, while imports and exports saw more buoyant 8.4% growth. Like every year, access to new sources and information has enabled us to check and in some cases correct the figures for previous years. This is largely due to the contributions of the trade associations representing the leading ceramic producer countries and the individual companies and researchers who for years now have been collaborating with our magazine on the survey, whom we wish to thank.

根据《陶瓷世界评论》2012年的年度调查报告,尽管稍 逊色于2011年两位数的增长率,全球陶瓷生产、消费与 进出口仍呈现积极上升的态势。其全球生产量与消费量 分别提高了5.4%与4.6%,进出口额则上涨了8.4%。 与以往每年一样,新来源与新信息的获取都使我们能够 在某些案例中对先前的数据加以核对与改正。这很大程 度上归功于贸易协会的贡献,我们非常感谢其代表领先 世界的瓷砖生产大国、个体瓷砖企业以及研究人员,感 谢他们多年来与我们杂志合作研究。

*** 1) 2012年,全球瓷砖产量超110亿平方米大关,达到 111.66亿平方米,与2011年的105.96亿平方米相 比,增长了5.4%。除了几个有名的国家(包括意大 利、越南、叙利亚与葡萄牙)外,几乎全球以及所

*** 1) In 2012 world tile production passed the 11 billion sq.m mark to reach 11,166 million sq.m, 5.4% up on the 10,596 million sq.m of 2011. Growth was reported in almost all areas of the planet and in almost all producer countries with a few notable exceptions (including Italy, Vietnam, Syria and Portugal). Asia produced 7,674 mil-

有生产国均报道了这一增长势头。亚洲国家生产了 76.74亿平方米(相比2011年的4.62亿平方米,则 增长了6.4%),为世界产量贡献了68.7%。欧洲产 量微增,从16.67亿平方米增长到17亿平方米(增 幅2%),达到世界产量的15.3%。具体来看,欧盟 国家(EU-27)保持11.68亿平方米的稳定增长(相

WORLD MANUFACTURING AREAS 2012 (Sq.mt Mill.)

% on world production

% var. 12/11

1,168

10.5

-0.8

OTHER EUROPE (Turkey included)

532

4.8

NORTH AMERICA (Mexico included)

300

CENTRAL-SOUTH AMERICA ASIA

AREAS EUROPEAN UNION (27)

economics

WORLD CONSUMPTION AREAS

AFRICA OCEANIA TOTAL

8

2012 (Sq.mt Mill.)

% on world consumption

% var. 12/11

EUROPEAN UNION (27)

874

8.0

-5.9

+8.6

OTHER EUROPE (Turkey included)

528

4.8

+10.7

2.7

+4.2

NORTH AMERICA (Mexico included)

426

3.9

+5.7

1,138

10.2

+3.6

CENTRAL-SOUTH AMERICA

1,221

11.2

+5.3

7,674

68.7

+6.4

ASIA

7,214

66.1

+4.4

349

3.1

+7.1

AFRICA

609

5.6

+18.7

5

0.0

0.0

OCEANIA

40

0.4

-4.8

11,166

100.0

+5.4

TOTAL

10,912

100.0

+4.6

Cera mic W o rld Review ch inese edition 2014

AREAS


Exclusive content lion sq.m (up 6.4% on the 462 million sq.m of 2011), bringing its share of world production to 68.7%. Europe saw a slight rise in production, up from 1,667 to 1,700 million sq.m (+2%) and equal to 15.3% of world production. In greater detail, the European Union (EU-27) remained practically stable at 1,168 million sq.m (0.8% down on 2011), while non-EU Europe reported a rise from 490 to 532 million sq.m (+8.6%). In the American continent, total production reached 1,438 million sq.m (12.9% of world production). Central and South America saw an increase from 1,098 to 1,138 million sq.m (+3.6%), while in North America production reached 300 million sq.m (up 4.2% on 2011). Africa also showed recovery following the downturn in 2011 with production up from 326 to 349 million sq.m (up 7.1% on 2011). 2) In 2012 world tile consumption reached 10,912 million sq.m (up 4.6% on the 10,432 million sq.m of 2011). Just about the only area where demand fell was the European Union, down from 929 to 874 million sq.m (-5.9%), where the higher consumption in Poland was not sufficient to offset the fall in demand in almost all other EU countries. Demand in non-EU Europe rose from 477 to 528 million sq.m (+10.7%) due to strong demand in Russia and Turkey. The highest percentage growth (+18.7%) was in Africa, up from 513 to 609 million sq.m. All countries in the continent saw growth in consumption, although the most notable performance was the recovery in demand in Libya after dropping almost to zero in 2011 due to the conflict. In Asia consumption grew at a slower rate than production (+4.4%), rising from 6,909 to 7,214 million sq.m. The region accounted for 66% of world consumption, with China, India, Indonesia, Saudi Arabia, Thailand and Iraq the countries responsible for the largest increases. Demand in Central and South America grew by 5.3%, from 1,159 to 1,221 million, with all the largest markets reporting growth. Consumption also rose in North America, which reached 426 million sq.m (+5.7%). 3) A comparison between the various continents’ contributions to world tile production and consumption showed that, as in the past, the two values remained substantially similar, which demonstrated that tiles tend to be produced near their areas of consumption. Asia accounted for 68.7% of production and 66.1% of world consumption, Europe (EU + non-EU) 15.3% and 12.8% respectively, the Americas 12.9% and 15.1% and Africa 3.1% and 5.6%.

WORLD EXPORTING AREAS 2012 (Sq.mt Mill.)

% on world consumption

% var. 12/11

EUROPEAN UNION (27)

745

6.8

+4.9

OTHER EUROPE (Turkey included)

147

1.3

+6.5

NORTH AMERICA (Mexico included)

72

0.6

+7.5

CENTRAL-SOUTH AMERICA

115

1.1

-2.5

1,221

11.2

+10.8

AFRICA

58

0.5

+45.0

OCEANIA

1

0.0

-

2,358

21.6

+8.4

AREAS

ASIA

TOTAL

10

Cera mic W o rld Review ch ines e edition 2014

比2011年下降了0.8%),非欧盟国的产量则从4.9 亿平方米上升至5.32亿平方米(同比增长12.9%) 。美洲大陆总产量达到14.38亿平方米,占世界产 量12.9%。中南美国家的产量从10.98亿平方米增加 到11.38亿平方米(增幅3.6%),北美国家的产量 则达到3亿平方米(同比增长4.2%)。非洲国家也 走出了2011年的低迷,产量从3.26亿平方米上升到 3.49亿平方米(相比2011年增长了7.1%)。 2) 2012年,全球瓷砖消费量达到109.12亿平方米,相 比2011年的104.32亿平方米,则增长了4.6%。欧 盟国家是瓷砖需求唯一下降的地区,从9.29亿平方 米减少至8.74亿平方米,降幅为5.9%,波兰的消费 增长还不足以抵消其他欧盟国减少的消费量。由于 俄罗斯和土耳其的需求旺盛,非欧盟国家的消费从 4.77亿平方米增长到5.28亿平方米,增幅10.7%。 非洲国家的消费增长最高,从5.13亿平方米上升到 6.9亿平方米,增幅18.7%。非洲所有国家的消费量 均有所增长,尤其是利比亚,由于2011年的国家冲 突导致消费量几乎跌至零,所以其需求增长量表现 最为明显。亚洲国家消费量比生产量(增幅4.4%) 增势趋缓,从69.9亿平方米增加到72.14亿平方米。 亚洲地区占世界消费量的66%,其中中国、印度、 印度尼西亚、沙特阿拉伯、泰国和伊拉克等国涨幅 最大。中南美国家的需求量增长了5.3%,从11.59 亿平方米上升到12.21亿平方米,所有市场都呈现 增长。北美国家的消费量也有所提高,达到4.26亿 平方米,增幅5.7%。 3) 比较各大洲对世界瓷砖生产与消费的贡献,可以看 到,过去,生产量与消费量大体一致,这表明瓷砖 生产往往接近消费地区。亚洲的生产量为68.7%, 消费量为66.1%,欧洲(欧盟与非欧盟国)的生产 量与消费量分别为15.3%与12.8%,美洲国家的生产 量与消费量分别为12.9% 与 15.1%,非洲国家的生 产量与消费量分别为3.1% 与 5.6%。 4) 2012年,全球出口量较2011年增长了8.4%,从 21.75亿平方米上升到23.58亿平方米。全球消费的

INTERNATIONAL TRADE 2012 (on Total World Consumption)

Domestic sales 78.4%

Import Export 21.6%


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Exclusive content 4) In 2012, world exports increased by 8.4% on 2011, from 2,175 to 2,358 million sq.m. Imports/exports as a percentage of world consumption rose to 21.6% following three years in which the figure had remained stable at 20.5%. Exports rose in almost all continents. Asia exported 1,221 million sq.m (10.8% up on the 1,102 million sq.m of 2011), equivalent to half of total world exports. The second largest area in terms of export volumes (with 31.6% of world tile exports) was the European Union, which exported 745 million sq.m (+4.9%) due to a further recovery on the part of Spanish exports. There was an increase in exports from non-EU Europe (from 138 to 147 million sq.m, +6.5%), Exports from Central and South American countries fell slightly (from 118 to 115 million sq.m, -2.5%), while exports from North America rose to 72 million sq.m (+7.5%). Follow-

进/出口百分比上升至21.6%,之前三年都稳定在 20.5%。各大洲的出口量几乎均有所增长。亚洲国 家出口了12.21亿平方米,相比2011年的11.2亿平 方米,增长了10.8%,占全球出口总量的一半。由 于西班牙出口恢复增长,出口量达7.45亿平方米, 增幅4.9%,欧盟国家成为世界第二大出口量地区, 占世界瓷砖出口总量的31.6%。非欧盟国家的出口 量也有所增长,从1.38亿平方米上升到1.47亿平方 米,增幅6.5%。中南美国家的出口则小幅下降, 从1.18亿平方米减少至1.15亿平方米,降幅2.5% ;北美国家的出口则上升至7200万平方米,增幅 7.5%。相较于2011年的出口下降,非洲国家2012 年的出口恢复到了2010年的水平,达到5800万平

TOP MANUFACTURING COUNTRIES COUNTRY

2008 (Sq.m Mill.)

2009 (Sq.m Mill.)

2010 (Sq.m Mill.)

2011 (Sq.m Mill.)

2012 (Sq.m Mill.)

% on 2012 world production

% var. 12/11

1.

CHINA

3,400

3,600

4,200

4,800

5,200

46.6

8.3

2.

BRAZIL

713

715

753

844

866

7.8

2.6

3.

INDIA

390

490

550

617

691

6.2

12.0

4.

IRAN

320

350

400

475

500

4.5

5.3

5.

SPAIN

495

324

366

392

404

3.6

3.1

6.

ITALY

513

368

387

400

367

3.3

-8.3

7.

INDONESIA

275

278

287

317

330

3.0

4.1

8.

VIETNAM

270

295

375

380

298

2.7

-21.6

9.

TURKEY

225

205

245

260

280

2.5

7.7

10.

MEXICO

223

204

210

219

229

2.1

4.6

11.

EGYPT

160

200

220

175

200

1.8

14.3

12.

THAILAND

130

128

132

149

170

1.5

14.1

13.

RUSSIA

147

117

126

136

154

1.4

13.2

14.

POLAND

118

112

112

121

131

1.2

8.3

15.

UAE

77

77

90

90

92

0.8

2.2

16.

MALAYSIA

85

90

90

82

88

0.8

7.3

17.

SAUDI ARABIA

40

55

56

78

85

0.8

9.0

18.

ARGENTINA

60

56

65

70

75

0.7

7.1

19.

COLOMBIA

50

50

60

65

72

0.6

10.8

20.

USA

59

53

60

67

69

0.6

3.0

21.

UKRAINE

39

44

52

60

62

0.6

3.3

22.

MOROCCO

51

54

56

60

60

0.5

0.0

23.

GERMANY

59

51

50

55

56

0.5

1.8

24.

PORTUGAL

74

70

65

57

54

0.5

-5.3

25.

PERU

37

38

49

47

52

0.5

10.6

26.

SOUTH KOREA

39

42

40

42

41

0.4

-2.4

27.

BANGLADESH

20

25

30

35

40

0.4

14.3

28.

TAIWAN

40

32

34

34

39

0.3

14.7

29.

ALGERIA

28

29

30

33

33

0.3

10.0

30.

SOUTH AFRICA

38

32

32

33

31

0.3

-6.1

TOTAL

8,174

8,185

9,223

10,193

10,769

96.4

5.7

WORLD TOTAL

8,594

8,581

9,619

10,596

11,166

100.0

5.4

In 2012, the 30 major manufacturing countries covered 96.4% of world production

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Exclusive content ing the slowdown in 2011, Africa saw its exports return to 2010 levels of 58 million sq.m (+45%). Considering individual countries, the 3 largest exporters (China, Spain and Italy) accounted for 63.7% of world exports, while the top 20 made up 94%.

方米,增幅45%。就个别国家而言,三大出口国(

5) As the world’s largest producer, consumer and exporter of ceramic tiles, the sheer scale of China’s volumes has been driving world growth in production, consumption and exports for over 15 years. The Chinese industry and market remain difficult to quantify given the very large discrepancies between available figures (Chinese sources estimate a total production capacity of 9 billion sq.m/year installed in some 1400 companies). However, according to our estimates China produced 5,200 million sq.m in 2012 (+8.3%, slower growth than during the previ-

5) 作为世界最大的瓷砖生产国、消费国和出口国,

中国、西班牙和意大利)的出口量达到全球出口总 量的63.7%,而前20个国家的出口量占全球出口总 量的94%。

中国在过去的十五年来引领全球瓷砖生产、消费 和出口的增长。由于所获数据差异较大(中国约有 1400家工厂,其年总产量预计达90亿平方米), 中国的瓷砖业和市场很难定量。然而据估计,中国 2012年的产量达52亿平方米(增幅8.3%,比前两 年增幅趋缓),占世界产量的46.6%。国内消费量 增长较小,达6.3%,估计达42.5亿平方米,占世 界消费总量的38.9%。尽管中国出口量从8.3亿平

TOP CONSUMPTION COUNTRIES COUNTRY

2008 (Sq.m Mill.)

2009 (Sq.m Mill.)

2010 (Sq.m Mill.)

2011 (Sq.m Mill.)

2012 (Sq.m Mill.)

% on 2012 world consumption

% var. 12/11

1.

CHINA

2,830

3,030

3,500

4,000

4,250

38.9

6.3

2

BRAZIL

605

645

700

775

803

7.4

3.6

3.

INDIA

403

494

557

625

681

6.2

9.0

4.

IRAN

265

295

335

395

375

3.4

-5.1

5.

INDONESIA

262

297

277

312

340

3.1

9.0

6.

VIETNAM

220

240

330

360

247

2.3

-31.4

7.

SAUDI ARABIA

136

166

182

203

230

2.1

13.3

8.

RUSSIA

191

139

158

181

213

2.0

17.7

9.

USA

211

173

186

194

204

1.9

5.2

10.

MEXICO

177

163

168

177

187

1.7

5.6

11.

TURKEY

129

138

155

169

184

1.7

8.9

12.

EGYPT

128

162

184

152

161

1.5

5.9

13.

THAILAND

120

117

130

134

155

1.4

15.7

14.

FRANCE

128

113

118

126

123

1.1

-2.4

15.

GERMANY

112

106

105

118

116

1.1

-1.7

16.

SPAIN

240

156

145

129

109

1.0

-15.5

17.

ITALY

176

146

145

133

107

1.0

-19.5

18.

POLAND

103

93

90

96

103

0.9

7.3

19.

SOUTH KOREA

99

99

101

105

101

0.9

-3.8

20.

UAE

96

77

100

102

98

0.9

-3.9

21.

IRAQ

23

40

60

79

98

0.9

24.1

22.

MALAYSIA

50

69

80

79

83

0.8

5.1

23.

COLOMBIA

54

53

70

72

81

0.7

12.5

24.

MOROCCO

60

66

67

72

75

0.7

4.2

25.

ARGENTINA

62

56

62

72

72

0.7

0.0

26.

PHILIPPINES

38

40

50

59

66

0.6

11.9

27.

NIGERIA

30

29

30

44

60

0.5

36.4

28.

ALGERIA

37

40

48

55

59

0.5

7.3

29.

UKRAINE

59

48

53

57

55

0.5

-3.5

30.

VENEZUELA

40

38

36

44

54

0.5

22.7

TOTAL

7,083

7,327

8,220

9,119

9,490

87.0

4.1

WORLD TOTAL

8,373

8,525

9,468

10,432

10,912

100.0

4.6

In 2012, the 30 major consuming countries covered 87% of world consumption

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Exclusive content ous two years), equivalent to 46.6% of world production. The growth in domestic consumption was smaller (+6.3%), estimated at 4,250 million sq.m, 38.9% of world consumption. Although China’s exports have increased from 830 to 915 million sq.m, corresponding to 38.8% of world exports, the export growth rate has declined (from +16% in 2011 to +10.2% in 2012). An analysis of the geographical areas of destination of Chinese tiles confirm the trends that had already emerged in 2011. On the one hand, China maintained its export shares in Asia (which accounted for 55.5% of China’s total exports), South America (11.5%), North America (7%) and Oceania (2.3%). On the other hand, the steady growth in Africa (up 24% in 2012, the largest increase), where export share rose from 16.6% to 18.7%, compensated for the further sharp fall in sales in EU markets. Following the introduction of antidumping measures in 2011, Chinese imports to the EU dropped from 65 million sq.m in 2010 to 45 million sq.m in 2011 and 31 million sq.m in 2012, a fall of around 30% a year. While the EU accounted for no more than 3% of Chinese exports in 2012, sales to non-EU European countries also fell (down 1.2% on 2011 to 1.9% of total Chinese exports). Last year the top two destination markets for Chinese tiles were Saudi Arabia, up from 77 to 87 million sq.m, and Nigeria, up from 35.6 to 48.6 million sq.m.

方米增长到9.15亿平方米,占全球出口量的38.8% ,出口量的增幅却有所减少,从2011年的16%减 少到2012年的10.2%。根据中国瓷砖出口国的地理 区域分析,此趋势已经在2011年呈现。一方面, 中国保持其在各大洲的出口份额,具体如下:亚 洲(占中国出口总量的55.5%),南美洲(11.5% ),北美洲(7%)以及大洋洲(2.3%)。另一方 面,中国在非洲的销售量稳定增长(2012年增幅 最大,达24%),出口份额从16.6%增长到18.7% ,弥补了欧洲市场销售的急剧下降。随着2011年 反倾销措施的引入,中国进口到欧盟国家的瓷砖量 2010年为6500万平方米,2011年减少到4500万平 方米,2012年减少到3100万平方米,每年降幅约 30%。2012年,中国在欧盟国家的出口量不到3% ,在非欧盟国家的销售量也下降了,同比下降1.2% ,占中国出口总额的1.9%。去年,中国瓷砖的两大 出口市场分别为沙特阿拉伯(从7700万平方米增 长至8700万平方米),以及尼日利亚(从3560万 平方米增长至4860万平方米)。 6) 2012年,巴西继续保持着世界第二大生产和消费 国的地位。在过去的20年,其生产都保持稳定的增

6) In 2012 Brazil maintained its position as the world’s second largest producer and consumer country. Production has been increasing steadily for over 20 years to reach 866 million sq.m (up 2.6%, slower than the 12% of 2011),

长,达到8.66亿平方米(增幅2.6%,比2011年的 增幅12%趋缓),国内消费则从7.75亿平方米上升 至8.03亿平方米(增加3.6%,2011年增加10.7%)

TOP EXPORTING COUNTRIES COUNTRY

2008 (Sq.m Mill.)

2009 (Sq.m Mill.)

2010 (Sq.m Mill.)

2011 (Sq.m Mill.)

2012 (Sq.m Mill.)

% on 2012 national production

% on 2012 world exports

% var 12/11

1

CHINA

570

584

715

830

915

17.6

38.8

10.2

2

SPAIN

306

235

248

263

296

73.3

12.6

12.5

3

ITALY

355

281

289

298

289

78.7

12.3

-3.0

4

IRAN

27

40

54

65

93

18.6

3.9

43.1

5

TURKEY

92

67

84

87

92

32.8

3.9

5.7

6

MEXICO

63

52

57

63

68

29.7

2.9

7.9

7

BRAZIL

81

61

57

60

59

6.8

2.5

-1.7

8

UAE

34

40

44

48

50

54.3

2.1

4.2

9

EGYPT

34

40

38

25

44

22.0

1.9

76.0

10

POLAND

34

35

32

36

41

31.3

1.7

13.9

11

VIETNAM

25

28

28

42

41

13.7

1.7

-2.4

12

INDIA

11

13

13

29

32

4.6

1.4

10.3

13

PORTUGAL

37

32

31

32

31

57.4

1.3

-3.1

14

THAILAND

25

36

32

29

30

17.6

1.3

3.4

15

MALAYSIA

23

23

23

25

28

31.8

1.2

12.0

16

GERMANY

28

23

25

27

27

48.2

1.1

0.0

17

UKRAINE

7

6

11

20

23

37.1

1.0

15.0

18

INDONESIA

21

19

20

19

19

5.7

0.8

0.0

19

PERU

12

12

17

18

19

36.5

0.8

5.6

20

CZECH REP.

16

14

16

16

17

70.8

0.7

6.3

TOTAL

1,800

1,641

1,833

2,032

2,214

20.3(1)

93.9

9.0

WORLD TOTAL

1,936

1,764

1,971

2,175

2,358

21.6(1)

100.0

8.4

In 2012 the 20 major exporting countries represented 93.9% of total exports and 20.3% of total world consumption.

16

Cera mic W o rld Review ch ines e edition 2014

(1)

Total exports on world consumption.


THE FUTURE 2012

2000

1990

1980

1970

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Exclusive content while domestic consumption rose from 775 to 803 million sq.m (+3.6% compared to the previous year’s +10.7%). Exports, shipped almost entirely to Latin American markets, fell slightly to 59 million sq.m, while imports remained stable at 41 million sq.m, mostly from China. Anfacer is forecasting growth rates of between 3% and 4% in 2013. Production is likely to reach 900 million sq.m and consumption 839 million sq.m. In 2012 installed production capacity topped a billion square metres and this year is estimated at 1,034 million sq.m.

。其出口几乎覆盖整个拉丁美洲市场,微跌至5900 万平方米,进口则稳定在4100万平方米,大部分从 中国进口。巴西瓷砖制造厂商协会预计2013年的增 幅将达到3%至4%。生产量和消费量分别可能达到9 亿平方米和8.39亿平方米。2012年,瓷砖生产能力 超过10亿平方米,今年预计达到10.34亿平方米。 7) 2012年,印度仍为世界第三大瓷砖生产与消费国。 其产量增长至6.91亿平方米(比2010年和2011年增

7) Once again in 2012, the world’s third largest tile pro-

长了12%),消费量达到6.81亿平方米(同比增长

ITALIAN AND SPANISH EXPORTS BY GEOGRAPHIC AREA IN 2012 (% values) Europe

Americas

Asia

Africa

Oceania

Total

value:

69.6%

16.0%

10.3%

2.4%

1.7%

100.0% (= 3,662.3 mill. Euros, +2.6% on 2011)

sq.m.

69.5%

14.5%

10.0%

4.6%

1.4%

100.0% (= 289.0 mill. sq.m., -3.1% on 2011)

value:

49.4%

10.3%

25.8%

13.9%

0.6%

100.0% (= 2,081.5 mill. Euros, +10.0% on 2011)

sq.m.

37.8%

8.8%

33.6%

19.4%

0.4%

100.0% (= 295.6 mill. sq.m, +12.3% on 2011)

Italy

Spain

ITALY: THE TOP EXPORT MARKETS (mill. sq.m )

SPAIN: THE TOP EXPORT MARKETS (mill. sq.m )

CHINA: THE TOP EXPORT MARKETS (mill. sq.m )

2011

2012

2011

2012

2011

2012

1. FRANCE

53.2

48.5

1. SAUDI ARABIA

26.2

32.3

1. SAUDI ARABIA

77.5

87.4

2. GERMANY

42.3

42.2

2. FRANCE

26.6

26.6

2. NIGERIA

35.6

48.6

3. USA

27.0

29.1

3. ISRAEL

15.7

16.8

3. SINGAPORE

43.8

42.7

4. AUSTRIA

10.5

11.3

4. ALGERIA

11.2

14.1

4. USA

40.0

41.2

5. BELGIUM+LUX

9.6

9.5

5. RUSSIA

10.4

13.0

5. SOUTH KOREA

40.2

41.0

6. SWITZERLAND

8.0

7.7

6. JORDAN

6.8

12.0

6. THAILAND

36.6

40.6

7. CANADA

7.1

7.2

7. UK

10.8

10.9

7. BRAZIL

37.2

36.2

8. UK

6.7

6.3

8. MOROCCO

6.3

9.0

8. UAE

34.1

36.1

9. RUSSIA

4.7

5.8

9. LIBYA

0.6

8.3

9. INDONESIA

20.1

35.0

10. SAUDI ARABIA

5.0

5.4

10. USA

7.1

8.0

10. PHILIPPINES

27.9

34.2

11. GREECE

7.8

5.1

11. NIGERIA

5.9

7.5

11. SOUTH AFRICA

21.9

25.7

12. CROATIA

4.5

4.6

12. GERMANY

6.7

7.1

12. INDIA

35.5

25.2

13. ROMANIA

4.1

4.5

13. IRAQ

5.4

6.5

13. VIETNAM

24.6

23.8

14. NETHERLANDS

5.1

4.4

14. UAE

5.6

6.3

14. MALAYSIA

20.0

21.5

15. SWEDEN

4.6

4.0

15. ITALY

6.8

5.8

15. GHANA

19.4

21.1

16. ISRAEL

4.2

3.9

16. LEBANON

3.6

4.9

16. AUSTRALIA

19.7

19.6

17. HUNGARY

4.6

3.7

17. PORTUGAL

6.2

4.7

17. MEXICO

16.9

19.5

18. POLAND

3.5

3.3

18. ALBANIA

5.7

4.7

18. KUWAIT

20.0

19.2

19. CHINA + H.K.

2.0

3.3

19. KUWAIT

4.9

4.4

19. HONG KONG

20.4

17.5

20. DENMARK

3.3

2.9

20. POLAND

3.2

3.3

20. COLOMBIA

13.8

15.5

21. CZECH REP.

3.2

2.7

21. UKRAINE

3.3

3.3

21. CHILE

10.2

14.6

22. SLOVENIA

3.1

2.7

22. GREECE

4.4

3.0

22. IRAQ

15.0

13.3

23. NIGERIA

1.5

2.6

23. ROMANIA

3.7

2.9

23. JAPAN

10.8

13.0

24. FINLAND

2.9

2.4

24. MEXICO

2.7

2.6

24. TANZANIA

10.2

12.8

25. AUSTRALIA

2.3

2.4

25. DOMINICAN REP.

2.4

2.6

25. VENEZUELA

7.8

12.8

Source: Various sources

18

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Exclusive content ducer and consumer country was India. Production rose to 691 million sq.m (+12% as in 2010 and 2011) and consumption to 681 million sq.m (up 9% on 2011). In spite of an increase, exports remained insignificant at 32 million sq.m, while imports from China dropped from 35 to 25 million sq.m. 8) Following 12.5% growth in exports to 295.6 million sq.m, in 2012 Spain became the second largest exporter country after China. It saw an increase in sales in Saudi Arabia (from 26 to 32 million sq.m), which became its largest market, while sales remained stable in France, its second largest market, at 26.6 million sq.m. Exports also increased to its other main markets, including (in order): Israel (+7%), Algeria (+25.9%), Russia (+25%) and Jordan (+76.5%). The performance in Libya was outstanding, with sales reaching 8.3 million sq.m after plummeting almost to zero in 2011. The value of exports rose to 2,081.5 million euros (+10%), with an average price of 7 euro/sq.m. Spain has continued to see its export share fall in Europe, dropping in 2012 to 37.8% in volume (111.9 million sq.m, -3.3%) and to 49.4% in value (1,029 million euros, -1.3%). Exports to the Americas remained more stable at 8.8% in volume (26 million sq.m, +13.4%) and 10.3% in value (213 million euros, +14.2%). At the same time, there has been continued growth in export shares absorbed by Asia, 33.6% in volume (99.2 million sq.m, +18.7%) and 25.8% in value (537 million euros, +18.1%) and by Africa (19.4% in volume and 14% in value), which absorbed exports of 57.3 million sq.m (+43.7%) corresponding to a turnover of 289 million euros (+46.7%). The positive export performance offset the further sharp fall in domestic demand, which dropped from 129 to 109 million sq.m (-15.5%), allowing the Spanish industry to close out the year with total sales of 399 million sq.m (+4.5%) and a total turnover of 2,657 million euros (+2.3%). Spain’s production volumes continued their steady recovery in 2012 to reach 404 million sq.m (+3.1%), making Spain the fifth largest producer country. 9) In 2012 Italy suffered falls in both production (down 8.3% to 367.2 million sq.m) and in total sales (down 7.5% to 382.2 million sq.m). Domestic sales dropped sharply (down 18.9% from 115 to 93 million sq.m), generating revenues of 919 million euros (-19.8%). Exports experienced a smaller fall in volumes (down 3% from 298 to 289 million

TURKEY: THE TOP EXPORT MARKETS (mill. sq.m ) 2010

2011

2012

1. IRAQ

3.7

6.9

10.8

2. ISRAEL

11.7

10.7

3. UK

8.2

4. GERMANY

9%)。尽管如此,其出口量只有3200万平方米,从 中国的进口量由3500万平方米降至2500万平方米。 8)2012年,西班牙成为仅次于中国的第二大出口国, 出口量增加12.5%,达到2.956亿平方米。沙特阿拉 伯成为其最大市场,销售量从2600万平方米上升至 3200万平方米,法国为其第二大市场,销售稳定在 2660万平方米。其他主要市场的出口也有所增长, 包括(按顺序):以色列(增幅7%)、阿尔及利 亚(增幅25.9%)、俄罗斯(增幅25%)和约旦( 增幅76.5%)。利比亚的增长最突出,相较于2011 年几乎为零的销售量,达到了830万平方米。西班 牙出口额达20.815亿欧元(增幅10%),平均价格 7欧元/平方米。西班牙在欧洲的出口份额继续下 跌,2012年的出口量降至37.8%(达1.119亿平方 米,降幅3.3%),出口额降至49.4%(达10.29亿 欧元,降幅1.3%)。在美洲国家,其出口量保持在 8.8%(达2600万平方米,增幅13.4%),出口额占 10.3%(达2.13亿欧元,增幅14.2%)。与此同时, 其在亚洲的出口份额不断增长,出口量达33.6%( 为9920万平方米,增幅18.7%),出口额占25.8% (达5.37亿欧元,增幅18.1%)。西班牙在非洲的 出口量占19.4%,出口额占14%,出口达5730万平 方米(上升了43.7%),成交额达2.89亿欧元(增 幅为46.7%)。出口表现积极,抵消了国内需求急 速下降的影响,国内需求从1.29亿平方米降至1.09 亿平方米(降幅15.5%),使2012年西班牙瓷砖业 以3.99亿平方米(涨幅4.5%)的总销售量以及26.57 亿欧元(涨幅2.3%)的总营业额收官。 9) 2012年,意大利的产量(减少8.3%,降至3.672亿 平方米)和总销售量(减少7.5%,降至3.822亿平 方米)都受挫。国内销量大幅下降(降幅18.9%, 从1.15亿平方米减少到9300万平方米),创收9.19 亿欧元 (减少19.8%)。出口量的降幅较小(减少 了3%,从2.98亿平方米下降到2.89亿平方米)。由 于平均销售价格增长至12.7欧元/平方米,这一增长 创造了36.6亿欧元(增幅2.6%)的出口额。该地区 的总成交额为45.8亿欧元(下降2.8%)。

BRAZIL: THE TOP EXPORT MARKETS (mill. sq.m ) 2010

2011

2012

1. PARAGUAY

9.4

10.7

9.8

10.7

2. USA

8.3

8.1

6.3

8.6

9.1

3. DOMINICAN REP.

4.5

4.9

5.2

8.6

8.6

8.4

4. URUGUAY

3.0

3.7

3.7

5. AZERBAIJAN

4.8

6.2

7.5

5. VENEZUELA

0.4

1.1

2.9

6. CANADA

6.6

4.3

5.7

6. COLOMBIA

1.6

2.8

2.6

7. GEORGIA

4.2

4.7

4.7

7. ARGENTINA

3.9

4.4

2.5

8. FRANCE

4.2

4.1

4.4

8. PERU

1.0

0.9

2.2

9. LIBYA

1.8

0.2

3.8

9. TRINIDAD

1.9

2.0

2.1

10. USA

2.2

2.4

3.6

10. HAITI

0.3

1.4

1.9

Source: Serkap

20

C era mic W o rld Review ch inese edition 2014

Source: Anfacer


Exclusive content sq.m) and thanks to an increase in average selling price to 12.7 euro/sq.m (+5.9%) generated an export turnover of 3.66 billion euros (+2.6%). The sector’s total turnover was 4.58 billion euros (-2.8%). Exports showed an increase in all geographical areas with the exception of the EU, which accounted for sales of 156.2 million sq.m (-7.3%) with a value of 2,064 million euros (-2.9%). Exports to non-EU Europe dropped by 2.6% in volume but rose by 7.8% in value, and performed well in the Americas with 5.9% growth in volume (42 million sq.m) and a 16.9% increase in value due to a 10% rise in average selling price (13.95 euro/sq.m). Sales in Asia remained stable in volumes at 29 million sq.m, but increased in value; exports to Africa reached 13 million sq.m (+15.8%) but the average price remained below 7 euro/sq.m. Of all the tile exporting countries, Italy is the one with the highest export share, almost 79% of production. However, this export activity is strongly focused on the European market (which accounts for 69.5% of total Italian exports in both volume and value) and to a lesser extent on North America (14.5% of exports in volume and 16% in value). Italy also remains the country with the highest level of manufacturing internationalisation in the world with 20 companies controlled entirely or partially by Italian ceramic groups operating production facilities in the United States, Russia, Spain, France, Germany, Poland and Portugal. These companies reported excellent results in 2012 with a total production of 139.6 million sq.m (up 14.7% on 2011), sales of 141.5 million sq.m (+11.1%) and turnover of

意大利的出口在各地都有所增长,除了在欧盟下 降7.3%,达到1.562亿平方米,出口额达2.64亿欧 元(降幅2.9%)。意大利在非欧盟国家的出口量 减少了2.6%,出口额增加了7.8%。由于平均价格 (12.95欧元/平方米)增加了10%,意大利在美 洲国家的市场表现良好,出口量增长了5.9%(达 4200万平方米),出口额增长了16.9%。亚洲销 量保持稳定,销售量达2900万平方米,销售额有 所增长;在非洲国家的出口量达1300万平方米( 增幅15.8%),但平均价格保持在7欧元/平方米以 下。在所有瓷砖出口国中,意大利占有最高出口 份额,几乎达产量的79%。然而,其出口重点放在 欧洲市场,占意大利出口总量和出口总额的69.5% ;北美市场稍有逊色,出口量占14.5%,出口额占 16%。意大利制造业国际化程度最高,有20家企业 由意大利陶瓷集团完全或部分控制,在美国、俄罗 斯、西班牙、法国、德国、波兰和葡萄牙等地运 行生产设备。2012年,这些企业业绩卓越,总产 量达1.396亿平方米,同比增长14.7%;销售量达 1.415亿平方米,增加11.1%;成交额达11.95亿欧 元, 增加14.3%。这20家国际化工厂在本国的销量 超过产量的82%,而出口仅为18%。

10) 伊朗以其5亿平方米(增幅5.3%)的产量以及3.75 亿平方米(降幅5%)的国内消费量,稳固了其第

TOP IMPORTING COUNTRIES COUNTRY

2008 (Sq.m Mill.)

2009 (Sq.m Mill.)

2010 (Sq.m Mill.)

2011 (Sq.m Mill.)

2012 (Sq.m Mill.)

% on 2012 national consumption

% on 2012 world imports

% var. 12/11

1

SAUDI ARABIA

99

116

117

129

150

65.2

6.4

16.3

2

USA

157

124

130

131

139

68.1

5.9

6.1

3

FRANCE

112

101

103

107

105

85.4

4.5

-1.9

4

IRAQ

23

40

60

79

98

100.0

4.2

24.1

5

GERMANY

80

78

80

90

87

75.0

3.7

-3.3

6

RUSSIA

54

30

41

56

70

32.8

3.0

25.1

7

SOUTH KOREA

59

55

59

63

61

60.4

2.6

-3.2

8

NIGERIA

30

29

30

44

60

100.0

2.5

36.4

9

UAE

55

45

48

48

51

52.0

2.2

6.3

10

GREAT BRITAIN

58

43

43

44

46

90.2

2.0

4.5

11

THAILAND

25

28

30

42

44

28.4

1.9

4.8

12

ISRAEL

30

30

39

41

42

93.3

1.8

2.4

13

BRAZIL

11

12

23

41

41

5.1

1.7

0.0

14

LIBYA

14

21

25

4

40

97.6

1.7

900.0

15

CHILE

25

22

35

33

40

83.3

1.7

21.2

16

PHILIPPINES

16

21

28

31

36

54.5

1.5

16.1

17

INDONESIA

11

7

10

20

34

10.0

1.4

70.0

18

AUSTRALIA

31

34

36

35

33

89.2

1.4

-5.7

19

CANADA

30

27

33

30

33

94.3

1.4

10.0

20

KUWAIT

23

19

20

26

28

100.0

1.2

7.7

TOTAL

941

882

990

1,094

1,238

11.3

52.5

13.1

1,936

1,764

1,971

2,175

2,358

21.6

100.0

8.4

WORLD TOTAL

In 2012 Imports of the 20 major importing countries represented 52.5% of total world imports and 11.3% of total world consumption.

22

Cera mic W o rld Review ch ines e edition 2014


I.C.F. & WelkoS.p.A. VIA SICILIA,10 41053 MARANELLO (MODENA) ITALY TEL.+39-0536240811 FAX +39-0536240888 icf-welko@icf-welko.it www.icf-welko.it


Exclusive content 1,195 million euros (+14.3%). These 20 international companies sold more than 82% of their output in the countries where they are located and exported just 18%. 10) With a production of 500 million sq.m (+5.3%) and a domestic consumption of 375 million sq.m (-5%), Iran confirmed its position as the fourth largest tile producer and consumer country and overtook Turkey to become the fourth largest exporter. Exports totalled 93 million sq.m (+43%), of which 78.5% were shipped to Iraq and 14.4% to Afghanistan. 11) In 2012 Turkey reached a new record figure for both production (280 million sq.m, up 7.7% on 2011) and domestic sales (180 million sq.m, +9.1%), which almost entirely satisfied domestic consumption. Exports were up for the third year running to reach 91.7 million sq.m (+5%). Export growth in terms of value was even higher (+10.4%), achieving a record value of more than $586 million. The top export markets for Turkish tiles in terms of value were Germany ($66 million, -11.9%), Iraq ($60.7 million, +57.8%), Israel ($58 million) and the UK ($54 million, +14.8%). Iraq has become the top market in terms of export volumes with 10.8 million sq.m (+55.7%), followed by Israel which has remained stable at 10.7 million sq.m.

SAUDI ARABIA: SHARES OF CONSUMPTION 2012 TOTAL CONSUMPTION

230.0 million sq.m

Sales of domestic production

为第四大出口国。出口总量达9300万平方米(增幅 43%),其中78.5%出口至伊拉克,14.4%出口至阿 富汗。 11)2012年,土耳其的产量(达2.8亿平方米,同比增 长7.7%)和国内销售(达1.8亿平方米,增幅9.1% )都创新高,几乎满足了所有国内消费。出口量连 续第三年增长至9170万平方米,增幅5%。出口额增 长更高,增幅10.4%,创造了超过5.86亿美元的历 史记录。就出口额而言,土耳其瓷砖的最大出口国 分别为德国(出口额6600万美元,降幅11.9%)、 伊拉克(出口额6070万美元,增幅57.8%)、以色 列(出口额5800万美元)以及英国(出口额5400万 美元,增幅14.8%)。就出口量而言,伊拉克成为 土耳其的最大出口国,出口量达1080万平方米(增 幅55.7%),以色列紧随其后,出口量维持在1070 万平方米。 12)2012年,前20名瓷砖进口国的进口总量达到12.38 亿平方米,相当于世界进口/出口总量的52.5%,占

FRANCE: SHARES OF CONSUMPTION 2012 TOTAL CONSUMPTION

80.0 million sq.m

Imports

四大瓷砖生产国与消费国的地位,并超越土耳其成

123.0 million sq.m

Sales of domestic production

150.0 million sq.m

18.0 million sq.m

Imports

105.0 million sq.m

Main imports from:

2010

2011

2012

Main imports from:

2010

2011

2012

1. CHINA

62.0

77.5

87.4

1. ITALY

50.3

53.2

48.5

2. SPAIN

22.3

26.2

32.3

2. SPAIN

25.2

26.6

26.6

3. EGYPT

5.5

4.3

5.5

3. PORTUGAL

11.5

12.2

11.3

4. ITALY

6.4

5.0

5.4

4. UK

0.4

1.3

4.6

5. INDIA

1.2

3.0

5.1

5. TURKEY

4.2

4.1

4.4

6. TURKEY

0.6

1.0

1.5

6. GERMANY

2.6

2.4

2.4

Various sources

Various sources

GERMANY: SHARES OF CONSUMPTION 2012 TOTAL CONSUMPTION

116.0 million sq.m

USA: SHARES OF CONSUMPTION 2012 TOTAL CONSUMPTION

Sales of domestic production

28.5 million sq.m

Sales of domestic production

Imports

87.5 million sq.m

Imports

203.9 million sq.m 65.3 million sq.m 138.6 million sq.m

Main imports from:

2010

2011

2012

Main imports from:

2010

2011

2012

1. ITALY

39.7

42.3

42.2

1. MEXICO

36.0

39.2

43.7

2. CHINA

10.7

9.7

7.9

2. CHINA

31.9

36.4

38.3

3. TURKEY

7.0

8.3

7.7

3. ITALY

23.2

22.3

23.7

4. SPAIN

6.2

6.7

7.1

4. SPAIN

6.9

6.9

7.7

5. CZECH REP.

7.0

7.4

6.9

5. BRAZIL

8.3

8.1

6.8

6. POLAND

3.3

4.1

4.5

6. TURKEY

2.8

2.9

4.4*

7. UAE

3.1

3.6

3.5

7. PERU

3.4

3.8

3.6

8. FRANCE

3.4

3.0

2.6

8. COLOMBIA

5.6

3.6

2.8

9. PORTUGAL

-

1.6

1.5

9. THAILAND

5.4

2.2

1.8

10. AUSTRIA

-

0.7

0.6

10. HONG KONG

0.8

1.4

1.1

Source: Industrieverband Keramische Fliesen und Platten

24

Cera mic W o rld Review ch inese edition 2014

Source: TCNA - *3.6 million sqm according to SERKAP


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Exclusive content 12) In 2012 the top 20 importer countries imported a total of 1,238 million sq.m of tiles, equivalent to 52.5% of total world import/export flows and 11.3% of total world tile consumption. In the relevant table (page 56) we have included the shares of each country’s total consumption that consists of imports. Imports to all countries with the exception of Russia, Thailand, Brazil and Indonesia made up more than half of domestic consumption. In 6 countries (Iraq, Nigeria, Kuwait, Israel, Canada and Libya) imports accounted for all (or more than 93%) of domestic demand. 13) With imports of 150 million sq.m (up 16.3% on 2011), Saudi Arabia overtook the United States in 2012 to become the largest tile importing country. The biggest suppliers remained China (87.4 million sq.m) and Spain (32.3 million sq.m). The growth in imports was a response to the consistent increase in domestic demand since 2005, which reached 230 million sq.m in 2012 (+13.3%) and in turn was driven by a booming building industry. In the residential sector alone, a total of 1.5 million housing units are expected to be built in the period 2012-2015. The country’s production has also been growing steadily and in 2012 reached 85 million sq.m (+9%), of which 51 million sq.m was produced by Saudi Ceramics. 14) In the United States, the further growth in tile consumption in 2012, from 194 to 204 million sq.m (+5.2%), was met on the one hand by a small increase in sales of domestic products (from 63 to 65 million sq.m), largely produced by companies controlled by Italian groups, and on the other by imports, which rose from 131 to 138.6 million sq.m. There was an increase in import volumes from the four largest supplier countries, namely Mexico (+11%), China (+5%), Italy (+6%) and Spain (+12%). If we look at import values the rankings are reversed, with Italy the market leader with a CIF value of $496 million (+9%), followed by China ($338 million, +13%), Mexico ($266 million, +12%) and Spain ($120 million, +13%). Imports from Turkey saw 51% growth in both volume and values, whereas imports from Brazil, Peru, Colombia and Thailand declined.

世界瓷砖总消费量的11.3%。在相关的排名中,每 个国家的总消费份额包括进口量。所有国家的进口 量超过国内消费量的一半,俄罗斯、泰国、巴西和 印度尼西亚除外。在6个国家中(伊拉克、尼日利 亚、科威特、以色列、加拿大和利比亚),进口量 几乎满足了国内需求量或占国内需求总量的93%。 13)2012年,沙特阿拉伯以1.5亿平方米的进口量(同 比增长16.3%)赶超美国成为最大瓷砖进口国。最 大供应商仍为中国(供应量为8740万平方米)和西 班牙(供应量为3230万平方米)。由于建筑业日益 繁荣,自2005年以来国内需求量不断增加,2012 年的需求量达到了2.3亿平方米(增幅13.3%)。仅 居民住宅方面,沙特阿拉伯有望于2012年至2015 年建造150万个住宅单元。该国产量保持稳定增 长,2012年达到8500万平方米(增幅9%),其中 5100万平方米由沙特陶瓷(沙特国内最大的生产 商)制造。 14)美国在2012年的瓷砖消费量进一步增长,从1.94亿 平方米上升至2.04亿平方米(增幅5.2%)。一方面 是由于国内产品销售的小幅增长(从6300万平方米 上升至6500万平方米),这些产品大部分由意大利 控股的工厂生产;另一方面是由于进口量从1.31亿 平方米增长至1.386亿平方米。进口量的增长主要 来自于四大供应商,墨西哥(增幅11%)、中国( 增幅5%)、意大利(增幅6%)以及西班牙(增幅 12%)。如果我们从进口额的角度来排名,顺序则 相反,意大利以4.96亿美元(增幅9%)的到岸价格 占市场主导地位,中国紧随其后(达3.38亿美元, 增幅13%),墨西哥(达2.66亿美元,增幅12%) 以及西班牙(达1.2亿美元,增幅13%)。土耳其的 进口量和进口额都增长了51%,而巴西、秘鲁、哥 伦比亚和泰国的进口则有所下降。 15)法国与德国作为两大瓷砖进口国以及消费国,2012

15) Two of the largest tile importer and consumer countries, France and Germany, showed fairly similar trends in 2012, with small falls in both domestic demand (France down 2.4% to 123 million sq.m and Germany down 1.7% to 116 million sq.m) and in imports (France down 1.9% to 105 million sq.m and Germany down 3.3% to 87.5 million sq.m). Italian tiles remained the market leader in both countries with a 39.4% share of consumption in France and a 36.4% share in Germany.

年的趋势相似,国内需求量和进口量都呈小幅下

16) Amongst the large tile producer and consumer countries, Russia reported some of the highest growth rates for all indicators in 2012. Production increased by around 18 million sq.m to 154 million sq.m (+13.2%) and domestic sales also rose (142 million sq.m, +14.3%) although insufficiently to meet the growth in local demand, up from 181 to 213 million sq.m (+17.7%). Imports grew by 25% to reach 70 million sq.m, including around 17 million sq.m from Ukraine, 13 million sq.m from Spain, 12 million sq.m from Belarus, 11 million sq.m from China and 6 million sq.m from Italy.

16)在瓷砖生产与消费大国中,俄罗斯2012年几乎所

(JF)

26

Cera mic W o rld Review ch ines e edition 2014

降,国内需求量方面,法国下降了2.4%,达1.23亿 平方米,德国下降了1.7%,达1.16亿平方米;进口 量方面,法国下降了1.9%,达1.05亿平方米,德国 下降了3.3%,达8750万平方米。意大利瓷砖保持其 在法德两国市场的领先地位,在法国的消费份额达 39.4%,在德国达36.4%。

有增长率指标都是最高的。产量增长了约1800万平 方米,达到1.54亿平方米(增幅13.2%);国内销 售也增长了(达1.42亿平方米,增幅14.3%),但 仍难满足当地需求,需求量从1.81亿平方米增长到 2.13亿平方米(增幅17.7%)。进口量上升了25% ,达到7000万平方米,其中从乌克兰进口约1700万 平方米,从西班牙进口约1300万平方米,从白俄罗 斯进口约1200万平方米,从中国进口约1100万平方 米以及从意大利进口约600万平方米。


Digital tiles Luca Baraldi - l.baraldi@tiledizioni.it

数字瓷砖 Over 460 people thronged the Astoria Theatre in Fiorano (Italy) on 8th November for the 5th Annual Acimac Digital Technology Meeting, organised in collaboration with Ceramic World Review. A sure success for what has become the most important autumn event for the Sassuolo ceramic industry; an unmissable appointment for all those involved in one way or another in the technological research, graphic design or manufacture of ceramic tiles using digital decoration systems. An event that, in 2014, will take place in the Rimini trade fair centre in September, coinciding with Tecnargilla and therefore opening its doors to all the foreign visitors. Furthermore, above all, it will be the showcase where we can actually put our hands on the digital tile of the future, decorated and glazed using digital methods. There’s no doubt: 2014 will be the year when the focus will shift decisively to the digitalisation of the entire ceramic surface glazing phase. This was evident at the Meeting where, for the first time, the subject emerged clearly and directly, already highlighting the future evolution of this technology and the type of research carried out by colour companies and installers. The new digital glazes are ready. All the leading printer manufacturers are making the finishing touches to their machines; some have already been presented, and the first industrial test on a production line at the premises of a major Italian group is planned for this spring. A Meeting rich in content Inaugurated by Acimac president Fabio Tarozzi and vice president Paolo Lamberti, the 5th Annual Meeting, moderated by professor Paolo Zannini, welcomed eleven speakers onto the stage, representing the most important companies in this sector. They talked about various issues relating to digital technology, from colour management to the digital workflow, from inks to machines.

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Cera mic W o rld Review ch ines e edition 2014

11月8日, 460多人聚集在费奥拉诺的阿斯托里亚 剧院,参加《陶瓷世界评论》协助举办的第四届 ACIMAC数码科技会议。这已成为萨索罗陶瓷行 业这个秋天的头等大事,也是那些参与工艺研 究,图形设计,或使用数字系统从事瓷砖制造的 人员不可错过的盛会。 2014年9月,意大利里米尼陶瓷技术展览会Tecnargilla将在里米尼贸易展览中心举行,届时将向 所有的外国游客打开大门。此外,最重要的是, 这个展台将使我们亲手接触未来的数码施釉瓷 砖。 毫无疑问,2014年陶瓷行业的重心将明确转移到 整个陶瓷表面施釉阶段的数字化。很明显,这一 主题是第一次明确而直接地出现在会议上,凸显 了这项技术未来的发展方向以及色料公司和瓷砖 铺贴专家的研究方向。新的数字釉正蓄势待发。 所有领先的打印机厂商都在对它们的机器进行最 后的收尾工作,其中一些已经推出机器,并计划 今年春季在一家意大利大集团进行第一次工业生 产线试验。 一场内容丰富的会议 第四届年度会议由ACIMAC总裁Fabio Tarozzi和 副总裁Paolo

Lamberti宣布召开,由教授Paolo

Zannini主持,11位演讲者走上讲台,代表这一领 域最重要的公司发言。 他们谈论有关数字技术的各种问题,从色彩管理 到数字工作流程,从墨水到机器。三家色料企业 代表出席了会议, Fabio Avoni(来自Colorobbia Italia)主讲“ 卡罗比亚数字空间”涉及的社


focus on digital decoration

Three ink and glaze manufacturers were represented: Fabio Avoni (Colorobbia Italia) concentrated on the social responsibility aspects of the “Colorobbia Digital Space” range; Armando Meletti (Esmalglass Itaca) presented DPM, a new range of glazing and digital decoration materials, Marzia Barattini (Ferro) confirmed that advances in the digital field, with the introduction of new glazes, are truly transforming the existing glazing and decoration processes. Two specific topics - the role of ground-breaking chemistry at the service of digital technology, and the need for manufacturers to adopt appropriate colour management systems - were dealt with by Federico Piccinini and Paolo Monari (Smaltochimica). The following speakers focused on digital printing machines: Rita Cagnoli (System) with her “System: digital ex-

会责任问题; Armando Meletti (来自 Esmalglass

Itaca)提出DPM,即釉料和数字装饰材料

的新范围;Marzia Barattini (来自Ferro)确信随 着新釉料的引进,数字领域的进步正在真正改造现 有的施釉和装饰工艺。 Federico Piccinini 和 Paolo Monari 主讲(来自 Smaltochimica )两个特定的主题 - 突破性化学 在数字技术领域的作用以及厂家采用适当的色料管 理系统的需要 。 以下发言人着重于数码喷墨打印机:Rita Cagnoli(来自System)做了题为“System: 数码领域的 佼佼者”的报告; Marco Ferrari (来自Siti B&T ) 强 调了生产过程日益倾向于使用集成的数字化生产线

Ce r am i c W or Celd r am R eivi c W ew orchi ldnReese vi e d wi ti n .on 1 0 5/ 2 0210414

29 12


cellence” report; Marco Ferrari (Siti B&T Group), who stressed the growing tendency of the production process to use integrated digital line solutions, a concept also underlined by Erminio Guiducci (IN.TE.SA) in his report “Glazing and decoration in the digital era: an integrated process”; Antonio De Carlo (Assodigit) profiled the new digital machine Assodigit D1; Simone Tardini (Kerajet Italia) retraced the key stages of the digital revolution (backed by the Spanish company right from the start, in 1998), and also described the more recent technological milestones; Alberto Annovi (Tecnoexamina, Tecnoferrari Group) presented the primary features of the VivaJet system while his colleague, Giovanni Affinito, illustrated the company’s GeCo colour management system. On the following pages you’ll find a summary of the talks, also available in the complete version on the CeramicWorldWeb.it portal. The role of the design studios “Our area has never changed so much like in these last three years”. These were the first words of Paolo Lamberti, Acimac vice president, in his introduction to the Meeting. The aim was to draw the attention of the public to the role of design studios in a digital future that is already here and which, despite taking opportunities away from the many traditional screen printing companies, “is equally rich in professional openings for those able to embrace the change and the industrial challenge”. The design studios, most of them united under the promotional banner “Style for Tile” promoted by Acimac, are a typical element of the Sassuolo district - a true “concentration of specialisation” that’s unique in the world. Today, more than ever before, “our role is focused on research that combines beauty with industrial feasibility” – said Lamberti. “We’re travelling along a road that’s leading us towards increasingly refined products. Technology is offering us design tools, and industrial production will draw the product concept back to the material, opening up horizons that at the moment are still unthinkable. That’s why it’s so important to guarantee a professional relationship with our customers”. Lamberti emphasised the significance of the confidentiality protocol signed in May 2013 by the design studios (partners of Acimac) and Confindustria Ceramica (the Italian Ceramic Manufacturers’ Association): the studios are required to adopt the utmost confidentiality in the treatment of the graphic project and relative files created for customer ceramic firms, ensuring the exclusive nature of the material, while the ceramic companies must in turn guarantee the confidentiality of the information received. “I believe that greater attention to these topics is essential, – affirmed Lamberti - especially for those who need to safeguard their technological advantage and don’t just search for design at the lowest price. The design process has an industrial cost like any other product; a cost that guarantees the constant quality of the design itself”.

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C era mic W o rld Review ch ines e edition 2014

解决方案,这一概念Erminio TE.SA)

Guiducci

(来自IN.

在报告《数字时代的施釉和装饰:一体化

过程》中也有提到 ; Antonio De Carlo (来自Assodigit)描绘了新的数码机器Assodigit

D1;

Si-

mone Tardini (来自Kerajet Italia公司)追溯了数 字革命的关键阶段(最初由西班牙公司于1998年 发起),并且还描述了最近的技术里程碑;

Alber-

to Annovi (来自Tecnoexamina, Tecnoferrari 集团)描述了VivaJet系统的主要功能,而他的同 事Giovanni

Affinito详细说明了该公司的GeCo

色彩管理���统。 接下来为讲话摘要,你也可以在CeramicWorldWeb.it门户网站看到完整版(平板用户从本页 起)。 设计工作室的作用 “我们领域最 近三年从未有 过像现在这样 的巨变”

。这

是ACIMAC副 总 裁 P a o l o Lamberti开幕 词的第一句话,其目的是唤起公众注意当今数字化 趋势下设计工作室的作用,这一趋势已经存在,虽 然它会让许多传统的丝网印刷工人失业,

但它同

样也为那些能够敢于面对变化和迎接行业挑战的人 提供了新的机会 。设计工作室大多使用ACIMAC 的宣传口号“瓷砖风格”,

这些工作室是萨索罗

背景下的典型元素-一种真正独一无二的“专业化 集合”。

Lamberti说,今天比以往任何时候更

甚,

“我们专注于研究美学与行业结合的可行

性”。

“我们会沿着这条路前行,将今后的产品

做得越来越精致。科技为我们提供设计工具,工业 生产将产品概念回归实体,开辟目前仍然无法想象 的新视野。这就是保障客户业务关系如此重要的原 因。 Lamberti强调了2013年5月由设计工作室(ACIMAC的合作伙伴)和CONFINDUSTRIA CERÁMICA (意大利陶瓷制造商协会)制订的保密协议的 意义:工作室须对图形项目和陶瓷企业客户的相关 文件高度保密,保证材料的专属性,而陶瓷企业必 须同样保证接收信息的保密性。 我相信,我们需要更多地关注这些话题,这是必不 可少的,” Lamberti说,“特别是有些企业需要 维护自身技术优势,而不只是搜索最廉价的设计。 和其他产品一样,设计过程中含有工业成本,这个 成本保证了设计本身质量的稳定性”。


focus on digital decoration The worldwide spread of digital methods

数码产品在世界范围的普及

The figures that just 2 years ago were seen as “striking” (see CWR 97/2012) fade in the light of the accelerated worldwide spread of digital production methods in 2013. The total number of digital printing machines installed around the world in December 2010 was 538. This rose to 1,054 by the end of 2011 and 1,537 by December 2012 (an average of 500 units more every year). Then, in 2013 alone, another 1,367 were added, bringing the total to 2,904 by 31st January 2014 (+89% in 13 months). And the number of countries adopting digital production methods is increasing, too: from 24 at the start of 2010, to 48 today. But the countries that turned to this technology early on - Spain (nearly 300 printers currently in use) and Italy (240 printers, including 43 installed in 2013) - can now be considered more or less “saturated”, so the exponential growth is now concentrated in the non-European countries, led in particular by Asia. Of the 1,367 machines fitted last year, 711 are in China, 206 in India, 49 in Iran and 44 in Indonesia. With regards the other major tile-producing countries, Brazil is making up ground, albeit more slowly: from 45 machines operating in December 2012 to 87 today. It goes without saying that the country with the most digi-

随着2013年数字生产方式在全球的快速蔓延,2年 多前让人“惊讶不已”的数据(见CWR

97/2012

)如今已渐渐淡去。2010年12月全世界安装的数码 喷墨打印机总数是538台

,2011年底涨至1054

台,2012年12月底又上升至1537台(每年平均增 加500台以上)。然后,仅在2013年,又增加了 1367台;2014年1月31日,总量达到2904台(

采用数字化生产方式的国家数量也在增加:从2010 年初的24个到现在的48个。但很早就转而使用这种 技术的国家——西班牙(近300台数码喷墨打印机 当前正投入使用)和意大利( 240台数码喷墨打印 机,包括2013年安装的43台)——现在多多少少 已“饱和” ,所以现在的指数增长集中在非欧洲国 家,尤其是亚洲领衔增长。 去年亚洲新增了1367台机器,其中中国有711台, 印度 206台,伊朗49台,印度尼西亚44 台。至于其 他主要瓷砖生产国,巴西正在迎头赶上,虽然速度

World distribution of digital printers La diffusione mondiale delle macchine digitali

December 2012

January 2014

Number of installed and working inkjet machines by geographical area Numero di macchine digitali installate e attive per area geografica No. of installed machines Area

Totale installato

up to / al 31/12/12

up to / al 31/1/14

Asia

794

1,895

European Union

522

South America

64

Extra-EU Europe Africa

% on total installed machines % Var.

% sul totale installato

up to / al 31/12/12

up to / al 31/1/14

138.7%

51.7%

65.3%

612

17.2%

34.0%

21.1%

134

109.4%

4.2%

4.6%

52

107

105.8%

3.4%

3.7%

58

77

32.8%

3.8%

2.7%

North America (NAFTA)

45

77

71.1%

2.9%

2.7%

Oceania

2

2

0.0%

0.1%

0.1%

TOTAL

1,537

2,904

88.9%

100.0%

100.0%

Source: Acimac Survey Dept.

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Cera mic W o rld Review ch ines e edition 2014

13

个月增长了89 %)。


focus on digital decoration Number of installed and working inkjet machines by country Numero di macchine digitali installate e attive per singolo paese

Country

No. of installed machines / Totale installato up to / al 31/12/12

up to / al 31/1/14

% on total installed machines / % sul tot installato up to / al 31/12/12

up to / al 31/1/14

1

China

499

1,210

142.5%

32.5%

41.7%

2

India

181

387

113.8%

11.8%

13.3%

3

Spain

272

295

8.5%

17.7%

10.2%

4

Italy

197

240

21.8%

12.8%

8.3%

5

Brazil

45

87

93.3%

2.9%

3.0%

6

Iran

26

75

188.5%

1.7%

2.6%

7

Turkey

44

75

70.5%

2.9%

2.6%

8

Indonesia

24

68

183.3%

1.6%

2.3%

9

Mexico

26

44

69.2%

1.7%

1.5%

10

USA

19

33

73.7%

1.2%

1.1%

11

Saudi Arabia

11

31

181.8%

0.7%

1.1%

12

Malaysia

7

30

328.6%

0.5%

1.0%

13

Vietnam

12

27

125.0%

0.8%

0.9%

14

Egypt

13

25

92.3%

0.8%

0.9%

15

Russia

8

24

200.0%

0.5%

0.8%

16

Poland

12

24

100.0%

0.8%

0.8%

17

Portugal

20

24

20.0%

1.3%

0.8%

18

Algeria

21

23

9.5%

1.4%

0.8%

19

Thailand

10

20

100.0%

0.7%

0.7%

20

Taiwan

6

16

166.7%

0.4%

0.6%

21

UAE

11

15

36.4%

0.7%

0.5%

22

Tunisia

8

12

50.0%

0.5%

0.4%

23

Argentina

4

12

200.0%

0.3%

0.4%

24

Colombia

3

11

266.7%

0.2%

0.4%

25

South Africa

8

9

12.5%

0.5%

0.3%

26

Peru

4

9

125.0%

0.3%

0.3%

27

Germany

7

9

28.6%

0.5%

0.3%

28

Morocco

8

8

-

0.5%

0.3%

29

United Kingdom

7

8

14.3%

0.5%

0.3%

30

Republic of Korea

2

7

250.0%

0.1%

0.2%

31

Ukraine

0

4

0.0%

0.1%

32

Bolivia

1

4

300.0%

0.1%

0.1%

33

Ecuador

4

4

-

0.3%

0.1%

34

Guatemala

2

4

100.0%

0.1%

0.1%

35

Bulgaria

2

4

100.0%

0.1%

0.1%

36

France

3

4

33.3%

0.2%

0.1%

37

Czech Republic

1

3

200.0%

0.1%

0.1%

38

Bangladesh

0

2

0.0%

0.1%

39

Israel

2

2

-

0.1%

0.1%

40

Sri Lanka

2

2

-

0.1%

0.1%

41

Oman

0

2

0.0%

0.1%

42

Belarus

0

2

0.0%

0.1%

Others

6

9

50.0%

0.4%

0.3%

TOTAL

1,537

2,904

88.9%

100.0%

100.0%

Source: Acimac Survey Dept.

XX 34

% Var.

Ceramic World Review n. 75/2008 Cera mic W o rld Review ch inese edition 2014


tal printers is China (1,210 - 42% of the total, compared with the approximately 200 machines being used just 2 years ago). Next in line are India (387), Spain, Italy, Brazil and Iran. According to the forecast of the leading players in this “digital revolution” (the suppliers of inks and machines), it’s highly likely that the speed at which tile decoration lines are being digitalised at world level will stay at these levels throughout 2014, only beginning to slow down in 2015. But by then the new race towards glazing line digitalisation will already have begun, and this will add yet more advantages to those of inkjet decoration: on the one hand, the chance to increase the aesthetic level of the materials, and on the other the definitive rationalisation of production lines and process management, meaning greater efficiency and profitability for the ceramic tile manufacturing companies. 

比较慢:从2012年12月45台机器到现在的87台

不言而喻,拥有最多数码喷墨打印机的国家是中国 ( 1,210 台,占总数的42 % ,而2年前仅约200 台),接下来是印度( 387 台) ,西班牙,意大 利,巴西和伊朗。据这一“数字革命”的领先者( 墨水和机器的供应商)预测,全世界瓷砖装饰产线 数字化的速度2014年极有可能全年保持这些水平, 并且要到2015年才放缓。 但那时对施釉线数字化的新竞赛已经开始,这将为 喷墨装饰增加更多优势:一方面,可能提高材料的 审美水平;另一方面,生产线和流程管理的明确合 理化,将会给陶瓷生产企业带来更高的效率和收 益。

THE FOURTH EDITION OF THE ACIMAC HANDBOOK ON DIGITAL TECHNOLOGIES HAS BEEN PUBLISHED Digital Glazing and Decoration of Ceramic Tiles is the fourth update of Acimac handbooks on digital technologies and features some extended technical reports written by the leading companies manufacturing glazes and inks, printers and colour management systems.

The handbook is available in Italian and English and can be downloaded free of charge in pdf format from our website www.ceramicworldweb.it.

Ce r am i c W or Ce Cerld ram am RieiccviWW eor w orld chi ld n RReevi se vieeeww dn in ti ..on 11005/ 5/ 22020104 14 14

35 12 12


System, excellence in the digital sector System, 数码领域的佼佼者

by Rita Cagnoli, System

Creadigit was designed based on three essential principles: reliability, print quality, versatility. The result of the research carried out by the company is a machine with an exceptionally high production rate (in terms of first class tiles and square metres of product), which does not generate smearing due to blocked nozzles, and features hardware and software that are highly reliable in the long term. The machine allows all types of traditional stones to be printed and, thanks to its high definition, it can also be used to complete exercises focusing on style such as the reproduction of famous works. System has invested considerably, both in financial terms and in human resources, structuring a synergic team of technicians specialised in the Ink-Jet sector, composed of: production department; electrical and electronic design department; software design and RIP; mechanical design; graphic and technical assistance; digital laboratory. Two of the most important parts of a printer are the inks and the printheads. For this reason, a digital laboratory has been created to take care of: ink homologation, after-sales assistance, regeneration of the printheads, design and research.

Creadigit的设计基于三个基本原则:可靠性,打

Ink homologation

油墨认证

System has drawn up a homologation protocol in order to guarantee every single ink loaded in the Creadigit printing circuit. The protocol covers several different phases, the first of which is the rheological identification of the ink. For each colour, a list of the parameters used to guarantee that the ink works efficiently in the printhead are verified in the laboratory. The next phase of the protocol involves verifying the chemical compatibility of the ink and the relative cleaning solvent with the components of the printhead, the materials that constitute the hydraulic circuit and the inspection fluids. The last phase involves studying the waveform (the formation of the droplet). If an ink is well-formulated and the waveform is accurate, the drops for each of the three levels will have balanced speeds (that is, they will reach the supporting material at the same speed) and the print quality will be optimal at all frequencies with a constant weight at the 400@400dpi resolution.

System已制定了认证协议,以确保在Creadigit印

After-sales assistance and regeneration of printheads As it is not possible to simulate the conditions of the ceramics industry in the laboratory with 100% accuracy, the inks are also verified and checked both in the Creadigit start-up phase and during production, to define and optimise the machine and inks in all kinds of situations. The fast-rising popularity of the machine has made it neces-

36

Cera mic W o rld Review ch ines e edition 2014

印质量,多功能性。 公司的研究结果给机器带来极高的生产率(就一 流瓷砖和产品平方数而言)

,机器不会由于喷嘴

堵塞产生污点,且硬件软件长期可用。本机可打 印所有传统石材,并且由于其清晰度高,它也可以 在注重风格的操作项目中使用,如复制名作。无论 是在财政方 面还是在人 力 资 源 方 面,System 的投入相当 大,构建了一个由喷墨技术人员组成的协作团队: 由生产部、电子电气设计部、软件设计和RIP协 议、机械设计、图形和技术支持以及数字实验室组 成。一台打印机最重要的两个部分是墨水和喷头。 出于这个原因创立了数字实验室,用于墨水认证, 售后服务,喷头更新,设计和研究。

刷电路加载的每一滴油墨的质量。该协议涵盖了几 个不同的阶段,其中第一个阶段是墨水流变识别。 对于每种颜色,都有一系列参数用于保证墨水在打 印头里高效运作,这些参数已在实验室中进行验 证。该协议的下一阶段将验证墨水和喷头部件的清 洁溶剂、液压回路材料和巡回流体材料的化学兼容 性。 最后阶段涉及波形研究(液滴的形成)。如果墨水 配制良好,波形准确,那么三个级别的液滴都将有 均衡的速度(即,它们将以相同的速度接触辅助材 料),所有频率的打印质量将达到最佳,分辨率都 为400dpi。 售后服务和喷头更新 因为不可能在实验室中以100%的准确率模拟陶瓷 行业的情况,所以在Creadigit启动阶段和生产过 程中都会检测油墨,以便在各种情况下都能定义和 优化机器和墨水的参数。 机器的快速普及使我们有必要为更新喷头确定一个 灵活的程序。可以因电气原因更换喷头,因为可能


focus on digital decoration

sary to define a flexible procedure for regenerating the printheads. The printheads can be changed for electrical reasons, or because they cause stripes or scratches to appear, due to various factors, including an extremely dusty atmosphere. Some problems that may occur are the sediment depositing on the internal filter of the printhead, the plate suffering mechanical damage and the presence of solidified material near the printing nozzles. Often, simply cleaning the machine may be enough to restore the optimum print quality, and at other times it may be necessary to replace certain parts.

造成条纹或划痕出现;各种各样的因素,比如严重

Design and research

System团队设计了喷头的液压回路和其他部件,

The System team designs the hydraulic circuit that supplies the printhead and the other parts of which it is composed, analysing filters, deaerators, tougher, more suitable materials, protections, linings, with a view to making Creadigit ever more reliable and advanced. New inks and various kinds of materials are studied, and all the new printing technologies are examined, focusing particularly on verifying the efficiency of all the printheads on the market.

护措施及衬板,以期使Creadigit比以往任何时候

The versions of Creadigit Creadigit is currently available in the following versions: • Creadigit STD, 6 colours 700mm • Creadigit XL, 6 colours 1,100mm • Creadigit BS, 6 colours 1800mm • Creadigit S, 4 colours 700mm • Creadigit E, 8 colours 700mm • Creadigit 200, 8 colours 700mm • Creadigit XL 200, 8 colours 1100mm. All versions are available at 200 and 400dpi. Creadigit can print up to 200m2 of graphics in a double row, with structural recognition up to 50m/min at 400@400dpi. It is possible to choose the variation and also to print on the spot. The excellent reliability of the machine means System can offer customers a full service contract.

扬尘的环境,也是更换喷头的理由。还可能会发生 一些问题,包括喷头内的过滤器沉淀物沉积,面板 受到机械损伤,靠近印刷喷头的地方有固化材料, 等等。通常情况下只需简洁清洁机器就足以恢复最 佳的打印质量,特殊情况下可能需要更换某些部 件。 设计和研究

分析过滤器、除氧器、硬化器、更合适的材料、保 都更加可靠和先进。 System研究了新墨水和各种材料,并且检验了所 有新的打印技术,尤其侧重于验证市场上所有喷头 的效能。 Creadigit 的各种版本 Creadigit现有以下版本可用:

Creadigit STD, 6 色 700mm

Creadigit XL, 6 色 1,100mm

Creadigit BS, 6 色 1800mm

Creadigit S, 4 色 700mm

Creadigit E, 8 色 700mm

Creadigit 200, 8 色 700mm

Creadigit XL 200, 8 色 1100mm.

所有版本都可以在200dpi和400dpi下运 行。Creadigit最多可以高达50米/秒的速度和 400dpi的分辨率识别结构并打印200平方米的双列 图形,可以选择模式并现场打印。该机性能极佳, 意味着System可以为客户提供全方位服务。

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Digital lines: integrated solutions 数字生产线:综合解决方案 by Marco Ferrari, Siti B&T Group

Digital decoration always starts from a project, which might be a piece of marble, a stone, a piece of wood, a fabric or an innovative design, but it can be separated into its basic components: structure, colour, effect, material. For example, if we look at how a “wood” is processed, our analysis must begin from observing the piece itself. The structure is acquired by performing a high definition scan. The image is then processed graphically and transformed into a scoring file, ready for creating stamps or punches.

数码装饰总是从一个项目开始,可能是一块大理 石,一块石头,一块木头,一 块布,也可能是具有创新的设 计,但它可以分解为基本的组 成部分,即:结构,颜色,效 果,材料。例如,如果要看一 块木头是如何被加工的,我们 的分析就必须从观察物体本身 开始。通过高清晰度扫描获知 结构,然后以图形方式处理图

Digital graphics and structure This technique allows us to centre the design applied by the digital decoration machine perfectly on the structure, enhancing the colours, tones and textural effects of the material. In order to apply the design to different types of structures, a tool that allows the user to recognise the structure must be synchronised with the digital decoration machines. The colour of the sample wood is usually created using a digital back or a scanner that acquires the image at an extremely high resolution. The file obtained is developed in order to create the design-structure combinations and then transformed into the file to be loaded on the digital decorating machine. The graphic intervention also includes a Colour Management phase to maximise the resemblance of the desired colour to the shade which results when applied to the ceramic piece. Some of the technical characteristics that breathe life into wood are tactile sensations and not merely optical effects. Wood has a coarse texture that the touch recognises as authentic. When treaded on, some areas become shiny and others remain rough. To translate these effects into ceramics, different elements are required: the press, which reproduces identical elements to the original samples; a digital decorating machine (Evoseven or Evofive), which recognises the incoming structures and matches the appropriate design to each one; a second smaller, digital decorating machine, such as the Evothree, which applies a textural effect. Synchronised digital decoration machines For various reasons, it is preferable to use different synchronised digital decoration machines rather than a single machine equipped with many applications. The latest printheads on the market allow large quantities of ink to be released, and the use of textural applications requires significant quantities of ink to be deposited. Digital decorating machines can release more ink than the quantity that the tile is capable of absorbing between one application and the next. Therefore, the last bars would end up having to

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像并转化成高质量文件,这样 就可以用来刻印或打孔了。 数字图形和结构 这一技术使我们将数码打印设备使用的设计完全集 中于结构,加强材料色彩、色调和纹理效果。为使 设计适用于不同类型的结构,允许用户识别结构的 工具必须与数码打印设备同步。样板木头的颜色常 由获取高分辨率图像的数码后背或扫描仪生成,获 得与结构相配套的设计文件之后,再转化成数码打 印设备将要加载的文件。图形干预还包括色彩管理 阶段,以使应用到陶瓷片上形成的色度和所需的颜 色尽可能相似。 其中一些为木头注入生命力的技术特点是触觉感 受,而不仅仅是光学效果。粗糙质感的木头,触摸 起来让人觉得品质可靠。一经踩踏,一些地方被磨 得发亮,而另一些地方仍保持粗糙质感。为了让陶 瓷也有这样的效果,需要一些不同的元素,如:压 机,能制造和原来样品相同的效果; 数码喷墨打印 机( Evoseven或Evofive ) ,能识别输入的结构 并相应地选择匹配的设计; 再加一个较小的数码喷 墨打印机,如Evothree ,能制造出纹理效果。 同步数码喷墨打印机 由于各种原因,最好使用不同的同步喷墨打印机, 而不是有许多应用功能的单一机器。市场上最新 的喷头能释放大量墨水,而制造纹理效果需要大量 墨水储备。数码喷墨印刷机释放的墨水能超过瓷 砖在两个应用程序之间可吸收的量,所以,最后的 色槽不得不处理潮湿的半成品。墨水将从其原始 位置开始流动,导致清晰度减小并影响印刷的准确


focus on digital decoration

decorate a wet, semi-finished piece. The ink would begin to migrate from its original position, resulting in a loss of definition and a faulty decoration. Projecta Siti B&T proposes using one main decorating machine with 5 or 7 bars for the chromatic inks, and a second decorating machine, usually an Evothree, featuring 3 bars, for the textural effects. This second printer will be synchronised with the first and positioned a few metres away, to allow the piece to dry properly. Matching textural effects to colours and structures is also a way of differentiating and protecting the production of a ceramic industry from that of its competitors. A tile created solely with a digital decoration on a smooth base is easy to copy. The design can easily be acquired by scanning or photographing the finished pieces. Instead, it is much more difficult to copy a design composed of structures, effects and textures. Evostore Evostore is a mobile storage unit where colour bars can be kept in order to make them available for another line, or until they are required again for use. This operation only takes a few minutes, unlike the hours required for a traditional ink change and, as it does not involve cleaning the machine, there is no need for any kind of cleaner, nor to replace the filters. The colour configuration of a printer can also be changed, giving free reign to the expressive and decorative possibilities of the digital line. There are also financial benefits. The most expensive part of a digital decorating machine is always the colour bar, which contains the printheads and the electronics; the fact that the bar can be moved from one decorating machine to another enables the cost of each bar to be split, and makes the configuration of the lines more versatile, avoiding wasted time, productivity and money.

性。Projecta Siti B&T建议主喷墨打印机使用5条或 7条色槽处理彩墨;辅喷墨打印机通常为Evothree ,配3个色槽来制造纹理效果。第二台打印机与第 一台打印机同步,位置相隔几米远,以便充分干 燥。纹理效果与色彩和结构的搭配也是将陶瓷生产 商与其竞争对手区别开来,并保护该产业免受竞争 对手冲击的一种方式。仅在光滑基底上用数码装饰 制造的瓷砖很容易复制。通过扫描或拍摄成品就能 获知它的设计。而一个在结构、效果和纹理方面都 具有特色的设计却很难被人模仿。 Evostore Evostore是移动存储单元,可保存色带以便用于另 一条线路,或留下次备用。该操作只需要几分钟, 而不像传统墨水需要更换那样耗时,因为无需清洁 机器,所以不需要任何清洁剂,也不需要更换过滤 器。打印机的颜色配置也可以改变,为数字线的表 现力和装饰性提供充分发挥的空间。 Evostore能提高生产效益。数码印刷机中最昂贵的 部分始终是色槽,它包含了喷头和电子元件; 色槽 可以从一台打印机移到另一台打印机,这样能分摊 成本,并使线路配置更灵活,避免浪费时间、金钱 和生产率。

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Colorobbia Digital Space, the high-performance, responsible choice Colorobbia Digital Space, 卡罗比亚数字空间, 高效、可靠的选择 by Fabio Avoni, Colorobbia Colorobbia Digital Space, the Colorobbia range that includes the C-inks, C-Shine and C-Glaze series, was conceived in compliance with two fundamental principles, which are: social responsibility and finding the best compromise in order to guarantee a high level of technical performances. The objectives Colorobbia sets itself include respecting the environment, but also and overall, respecting the operators engaged before and after the process which involves the production and use of the ink.

Colorobbia数字空间, Colorobbia产品范 围包括C-油墨,C-闪光和C-釉系列,这一构 想来自两个基本原则,即社会责任和寻找最佳 平衡,以保证技术性能的高水准。 Colorobbia自身设置的目标包括尊重环境,也尊重墨 水的生产和使 用过程中涉及 的所有操作人 员。

The organic material

有机材料 The decision made by Colorobbia to use organic materials for its ink system is not only motivated by the lesser environmental impact of these components, but also by the lower level of water resistance that they guarantee. Indeed, the objective is to prevent or minimise the defects that appear when inks are not sufficiently compatible with water or glycolic acid-based materials. The most common of these defects are: surface cracks/water-repellent defects; they become matt and fire-resistant (in certain firing conditions); uneven colour. Based on the level of water resistance displayed by the inks, it is possible to verify phenomena of water-repellence due to the interaction of the inks with the previous or next layer after the digital decoration process. In the majority of cases, this application is water or glycolic acid-based. This results in the appearance of defects such as shrinkage or surface cracks, which depend mainly on the organic nature of the ink and on the quantity of material deposited, as well as on the water or glycolic acid content of traditional applications. Fire resistance is a phenomenon related to the intrinsic ability of the ink to bathe the surface, in addition to its ability to penetrate the material. The way in which the surface is bathed and in which the drop of ink penetrates, depends on the humidity in traditional applications (and also on the porosity of the layer underneath). The organic nature of the inks makes the surface of the glaze easy to bathe and allows a certain level of penetration, regardless of the degree of humidity. In inks of a highly water-resistant organic nature, these two processes (the capacity to bathe and penetrate) are not favoured and may lead to problems. The range The Colorobbia Digital Space range allows customers to

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Colorobbia决定为供墨系统使用有机材料, 这个动力不仅源于这些组件对环境影响较小, 也源于它们能保证较低的水阻力。实际上,这 样做的目的是防止或最小化墨水与水或羟基乙 酸基材料不能充分相容的缺陷带来的影响。其 中最常见的缺陷有:表面裂纹/抗水缺陷;哑 光和耐火(在某些烧制条件下);颜色不均 匀。由油墨表现出的耐水性程度,可以验证由 数字装饰加工后上一层或下一层油墨的相互作 用产生的抗水现象。在大多数情况下,这个应 用为水或羟基乙酸基。这导致诸如收缩或表面 裂纹之类的缺陷,这些缺陷主要取决于油墨的 有机性和材料沉积量,以及传统应用中水或乙 醇酸的含量。 耐火性与油墨浸润表面的内在能力以及穿透能 力有关。表面如何被浸润,油墨滴如何渗透, 取决于传统应用程序中的湿度(以及下层孔隙 率)。油墨的有机性使得釉表面易于浸润,不 管湿度大小允许某种程度的渗透。在高度耐水 有机性油墨中,这两个过程(浸润能力和穿透 力)并不受欢迎,并可能导致问题。 范围 Colorobbia数字空间范围提供多种技术和审 美解决方案,以增加成品的价值,满足客户数 字化装饰的要求。 该系列包括以下产品:


focus on digital decoration

meet the requirements of digital decoration by providing a wide choice of technical and aesthetic solutions to increase the value of the finished product. The range is comprised of the following products: • C-Inks, pigmented inks for digital decoration which are already consolidated on the market. • C-Shine, inks with effects that are not considered traditional. • C-Glaze, inks with more traditional characteristics for digital applications. The C-inks range offers: a cyan for wall tiles, a cyan for floor tiles, brown, reddish brown, beige, reddish beige, yellow, pink, green and black. This range was recently enhanced by the addition of a new particularly high performance yellow ink with a significantly higher intensity than that of its predecessor. Colorobbia R&D laboratories are also working on putting the finishing touches to two new magenta and ochre inks, which fully respond to the basic requisites of use such as durability, versatility, safety and the possibility of providing the best colour space possible. A new material has been introduced into our C-Glaze series, which already features a white ink and a matt ink: a primer/reactive that is absolutely non-toxic, scentless and has the same base solvent as all the other Colorobbia Digital Space inks. This material has a high level of reactivity even with a low load, it develops with a neutral tone and has a ceramic function comparable to that of the same effect applied by traditional means. Smart Digital Glazing Colorobbia is actively working to create a series of smart solutions for the complete digitalisation of the ceramic process. Its approach is integrated and designed for digital decoration, based on the use of inks and glazes which have been developed in order to make the entire decorating and glazing process “smart”. Thanks to its continuous collaboration with the main systems manufacturers in the sector, Colorobbia hopes also to gain a reputation as a key player in the digital glazing market, with a range that includes: • water-based materials (engobes and glazes) which are intrinsically fully compliant with Colorobbia’s social responsibility policy; • materials which are suitable for different production technologies (wall and floor tiles), and versatile at different weights of application (200-1000g); • materials that are capable of working accurately, on the entire surface or also of replicating the structural effect, and therefore simulating possible reliefs.

• C-油墨,数字装饰用颜料油墨目前市场地 位已经巩固。 • C闪光,非传统油墨效果。 • C-釉料,具有更多传统特色的数码应用油 墨。 C-墨水系列提供:墙砖青色,地砖青色,棕 色,红棕色,米色,红米色,黄色,粉红 色,绿色和黑色。这个系列最近新加入了一 个比之前其它产品的强度都高很多的高性能 黄色油墨。我们的研发实验室也正在为两种 新的洋红色和赭石油墨作最后的润色,使它 们的耐用性、多功能性及安全性能充分满足 使用需求并尽可能提供最佳的色彩空间。我 们的C-釉系列使用了一种新材料,该材料特 点是包含白色油墨和哑光油墨:绝对无毒, 无味的底漆/反应剂,且与所有其他Colorobbia数字空间油墨使用同样的基本溶剂。这种 材料即使在低负载时也具有很强的反应性, 它具有中性色调,具备陶瓷性能,与传统手 段加工出来的效果一样。 智能数字上釉 Colorobbia正在积极努力,为陶瓷工艺的完 全数字化创造一系列智能解决方案。我们的 方法是针对数字装饰集成设计出来的,在使 用墨水和釉料的基础上,使整个装饰及施釉 工艺变得“智能”。由于与该领域主要的系 统制造商持续合作, Colorobbia也希望成为 数字施釉市场的关键角色,其业务范围包 括: •水性材料(釉底料和釉料),本质上完全符 合Colorobbia的社会责任政策; •适用于不同生产技术(墙地砖)的材料,在 不同重量下都能通用(200到1000克); •能够在整个表面准确加工的材料,或复制结 构效果,因而模拟可能的浮雕效果。

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Glazing and decoration in the digital era 数码时代的施釉和装饰 by Erminio Guiducci, Intesa

The aim of INTESA is to achieve the full digitalisation of the glazing and decoration process applied to ceramic products, and can be suitably summed up by the concept of the “Digital Ecosystem”, which covers all the phases carried out to process, develop and create the ceramic product: from image acquisition, thanks to digital scanners specifically developed to meet the requirements of our sector, to the prototyping and development of products using digital plotters. Intesa pays particular attention to the digital image processing phase, carried out using advanced colour management systems; here it is important to mention the Crono system, which has today been installed many times and is available in different versions - Client-Server, Desktop and Production - to ensure it responds suitably to the requirements of each individual ceramics producer. The Crono project, which is the key to the entire Intesa digital system, is today developed and marketed with the participation of Tecnografica, world leader in the development of graphic projects: from the Crono workstation, it will be possible to gain direct access to a catalogue of products developed by Tecnografica which the user can download and test in the facility, before deciding whether to purchase the project itself and its exclusive use. Regarding ink-jet printing, the Intesa Digital Ecosystem offers the high definition Colora HD Black digital printer. The latest printer in the Colora series, it relies on Xaar 1001 GS6 or GS12 printing technology, combining the requirements for high definition with high delivery capacity and productivity. Compared with the models that preceded it, Colora HD Black presents several important innovative technological characteristics. In particular, the printer is fitted with newly-designed “Idra” ink feed units, new linear “Flow-Fill” distributors and a state-of-the-art software with a simple, easy-to-use graphic interface. Intesa’s vision of the digital production process in ceramics is today enhanced by an extremely important new aspect. Up until now, this process was limited to the application, in limited quantities, of extremely expensive inks or other solvent-based materials, and provided a limited range of potential applications, but Intesa is now offering a new technology - named “HW” - for the controlled application of water-based glazes. This technology was created to make it possible to produce ceramic products with a specific “consistency” that traditional inks cannot offer, focusing on the definition of a fully digitalised line for the management of the ceramic glazing and decoration processes. The HW technology, fully developed by Intesa with the collaboration of the Sacmi Group research laboratory, is a radically innovative system compared to traditional ink-jet

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INTESA的目的是要实现陶瓷产品的施釉和装 饰过程的全部数字化,可以适当地总结为 “ 数字生态系统”,它涵盖了开发,加工和制造 陶瓷制品的所有阶段:从图像采集(多亏有满 足我们行业要求的特制数码扫描仪),到原型 设 计 , 再 到 使 用 数 字 绘 图 仪 开 发 产 品。INTESA特别重视数字图 像处理阶段,该阶段使用先 进的色彩管理系统;在此有 必要提及CRONO系统,该 系统目前已安装了很多次, 有客户端 - 服务器,台式机 和生产等不同版本可用,以 确保其适应于每一个陶瓷生产商的要 求。CRONO项目是整个Intesa数字系统的关 键,由世界领先的图形项目供应商Tecnografica开发和推广。从CRONO工作站将有可能 直接获得由Tecnografica开发的产品目录, 用户可以在设备上下载和测试,以决定是否购 买该项目及其独家使用权。 关于喷墨打印, Intesa数字生态系统提供了 COLORA高清黑色数码打印机。COLORA系 列最新的打印机依赖于赛尔1001 GS6或GS12 印刷技术,满足高输送能力,高生产效率和高 清晰度等要求。与之前的机型相比, COLORA高清黑色数码打印机展现了几个重要的技 术创新特点。特别值得一提的是,打印机配备 全新设计的“Idra”供墨单元,新型线性“流 量填充”分流器和最先进的软件,具有操作简 单,易于使用的图形界面。 INTESA对陶瓷的数字化生产流程的愿景现因 一个非常重要的新方面而变得更加美好。到现 在为止,由于墨水及溶剂型材料价格昂贵且数 量有限,生产过程受到极大的限制,能够应用 的范围也很有限,但是INTESA现在为水基釉 料的控制应用程序提供了一项新技术 名 为“HW ” 。 这项技术是为了制造具有特殊“稳定性”的陶 瓷产品而研发的,这是传统油墨所做不到的。 它的重点是为陶瓷施釉和装饰工艺管理定义一 条完全数字化的线路。 由INTESA与萨克米集团的研究实验室协作研 发的HW技术,与传统的喷墨打印引擎相比,


focus on digital decoration

printing engines. The HW printheads produced by Intesa allow the application of water-based glazes with a particle size of between 3 and 12 microns, and a similar density and viscosity to that used in traditional glazing processes, in quantities of between 200 and 1000 grams per square metre. This allows both the full field application of glazes for the application of engobes and the realisation of structures, and also the targeted, specific application of glazes, for obtaining a kind of decoration that can be integrated with the traditional ink-based one. The HW technology can be used in various applications. The Glazejet 330 laboratory plotter, complete with printing station and “DropWatcher” system, is a huge asset to colour companies, as it can be used to identify and define a particular glaze. The Glazejet 1000 plotter, which has a large printing area, is the solution offered for prototyping and developing large-sized products. In conclusion, today Intesa offers Colora HW, the first digital printer in the world for the application of digital glazes. Thanks to Colora HW, today the possibility of creating a fully digitalised glazing and decoration line is seeing the light.

具有完全的创新性。INTESA生产的HW喷头可 使用水性釉料,颗粒大小为3至12微米,密度 和粘度与传统上釉工序使用的材料相似,使 用量为200至1000克每平方米。这可以全方 位应用釉底料和实现结构,而且能针对性地 具体应用釉料,以此获得与基于油墨的传统 工艺相结合的装饰工艺。 H W 技 术 可 以 在 各 种 应 用 程 序 中 使 用。Glazejet 330实验室绘图仪,完整配备 了打印系统和“ DropWatcher ”系统,它 对色料公司来说是一笔巨大的财富,因为它 可以用来识别和定义某种特定的釉料。有着 巨大印刷面积的Glazejet 1000绘图仪,为原 型设计和开发大尺寸产品提供了解决方案。 总之,现在INTESA公司提供的COLORA HW 是世界上第一台数码施釉打印机。由于COLORA HW的问世,建立一条完全数字化的施 釉和装饰线正曙光乍现。

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“Digital material” in the ceramics industry 陶瓷领域的“数字材料”

by Armando Meletti, Esmalglass-Itaca

The absolute digital technology revolution in the world of ceramics is becoming increasingly evident and has already guaranteed producers huge benefits in terms of production and profits. But why stop at the benefits of digital decoration, when ceramics are much more than that? Ceramics are the sum of the structure, contrast, shine and different textures that can be achieved with the material. Now, if the same material could be made using digital systems, enabling simultaneous and synchronised decoration and glazing, it would be possible to further increase the innumerable advantages of digital technology. For this reason, Esmalglass-Itaca set itself the objective of creating “materials” using digital systems. And this was the company’s point of departure for the development of the DPM (Digital Printing Materials) product family. Digital Printing Materials The DPM series of products is designed for use with digital systems. They create ceramic products using an entirely digital process, which starts as soon as they leave the press and ends when they enter the kiln. DPM products are divided into two sub-families depending on particle size: DPM submicrons and DPM microns. DPM submicron products are suitable for the printheads currently available on the market. They contain nanometric particles with a granulometric distribution designed to provide excellent physical stability as well as a superb performance; the quantity of material deposited is below 100 gr/ sqm, similar to that of current pigmented inks. This category includes materials that complement existing decor and create special effects. These include a white used for decoration or as a basis for digital inks; a transparent shine effect developed to create areas of matt-gloss contrast, and a reactive sinking ink that creates small variations of level in the base glaze, forming micro-reliefs. The DPM micron series is instead usable with new, high-discharge printheads that enable material weights well above 100 gr/sqm, exceeding 1 kg/sqm. These products feature a water base and a particle size of over 3 microns. The greater particle size compared with submicron products is directly linked to two considerations: price and ceramic effect. On one hand, these products are significantly cheaper than sub-micron materials. On the other hand, we can digitally apply the same quantities as those applied using bells, flat, roller or mottle screen printing colours. This category of DPM microns includes: gloss white, matt white, transparent matt, transparent matt satin and a crystalline finish. They can be applied full-field before or after decoration, either using a set design synchronised with the rest of the process

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陶瓷行业绝对数字技术革命的浪潮正日益高 涨,已经给生产厂商带来生产和利润方面的巨 大利益。但是何必仅仅满足于数字装饰的这点 优势?陶瓷工业还有更多潜力等待发掘。陶瓷 是材料所能实现的结构,对比度,光泽和不同 质感的总和。 现在,如果使用数字系统可以制造出同样的材 料,同时且同步进行装 饰和上釉,数字技术的 无数优点将有可能进一 步提升。出于这一原 因,Esmalglass-Itaca 给自己设立了目标——使用数字系统生产“材 料”。这是该公司研发DPM (数字印刷材 料)系列产品的出发点。 数字印刷材料 DPM系列产品专为数字系统设计。在陶瓷产 品生产过程中,从离开压机开始,一直到进入 窑炉,都使用完全数字化的工艺。 DPM产品 根据颗粒大小分为两个子系列:亚微米级和微 米级。 DPM亚微米产品适用于目前市场上可用的喷 头。它们包含的纳米颗粒,其粒度分布提供优 异的物理稳定性和卓越的性能;材料的沉积量 低于100克/平方米,类似于当前的颜料墨 水。这类产品有些材料能补充现有的装饰,且 能产生特殊效果。它们包括一种用于装饰或用 于数字墨水基础的白色,一种具有铜版纸对比 度的透明亮光效果,和一种能形成多层底釉, 产生微浮雕效果的反应性沉淀墨水。 DPM微米系列使用新的高释放喷头,使材料 的重量远高于100克/平方米,超过1千克/平 方米。这些产品采用水基和超过3微米的颗 粒。之所以采用比亚微米系列产品更大的粒 径,是基于两方面的考虑:价格和陶瓷效果。 一方面,这些产品比亚微米材料便宜很多。另 一方面,数码打印所需的材料数量与使用皮 带,平面印刷,辊筒或丝网打印颜色所需的一 样。DPM微米系列产品包括:光泽白,哑光 白,哑光透明,透明的哑光缎面,最后再加以 结晶处理。它们在装修前后整个过程中都可以


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to create thickening effects, as with screen printing or rollers, or to create reliefs normally obtained using a press mould. It is important to point out that Esmalglass-Itaca has been developing these materials now for many years; they were presented to the public for the first time in 2011, winning the Alfa de Oro award, and for this reason high-discharge micron digital glazes were patented. The benefits These new materials allow us to obtain improvements in terms of the product itself, the production process and cost management. From an aesthetic point of view, we can create new finishes and structures, or developments at a much higher speed. From a production point of view, the length of the line is reduced, as is the time required to develop new products, and the types of defect commonly identified in traditional decorations can be limited; models can be changed in a speedier, more flexible way, reducing the production tones and therefore simplifying the inventory. Finally, the Esmalglass-Itaca DPM family goes beyond the mere digital decoration of products with pigmented inks, instead decorating digitally with “texture” and so opening up a wide range of possibilities for creating a unique product using an entirely digital process.

应用,背景设计可与其余步骤同步,以制造 与丝网印刷或辊筒印刷一样的厚重感,或制 造和以往压模印刷一样的浮雕效果。 有必要指出的是, Esmalglass-Itaca已经持 续多年开发这些材料;它们在2011年首次面世 就获得了Alfa de Oro奖,由于这个原因,大 排放量微米数字釉料获得了专利。 好处 它们使我们能够改善产品本身,生产过程和 成本管理。从美学角度来看,我们可以以更 快的速度,用新工艺进行最后处理,创造新 的结构或取得更大的改进。从产品角度来 看,生产线长度减少,正如开发新产品的时 间缩短一样;通常在传统装修中产生的缺陷 也可以减少; 可以以更迅速、更灵活的方式来 更换模具,降低生产成本,从而简化库存。 最后,Esmalglass-Itaca DPM产品系列超越 了单纯的颜料墨水产品数字装饰,而用“质 感”���进行数字装饰,为使用完全数字化工 艺来生产独特产品带来了无限可能性。

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The future of the “digital ceramic tile” “数字瓷砖”的未来

by Antonio De Carlo, Assodigit

The development of digital decoration has taken around ten years, in which the few printing units, present only in Italy and Spain, have increased, reaching the high number of printers today installed worldwide. During this long period, ceramic companies have been forced to convert their method of designing and managing colour within the production process. It is no surprise at all that a similar situation should now be occurring for the application of “textures” with digital printers, but even if we are unsure how long this new route will last, there are in any case no doubts about the direction in which it is headed. Instead, at least up until now, the ceramics sector does not appear to have warmly welcomed the chance to personalise its products, a concept which is possible due to the extreme flexibility of digital printing. This is because such a development would also require a transformation in the way the sector is structured commercially, as well as in terms of its production. From the design to the product The technological evolution has generated a radical change in the creation of the “digital ceramic tile”, shortening the times and drastically reducing the costs of research. The “digital ceramic tile” has already changed the nature of the process linking design to product, now favouring a continuous exchange between the design phase and the production phase, without no loss of continuity. It has been possible to improve the intrinsic characteristics of digital printing in the ceramic sector in terms of quality and quantity thanks to the rich exchange of information, requests and collaboration between laboratories and the technical offices of the four components that make digital printing possible: printing machine, design, inks and the ceramic facility. This type of evolutionary process is undoubtedly easier to manage within an industrial area, such as that of Italy, where the physical distances between the various parties involved are minimal; better still if the research carried out in order to achieve innovation and improve quality is conducted within an industrial group where more than one of these four components are present, such as in the case of SRS and Assodigit. Assodigit D1 Assodigit D1 was developed as a result of this virtuous contamination of skills: a machine dedicated to digital printing for ceramics, designed as a simple solution that is practical to manage. Assodigit D1 can host up to 6 colour bars and

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数字化装饰已发展了十年左右,打印装置却鲜 有增加。目前只有意大利和西班牙有所增加, 这两个国家安装的打印机数量领先世界。在这 漫长的时间里,陶瓷企业不得不转变生产过程 中的设计和色彩管理方法。用数码打印机制 造“质感”也面临这样的情况, 这一点也不奇怪。但是,即使我 们不能确定这样的情况将持续多 久,它的发展方向在任何情况下 都是无庸置疑的。相反,至少到 现在为止,陶瓷行业看起来并没 有热切希望个性化设置产品,这 个概念其实是可以实现的,因为 数码打印具有极大的灵活性。现 在之所以出现这样的情况,是因为这个行业的 商业结构需要进行转换,生产方面也要改革。 从设计到产品 技术革命已经让“数字瓷砖”的创建发生了翻 天覆地的变化,缩短了时间,并大幅降低研发 成本。 “数字瓷砖”已经改变了设计和产品 联系过程的本质,现在更倾向于设计过程和生 产过程中的持续交流,而不损失连续性。改善 陶瓷行业数码打印质量和数量方面的内在特征 已成为可能,这得益于实验室和打印机、设 计、墨水和陶瓷工厂这四个版块的技术办公室 之间信息的充分交换、请求与合作,正是这四 个版块让数码打印成为可能。这种改良过程在 工业区内无疑更容易管理,如意大利,所涉各 方之间的物理距离是最小的; 更好的情况是, 实现创新和提高质量的研究是在四个版块都齐 全的工业集团中进行的,SRS和Assodigit 就 属于这种情况。 Assodigit D1 Assodigit D1由这种技能良性混合发展而来: 一种专用于陶瓷数码打印的机器,一个简单且 易于管理的解决方案。 Assodigit D1可容纳6 个色条并可打印高达700毫米, 分辨率为360 dpi的格式。它的主要特点是: • 生产率高(打印速度快,清洗周期少)


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print formats of up to 700 mm with a printing resolution of 360 DPI. Its main characteristics are: • high productivity (high printing speed, limited number of cleaning cycles); • XAAR 1001 GS12 printhead (maximum performances and results); • stable print quality in the long run; • innovative feeding system; • rapid cleaning system; • low running cost. All of this is accompanied by a full service, the result of advanced skills in the various phases of the digital production process, from the machine to the designs, from the glazes to the inks. A first Assodigit D1 digital printer was installed last December at Ceramica Elle of Ubersetto (Modena) for the decoration of medium-sized floor tiles. The evolution in terms of production Regarding the future of production processes, we can assume that digital management, which is currently limited to the decoration phase, will soon be extended to the entire ceramic production process. The technical staff and management of companies intending to use digital technology must have a medium to high level of training. Only those who succeed in managing this solution and personalising it to suit their requirements will be able to benefit from its use. But once the conversion from analogue to digital has been completed and when the sector has questioned the certainties linked to the experiences gained in the traditional production process, and accepted that efforts must be made to study and learn about the process in depth, new possibilities will open up allowing it to embrace the industrial revolution of the third millennium, in which ceramics might just figure as a key player.

• • • • •

XAAR 1001 GS12喷头(最佳性能和效果) 长期稳定的打印质量 全新进料系统 快速清洁系统 运行成本低

所有这一切有完整的服务相随,这得益于数字 化生产过程中的各个阶段(从机器到设计,从 釉料到油墨)先进的技术。第一台Assodigit D1数码印刷机是在Ubersetto (Modena)的 Ceramica Elle,为铺设中等大小的地砖而安 装的。 生产方面的发展 生产过程的未来会怎样,我们可以认为,目前 仅限于装饰阶段的数字化管理不久将扩展到整 个陶瓷生产过程。公司拟使用数字技术的技术 人员和管理人员必须拥有中级到高级培训的水 平。只有那些懂得管理该解决方案并进行个性 化处理以使它适应实际要求的人才能从使用中 获益。但一旦从模拟到数字的转换完成,行业 开始质疑传统生产工艺经验带来的确定性,并 认为有必要深入研究和了解过程,这时就很有 可能迎接第三个千年的工业革命,届时陶瓷业 可能就会成为关键角色。

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Advanced chemistry for the digital world 服务于数码世界的先进化学 by Federico Piccinini, Smaltochimica

With the advent of digital decoration, Smaltochimica has continued to develop and create new chemical additives: solvent-based mediums for digital inks, adhesives for digital applications, water-based mediums for the preparation of materials to be applied with new generation digital machines, leveller additives to implement the application of glazes or screen prints prior to, and after, digitalised decoration. Solvent-based mediums Solvent-based mediums for digital inks must meet these chemical-physical parameters: • rheological Newtonian behaviour and low levels of viscosity; • mono-modal particle size distribution curve, with an extremely small (lower than a micron) interval of particle size values; • surface tension adequate to the needs of all printheads. Moreover, ink must ensure high stability over time: the pigment’s nanometric particles must be wrapped in a layer of polymeric dispersants, capable of stabilising them through steric hindrance, whilst neutralising any superficial electrical charges. Thus, particles lose their reactivity with the consequent inhibition of all re-aggregation processes which would entail such phenomena as sedimentation, flocculation, and ink surface clarification. Solvents and dispersants for preparing inks

溶剂型介质 数码油墨溶剂型介质必须满足这些化学 - 物 理参数: • 牛顿流变行为和低粘度 • 单峰粒度分布曲线,具有极小的颗粒尺寸 间 隔值(小于1微米) • 表面张力足以满足所有喷头的需要。 此外,油墨必须保证长时间的高稳定性:颜 料的纳米颗粒必须包裹在一层聚合物分散剂 里,能够通过空间位阻稳定它们,同时中和 表面电荷。因此,颗粒因重新聚合过程得到 抑制而失去其反应性,将会造成沉降,絮凝 和墨表面澄清等现象。 制备墨水所需溶剂和分散剂

Developments in research have resulted in many manufacturers using substances belonging to various chemical families for the formulation of ceramic inks. The cooperation with manufacturers of solvents and raw materials enables Smaltochimica to offer dangerless, eco-friendly customised solutions of liquid phases of a varied chemical nature. For every range of products, there is the availability of: main solvent, co-solvents (correction solvents) with low and high levels of viscosity, dispersants, and cleaners. Smaltochimica has selected three ranges of a varied chemical nature: • glycol ether-based or based on alternative and compatible products (low polarity); • aliphatic oils-based and liquid paraffins-based (completely apolar); • based on fatty acid esters (very low polarity) with ecofriendly characteristics.

研究的发展使得许多制造商在陶瓷墨水配方 中使用不同的化学成分。通过与溶剂和原料 生产商合作, Smaltochimica能够提供安 全,环保,量身定制的不同化学性质的液相 解决方案。产品的每一个系列都有以下选 择:主溶剂,低粘度或高粘度助溶剂(校正 溶剂),分散剂和清洁剂。 Smaltochimica 选择了三个不同化学性质的 范围: • 乙二醇醚基或基于替代和兼容产品 (低极性); • 脂肪油基和液体石蜡基(完全非极性); • 环保的脂肪酸酯基(非常低的极性)

The three families of chemical additives meet various requirements: easy to use for the manufacturing of digital inks; chemical-physical parameters suitable for application

这三类化学添加剂满足各种要求:在数字油 墨生产制造中易于使用; 化学 - 物理参数适用 于数字印刷; 气味淡; 化学侵蚀性低,不腐蚀

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随着数码装饰的出现, Smaltochimica继续 开发研制新的化学 添加剂:数码墨水 溶剂型介质,数字 应用粘合剂,新一 代数码机器材料制 备的水性介质,数字化装饰前后上釉或丝网 印刷所使用的矫直机添加剂。

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in digital printers; low level of smell; poor chemical aggressiveness impacting plastic materials; very high boiling temperature; evaporation temperature and steam pressure adequate to prevent the rapid “drying rate” of inks.

塑胶原料; 沸点极高; 蒸发温度及蒸汽压力足以防 止墨水快速干燥。

Digicol: adhesives for grits

为了扩大装饰范围,Smaltochimica 开发了应用 于喷头的砂砾粘合剂和粘合粉新系列,具有以下 特点: • 为溶剂型,与喷头和打印机的材料兼容 • 化学 - 物理参数适合数码喷头; • 干燥时间长,粘结能力高,能确保砂砾和粉粒的 完美粘合

To expand the range of decorations, Smaltochimica has created a new series of adhesives for grits and powders which can be applied with digital printheads and which present these characteristics: • they are solvent-based, and compatible with the materials of which printheads and printers are made; • they present chemical-physical parameters suitable for application with digital printheads; • they are characterized by long drying times and a high adhesive capacity to ensure the perfect adhesion of grit and powder particles. The digital application of Digicol adhesives enables the decoration of the piece according to well defined graphics, which may be synchronised with the coloured decoration made through a digital printer. Water-based mediums for inkjet application The companies’ need to diversify their products compared to competitors’ is encouraging manufacturers to make substantial changes to digital printheads in such a way as to have them enable the application of considerable quantities of ceramic materials. The possibility to work with high polarity liquids considerably widens the range of the materials which may be used. These new, completely water-compatible, materials meet the following criteria: eco-sustainability; easy cleaning; compatibility with other applications; possibility to deposit considerable quantities of highly thick materials. Smaltochimica has developed several vehicles for the fine milling of ceramic materials for waterbased inkjet applications, all of which are characterized by optimum suspension over time and present differentiated application parameters such as: • time for drying the piece; • density and viscosity of use (wetting power); • excellent printing quality.

Digicol:砂砾粘合剂

喷墨应用水基介质 公司产品多样化的需求刺激了制造商对数码喷头 作出重大修改,使得大量陶瓷材料的应用成为可 能。与高极性液体兼容大大拓宽了使用材料范 围。这些新材料与水完全相容,且符合以下标 准:生态可持续性;易于清洁;与其他应用兼容;可以 储存大量较厚的材料。 Smaltochimica 开发了几种水性喷墨精铣工具, 它们的特点是:随着时间的推移达到最佳悬浮, 并呈现不同的应用参数,比如: • 干燥所需时间; • 使用密度和粘度(润湿力) • 出色的打印质量

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A world of opportunities for the future 未来世界充满机遇 by Simone Tardini, Kerajet The latest generation Kerajet solutions are the evolution of digital ceramic printing machines. They feature the finest mechanics, electronics and proprietary software in order to allow ease of operation and precision, as required by highlevel construction technology.

凯拉捷特最新一代解决方案是由陶瓷数码打印 机演变而来。它们具有最佳的技术,电子产品 和专用软件,可以使操作更简单精确,符合高 级施工技术要求。

Kerajet Master

凯拉捷特大师

The Kerajet Master system features the following technical characteristics: • active ink recirculation system (patented); • modular system (up to 12 colour bars/machine); • removable bars; • vacuum system (vapours); • multi-head technology (Multicabezal); • multi-entrance technology; • proprietary electronics; • Master Network function; • built-in colour control system.

凯拉捷特大师系统具有以下技术特性: • 活跃的墨水再循环系统(已获得专利); • 模块化系统(高达12个色带/机器); • 可移动色槽; • 真空系统(蒸汽); • 多喷头技术(多套管头); • 多入口技术; • 专有电路板; • MASTER网络功能; • 内置色彩控制系统。

The active ink recirculation system ensure maximum stability when printing and allows for accurate pressure control on a 0.1 mbar scale of variations. Each ink circuit features an inlet and outlet pressure sensor. Temperature control for each circuit is discrete. The machine is equipped with an exclusive stability control system at 500 Hz. A modular system Kerajet Master guarantees the maximum capacity available on the market, up to 12 printing modules. A practical example: a machine with 5 colour bars installed can fit an additional 7 bars, also with different printhead types. The print modules can be configured in function of the customer’s needs. The modules are removable, though mechanically constrained, to ensure perfect alignment. The software and advanced electronics technology make it possible to simultaneously print pieces from more than one glazing line with different formats and patterns. Proprietary electronics Kerajet has always produced the electronic components of its machines. The CA-40 interface card ensures unique electronics for interfacing of printheads from different producers. A section known as the “power” unit completes the machine and has been specifically designed to suit current market available printheads. The characteristics of the interface card are: • on-board graphics memory = 200 sqm;

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活跃的墨水再循环系统确保打印时的最大稳定 性并将精确压力控制在0.1豪巴的变化幅度内。 每一条墨水回路均配备一个入口压力传感器和 一个出口压力传感器。每一条回路的温度控制 都是离散的。机器配备独有的500赫兹稳定控 制系统。 模块化系统 凯拉捷特MASTER设备保证提供市面上现有的 最大容量,高达12个打印模块。 实际案例详 见如下:一台安装了5个色带的机器能适应另 外7个色带,并具备不同的打印方式。这些模 块可以根据客户的需求来配置。尽管有机械约 束,然而我们可通过移动模块来实现完美校 准。软件和先进的电子技术使得在不同施釉线 实现同时打印,并呈现不同的格式和模式。 专有电路板 凯拉捷特一直为其机器生产电子元件。CA-40 接口卡确保不同厂商的喷头有其独特的电子部 件进行接口连接。“Power”单元使机器得以 完善,而且它是经专门设计以适应当前市面上 现行的喷头。


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• load time = 2,6 s/sqm. This is a card designed for the future: designed with a single data transmission cable, with on-board graphics memory capacity, able to manage different vertical resolutions. If, for example, a producer releases a new printhead, Kerajet has only to simply design the appropriate “power” board to allow for installation on current and future machines.

接口卡的特征有: • 机载显卡内存=200平方米; • 加载时间=2.6秒/平方米 这是一张为未来设计的卡: 由一根数据传输线,一个处理不同垂直分辨率 的机载显卡内存设计而成。假如,比方说,一 个厂家推出了一款新喷头,凯拉捷特只需要简 单地设计一个合适的“Power”板,就能将该 喷头安装在现有和将来的机器上。

Integrated colour control

综合色彩控制 The Colorjet7 - Colordirect colour control system has been designed in accordance to Kerajet specifications. The main features of the system are: • optimised colour separation for ceramic inks; • linearisation and chart reading via iOne X-Rite spectrophotometer; • generation of profiles in standard ICC. Easy and intuitive, tones can be in-machine adjusted. Multi-head technology The multi-head technology (Multicabezal) is unlike any other and makes it possible to apply effects with the advantages of inkjet technology, with greater ink discharge and print accuracy. Kerajet knows no decoration limits. Thanks to this exclusive technology, it is possible to obtain a product with extra added value, ease of ceramic print effect application and effects that were impossible to achieve with traditional technology. Effects on glaze The effects on glaze that can be achieved are: • glossy: printheads with greater delivery capacity enhance textures; • matt: textures that imitate nature; • white: infinite applications possible that were only obtainable with traditional systems; • primer: countless relief effects; • selective glazing: innovative technology that glazes only selected areas. Special effects “Distinguishing” product effects can be obtained by applying adhesives to fix grit. Kerajet multi-head technology also makes it possible to apply polish, platinum and gold to basreliefs.

Colorjet7 - Colordirect色彩控制系统根据凯 拉捷特的特性设计而成。这个系统的主要特 征有: • 优化陶瓷墨水的分色; • 通过iOne X-Rite分光光度计读取线性和图像; • 产生ICC标准文件。 简单直观,色调可在机器内调整。 多喷头技术 多喷头技术(多套管头)有其特性,可利用 喷墨技术优势,良好的墨水排放和打印精 度。凯拉捷特懂得装饰是没有限制的。鉴于 这项技术独特,可实现产品增值;同时可轻 松应用陶瓷打印效果以及传统技术无法获得 的效果。 上釉效果 能够达到的上釉效果: • 光泽:喷头输送能力大,可增强纹理; • 哑光:模仿自然纹理; • 白色:只能从传统的系统中获得的无限应 用; • 底漆:数不尽的浮雕效果; • 选择性上釉:使用创新技术在选定区域上釉 特殊效果 可使用粘合剂来固定磨粒,达到“突出”的 产品效果。凯拉捷特多头技术可实现抛光、 铂金、黄金浅浮雕效果。

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VivaJet®, at the heart of ceramics VivaJet®, 陶瓷业的核心 by Giovanni Affinito, Alberto Annovi, TecnoExamina - Tecnoferrari Group

Today, digital decoration in the field of ceramic tiles is experiencing the peak of its evolution, during which new equipment is appearing alongside the “traditional” printers currently available on the market. This is the scenario hosting the presentation of the new line of products by TecnoExamina, a member of the Tecnoferrari Group: VivaJet®2, a new key product for the market in terms of performance, user-friendliness and reliability. The VivaJet®2-8 printer, available for formats of up to 1.4 m, hosts up to 8 colour bars with the exclusive all-in-front layout, capable of reducing space by up to 20% and guaranteeing the maximum accessibility to all its components; As always, it can be supplied with a secondary bypass ribbon. The new colour bar, with its patented dual ink recirculation system, improves uniformity and printing precision by 50%, and can extend the maximum printing performance to faster line speeds. The new V6 printing hardware and software increase the available graphic memory eightfold and the printing speed threefold: it is truly possible to perform on the spot printing of a different job from the one in progress, or to make on-the-fly changes without having to stop the line. The VivaJet®2-DF model allows productions to be managed asynchronously in a double and single row, even with different sizes, in absolute autonomy: the effect is that of having access to two printers. VivaJet®2-4 is a product which is capable of meeting various different requirements: the expansion of an existing printer to spread effects (penetrating, matt, polished glazes) or for the use of precious metals (gold, platinum, lustres) in the line for the third firing, and finally for future applications of digital glazing. Its extremely compact dimensions (less than 3 metres in length), the range of different solutions adopted for the ink distribution system, and the use of specific printheads allow the TecnoFerrari Group to offer an extremely flexible equipment. VivaJet®TV is the definitive solution for decorating special pieces because it can be used on its own or together with VivaJet®2, to decorate the surfaces and sides of corner profiles, bullnose tiles, corner tiles and skirtings. The vertical layout of the printheads and the particular software set-up allow the same high printing quality to be maintained all over the surface, or a design that was previously printed on the side of the piece to be restored. There are many accessories available for use with the new VivaJet®2 range, including: VivaSafe, VivaScan, VivaCheck, VivaDot, VivaBlock, VivaAlert.

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目前,瓷砖领域中的数字装饰正在经历其发 展的高峰期,新设备与“传统”打印机一起 出现在市场上。Tecnoferrari集团成员之一 TecnoExamina公司的新系 列产品:VivaJet ®2在性能、 用户友好性和可靠性方面是一 款 新 兴 的 主 打 产 品。VivaJet®2 - 8打印机可打 印高达1.4米的版式,能容纳8 条色带,采用独有的聚前端 (all-in-front)版面设计,能 够节省20%的空间,并保证最 大程度使用其他组件;另外, 这种打印机可一如既往地配备 一条二级旁通带。新型色带已 获得双油墨循环系统的专利, 可增强均匀性并提高50%的打 印精度,也可将最大打印性能 延伸到更快的线路速度。新型 V6打印硬件和软件将可用图 形内存增加8倍,印刷速度提升三倍:它能够 真正实时打印工作状态之外的任务,或是无 需停止产线即可更换备用设备。 VivaJet ®2-DF模型可进行单双列异步生产管 理,即使尺寸不同,也具有绝对自主性:效 果等同于使用两台打印机。 VivaJet®2 - 4这一产品能够满足各种不同需 求:扩大现有打印机的扩散效果(穿透、无 光表面、抛光釉)或在第三烧制线使用贵金 属(黄金、铂金、全抛釉),最后是数字上 釉的未来应用。TecnoFerrari集团提供的设 备极其灵活,机器体积小(长度小于3米), 墨水分布系统采用不同解决方案,并且使用 特定喷头。 VivaJet ® TV是装饰特殊材料的最终解决方 案,因为它可用于自身或与VivaJet®2一同使 用,对拐角结构、外圆角瓷砖、拐角瓷砖和 墙裙板的表侧面进行装饰。喷头的垂直布局 和特定软件设置可使表面印刷同样具有高质 量,或可恢复打印材料之前的印刷设计。 众多配件适用于新型VivaJet®2产品,包括: VivaSafe、VivaScan、VivaCheck、Viva Dot、VivaBlock VivaAlert等。


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GeCo®2 for accurate colour management

GeCo®2准确的色彩管理

In parallel to the presentation of its new range of printers, TecnoExamina is also introducing a new version of its colour management suite GeCo®2. GeCo®2 is a pre-printing analysis packet which generates significant characteristics in the printing phase as the result of a guided, user-friendly workflow: percentage of progress completed, chromatic accuracy, gamut warning, colour curve management, ink saver, consumption management by channel, shade correction. The management of the profiles is in line with ICC V4, the only recognised standard in the field of profiling and it can work in three-colour, four-colour or multi-channel mode. In this way, the user is free to use acquisition and profiling tools (available on request) in order to identify the most suitable solution for the requirements of the in-house ceramics research staff rather than relying on the external graphic studio or colour producer. The use of GeCo®2, which has now been installed in around one hundred facilities, allows the channels to be distributed and separated more effectively and produces better contrast and droplet distribution, in short, a better quality of production; it also proves a crucial element during the product digitalisation process and for identifying the limits of its own digital line. This new version has a faster, extremely easy-to-use interface and has been improved by the addition of a graphic correction tool that allows the user to create, analyse and correct up to 8 variants of the same design and to apply the ink-saving strategies which are automatically proposed, with a saving in terms of colour consumption of up to 50%.

TecnoExamina推出打印机系列产品的同 时, 也引入了全新版本的颜色管理套件 GeCo ® 2。GeCo ® 2是一种印前分析数据 包,由于工作流程人性化并具有指导性,印 刷阶段具有显著特点:进度完成比例、色彩 准确性、色域警告、色彩曲线管理、墨水节 约装置、消耗通道管理、阴影校正。 这些配置文件的管理符合ICC V4标准—— 唯一公认的性能分析标准,可用于三色、四 色或多通道模式。通过这种方式,用户可以 免费使用采集和性能分析工具(根据要求可 用)确定最合适的解决方案,从而达到室内 陶瓷研究人员的需求,而非依靠外部的设计 工作室或色料生产商。目前已有约一百台 GeCo®2安装使用,GeCo®2可高效分离颜 色通道,产生更好的对比和液滴分布效果, 简而言之,就是使产品质量更好;也证明了 这在产品数字化过程中是一个至关重要的元 素,可用于识别自身数字线路的限制。 这一新版本界面更快,操作简单,并通过增 加图形校正工具提高性能,允许用户创建、 分析和纠正相同设计的8个变体,应用自动 获取的省墨策略,同时可节省50%的颜料。

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The future of colour management Alessandro Beltrami - Intesa (Fiorano, Italy)

色彩管理的前景 Since the introduction of digital decoration technology in ceramic production, colour management has played an extremely important role in the creative process. In the early years, it was still common belief that by simply separating the channels into cyan, magenta, yellow and black and adopting a “trial and error” type approach, it was possible to obtain good results with an acceptable development time. This was possible in that processing methods were still based on the creation of serigraphic screens or silicon rollers, while commercial profilers found it difficult to guarantee good results in an acceptable period of time. But the history of digital ceramics has developed in a similar way to digital printing on paper, fabric or other materials: in a very short time, the requirements of the market have gradually become more refined, and the technical skill of the graphic operators has increased at a staggering rate all over the world. What does a modern ceramics company require from its colour management systems? We can identify three main aspects: 1. Obtaining the same product on different lines, often with different inks, machines and materials, rapidly changing the production from one line to another and keeping the production under control. 2. Optimising the consumption levels and maximising the performance of the products in terms of quality on digital decoration machines with a growing number of new ink combinations that differ more and more from the traditional 4-colour combination featuring cyan, magenta, yellow and black. 3. Using rapid prototyping tools, assisted by a video or paper preview function which creates the most accurate version of the finished product possible. In order to obtain these results, we need a combination of tools, software, skills and technologies that have been specifically designed to suit the peculiarity of the material used, and which adapt to the variable nature of the decoration process, which is still mainly due to differences in glazes and firing. This combination cannot be improvised, and by now experience has shown that it is no longer possible to trust commercial colour management software designed for printing on paper. There are many reasons for this, which we will summarise below: • Spectrophotometers with a 0°/45° set-up cannot be used to continuously read a ceramic surface. • The CIE 2° colour space, which is the colorimetric

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自从在陶瓷生产中引入数字装饰技术后,色彩管 理在创作过程中扮演着极为重要的角色。早些 年,人们仍然普遍认为,简单地将通道分成青 色、品红色、黄色和黑色并采用“反复试验”型 方法,就可能在合理的研发时间内取得良好成 果。 若处理方法仍然以制作绢网丝印或硅辊筒为基 础,仍然有实现的可能,然而商用分析工具发现 难以在规定时间内保证良好的成果。但数字陶瓷 的发展历史与在纸、织物或其它材料上进行数码 打印的方法类似:在极短的时间内,市场要求逐 渐变得更精细,且图形操作员的工艺技术在世界 范围内以惊人的速度增长。 现代陶瓷企业对其色彩管理系统有什么要求?我 们确定了三个主要方面: 1. 通过不同的生产线(通常使用不同墨水、机器 和材料)获得相同的产品,将产品从一条线快速 转变到另一条线并控制生产。

FIG. 1 - CRONO CLIENT/SERVER


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standard used in the graphic arts, does not adapt very well to the real conditions of lighting and assessment of a tile that has been digitally printed. • The colorimetric model of the ICC CMYK profiles does not adapt well to colour spaces expressed by inks with ceramic pigments and presents significant limitations in combinations with more than four inks. • The parameters used to evaluate the end result depend on many other factors, and not only on the colorimetric accuracy of the result.

2. 优化消费水平,并利用越来越多的新墨水组合在

Crono

料和烧制的影响。这种组合无法临时凑合,且当前

A great deal of research has been carried out by various software research and development centres, such as that of Intesa Imaging in collaboration with the Sacmi Research Centre, to find solutions that are at once cheap, easy to use and compatible with the standards. Software for the management of the digital image on ceramics, such as Crono, allow the use of spherical spectrophotometers, have their own algorithms for video performance and printing proofs for graphic designs,

数码打印机的质量方面最大程度提高产品性能,新 油墨组合与传统的青色、品红色、黄色和黑色的四 色组合不同之处越来越多。 3. 使用快速原型工具,并辅助使用能创建最精确版 成品的视频或纸质预览功能。 为了取得这些成果,我们需要结合使用专为适应所 用材料特性而设计的工具、软件、技能和技术,且 适应装饰过程性质的变化,这一过程仍然主要受釉 经验显示,依赖纸质打印而设计的商用色彩管理软 件已不切实际。其原因有很多,下面我们将进行总 结: • 不能使用设置为 0°/45° 的分光光度计连续读取 陶瓷表面。 • 平面艺术中所使用的色标——CIE 2° 色彩空间无 法很好地适应实际照明条件和数码打印的瓷砖评估 条件。

FIG. 2 - CRONO DESKTOP

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focus on digital decoration use mathematical formulas to calculate colours as precisely as possible, while still remaining within the colorimetric parameters defined for the graphic arts, so that that they can interchange profiles and results with other commercial software such as Adobe Photoshop. Crono is a colour management system which was entirely developed by Intesa. It helps the in-house graphic technician in a ceramic company to develop graphic designs on his own digital printing system. By adapting to all combinations of colours and glazes, it allows generic designs acquired using a scanner or provided by graphic studios to be automatically broken down into the channels necessary in order to pilot the digital printing system on ceramics. Since 2010, Crono has been on the market in the client/server version, designed mainly for use inside a ceramic tile production facility, and now installed in 90 locations around the world. As from the beginning of 2014, Intesa and Tecnografica have started a partnership that will allow modern ceramic tile manufacturers to choose and produce tiles in an easier way. All Crono software installed will have automatic access to a database of Tecnografica graphic designs, which have been studied to allow a fast production of materials with Italian design. The database is directly accessable with a click, thanks to an interactive button on the Crono interface. In order to adapt to the new requirements, Crono transforms into three different versions so that it can be used by all kinds of companies and ensure efficiency when helping colouring facilities or graphic studios to assist customers. Crono Client/server is now enhanced by new functions for synchronising designs between different facilities and a new architecture for memorising and logging designs, calibrations and profiles. Now compatible with server operating systems, it can be installed on rack or blades to create a true calculation and filing centre. Crono Desktop was designed for use in the graphic office or ceramics workshop and includes all the functions relative to the linearization and alignment of various glazes and different machines. With Crono Desktop, a ceramic tile company can operate autonomously when aligning the colours of different glazes, and different digital machines. Supplied on a purpose-built workstation with a monitor suitable for producing soft proofs, Crono Desktop can also be installed on laptops and used without being connected to the company network. The functions which import designs from and to Crono Client/Server allow these to be copied locally, developed and logged when production is complete. Crono Production is designed for use on board the machine, directly connected to ColoraHD or Colorscan and it is compatible with other digital decoration machines. It allows the operator to process digital files provided by the graphic office or colouring facility. The files can be modified easily and intuitively, allowing the user to make last-minute colour variations during production.

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• ICC CMYK 模式的比色模型不能很好地适应由 陶瓷颜料墨水体现的色彩空间,且与四种以上 墨水组合会展现出很大的局限性。 • 用于评估最终成果的参数取决于很多其它因 素,而不仅仅是其色度准确性。 Crono 各类软件研发中心(例如与萨克米研究中心有合 作关系的联合成像研究中心)均已开展大量研究 工作,以期找到价格合理、简单易用且符合标准 的解决方案。管理陶瓷制品数字成像的软件(如 Crono)支持球形分光光度计的使用,拥有其自 有的视频性能和图像设计印刷样张算法,可使用 数学公式尽可能精确地计算色彩,同时还能将结 果保持在为平面艺术所界定的色度参数中,从而 能够与 Adobe Photoshop 之类的其它商用软件 交换模式和结果。Crono 是一款完全由 Intesa开 发的色彩管理系统。它能帮助陶瓷企业的室内设 计师在其自有的数码打印系统中开发图形设计。 它还能通过适应所有的色彩和釉料组合,将借助 扫描仪或图形设计工作室提供的通用设计分解成 所需的渠道,从而在陶瓷制品上试用数字打印系 统。Crono 自 2010 年开始以客户端/服务器版本 上市,主要设计用于瓷砖生产工厂,现在已在全 世界 90 个地方安装。 从 2014 年初起,Intesa 和 Tecnografica 进行 了合作,将使现代瓷砖生产商易于选择和生产瓷 砖。所安装的Crono 软件都能自动访问 Tecnografica

图形设计数据库,经过研究发现,这些

软件都能借助意大利设计快速生产材料。 只需单击 Crono 界面上的交互式按钮即可直接访 问数据库。为了适应新要求,Crono 转换了三种 不同的版本,以适用于不同类型的公司,并帮助 色料工厂或图形设计工作室协助客户时确保效 率。CronoClient/server现在加强了一些新功 能,能在不同的工厂间同步设计,还增加了新架 构,以便存储和记录设计、校准和配置。目前, 该版本与服务器操作系统兼容,可在机架或叶片 上安装,从而创建真正的计算和归档中心。 CronoDesktop设计用于图形设计工作室或陶瓷 车间,包含与各种釉料和不同机器线性化和校准 相关的所有功能。借助 CronoDesktop,在校准 不同釉料色彩和数字计算机时,瓷砖企业可自主 运行。CronoDesktop供应用于生产软打样的专 用工作站(带显示器)上,还能安装在笔记本电 脑上,并在不连接公司网络的情况下使用。通过 向

CronoClient/server中导入和导出设计的功

能,生产完成时可在本地复制、开发和记录这些 设计。CronoProduction设计用于机载机器,直


CERAMICS CHINA 2014 VISIT US: 3.1 No. Hall C105 Booth

欢迎莅临: 3.1号馆C105展位


focus on digital decoration It is recommended for companies that do not have a graphic office, but it is also suitable for third firing companies and manufacturers of decorative products, as it can automatically receive, process and send hundreds of RGB files to ColoraHD or Colorscan in order to rapidly produce unique pieces. The three versions work together in complex companies obliged to manage multiple facilities, remote design offices and machines with different ink sets. From small ceramics companies venturing out on to the digital market, to the large industry, Crono can cover all the requirements of the industrialisation of the decorated graphic design. 2014 will see the launch of new functions relative to the compatibility with different types of spectrophotometers, the evolution of the multicolor colorimetric motor, the possibility of calibrating ink savings more accurately, and making even better use of the colour gamut on coloured glazes. Special versions of Crono Client/server and Desktop are currently being developed for colouring facilities and graphic studios, with advanced functions for linearizing and optimising the set of inks, analyses and reports, so making it easier to offer technical assistance operations to the customers. Standards for the sector All this leads to a standard procedure for managing designs from the graphic proposal stage, through prototyping, and on to industrialisation with the help of the colouring facilities. However, in order to be more efficient and to ensure the investment of manufacturers, we believe that the moment has come to think about creating specific standards for the ceramic sector, as is happening in the packaging sector for plastic and in the textiles industry. The opportunity to have international standards which define the fundamental criteria for managing digital images on ceramic supports, would constitute a huge improvement in terms of quality for the sector, and would protect the investment for the various ceramic companies that find themselves basing their business principally on software codes or colour measurement tools which are often cleverly designed, but offer the customer no guarantees. One of the reasons that drove the Sacmi group to invest in the creation of a software and a proprietary software within the Crono product line in 2010, obtaining the European patent, was precisely that of being able to guarantee that its customers would experience a constant evolution in terms of the colour management platform. There are various aspects of the production flow in digital ceramics which could be standardised, such as, for example: • Comparison of the colour gamut of ceramic inks: The colour gamut is often calculated differently by each type of software; sharing a formula would mean clearer communication and comparison between the various solutions offered by the colouring facilities. • Evaluation of the apparent resolution: There is always a great deal of confusion regarding the meaning of

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Cera mic W o rld Review CH INESE EDITION 2014

接与 ColoraHD 或 Colorscan 连接,并与其它数 字装饰机器兼容。操作员可处理图形设计工作室 或色料工厂提供的数字文件。用此软件可轻松而 直观地修改文件,从而使用户能够在生产期间进 行最后的色彩变更。建议没有图形设计工作室的 公司使用此软件,但该软件还适用于第三方烧制 公司和装饰产品生产商,因为它能自动接收、处 理并发送数百个

RGB

文件到

ColoraHD

Colorscan 中,从而快速生产出独特的作品。 在负责管理多个工厂、远程设计工作室和具有不 同油墨组机器的多元化公司中,可结合使用这三 种版本。Crono 可满足图形装饰设计工业化的所 有要求,范围涵盖冒着风险进入数字市场的小型 陶瓷公司到大型工业。2014 年将推出新功能,这 些功能与不同类型分光光度计的兼容性、多色比 色电动机的演变、更精确地校准墨水储量的可能 性以及更好地利用彩釉色域相关。 目前正在针对色料工厂和图形设计工作室开发 CronoClient/server和Desktop特别版本,该版 本具有线性化和优化墨水组,分析和报告的高级 功能,从而能够更加轻松地为客户提供技术援 助。 行业标准 通过原型设计,这一切形成了从图形提案阶段到 在色料工厂的帮助下进行工业化阶段管理设计的 标准流程。 然而,为了使效率更高并确保制造商的投资,我 们认为,该是时候像塑料包装行业和纺织业那 样,考虑创建陶瓷行业的具体标准。若有机会利 用规定瓷器数字图像管理基本标准的国际标准, 将会使该行业的质量得到巨大改进,并能保护将 业务主要依托于软件代码或色彩测试工具的陶瓷 企业的投资,这些工具设计巧妙,但不为客户提 供任何保证。驱动萨克米集团 2010 年在 Crono 产品线(获得了欧洲专利)中投资创建软件和专 有软件的原因之一,这样能够确保其客户体验到 色彩管理平台的不断演变。


VISIT XAAR AT

CERAMICS CHINA

THE NEXT GENERATION CERAMIC PRINTHEAD HAS ARRIVED

Stand K301 Hall 8.1

The All New Xaar 1002 Redefining the standard in single-pass ceramic tile decoration Designed by the world’s leading inkjet technology company, the All New Xaar 1002 enables the ceramics industry to produce tiles with the highest levels of image quality and manufacturing productivity. Redesigned from the ground up, the All New Xaar 1002 has 1000 Optimised Geometry nozzles that jet and place drops with the highest precision on the market. The result is printed tiles that are virtually indistinguishable from natural materials such as marble and stone.

OUTSTANDING PRINT QUALITY

l

Xaar’s unique TF TechnologyTM is the only true high volume ink recirculation available, ensuring the highest flow rates directly past the back of the nozzle during drop ejection. This means the Xaar 1002 can handle a wide viscosity range and jet heavily pigmented fluids – essential for the ceramics manufacturing industry. Available in two drop sizes, 6 pL and 12 pL, the Xaar 1002 is backwards compatible with the Xaar 1001, making it easy to upgrade so you can start experiencing the benefits right away.

HIGHEST PRODUCTIVITY

l

ULTIMATE VERSATILITY

Demand the best – specify the All New Xaar 1002:

www.xaar.com/the-best


focus on digital decoration the resolution and on the way in which the consumer effectively perceives the decorated tile; standardising a calculation and evaluation methodology would allow a more accurate classification of the detail perceived for a specific combination of ink/print head/ support/finish. • Classification of defects: The defects found in digital printing machines for ceramics can be classified and measured, but the methodology used by each producer is different; classification would allow the performance levels of a printing system to be contractualised more accurately. • Conditions for visual evaluation of the finished product: The defects and printing quality must be evaluated in precise lighting conditions, in order to be classified; from the old halogen lamps to analyses carried out with electronic microscopes, there is no condition which can help graphic studios, machine manufacturers and customers to compare the quality of a printed product. • Digital file formats: The use of printing systems with more than 4 colours comes into conflict with the lack of market standards on the file format of calibrations, colour profiles and image formats; today there are small but significant differences from producer to producer which make it complicated for customers to manage files.  ADVERTISING

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Ceramic World Review n. 75/2008 C era mic W o rld Review CH INESE EDITION 2014

数码陶瓷生产流程可以从多个方面进行标准化, 例如: • 陶瓷墨水色域的比较:色域通常由不同软件进行 不同的计算;共用一个公式意味着色料工厂所提 供的各种解决方案的交流和比较更为清晰。 • 可见分辨率的评估:分辨率的含义及消费者高效 认知装饰瓷砖的方式一直存在很多混淆;对计算 和评估方法进行标准化能对特定的墨水/喷头/支 架/饰面组合所认知的细节进行更准确的分类。 缺陷分类:陶瓷数码打印机的缺陷可进行分类和 测量,但每个生产商所采用的方法却不同;通过 分类可更准确地在合同中划定打印系统的性能水 平。 • 成品视觉评估条件:为了进行分类,必须在精确 的照明条件下对缺陷和打印质量进行评估;从老 式碘钨灯到通过电子显微镜进行的分析,都无助 于设计工作室、机器制造商和客户来比较打印产 品的质量。 • 数字文件格式:文件格式校准、颜色配置文件及 图片格式缺乏市场标准,使用4种以上颜色的打 印系统与其冲突;如今,生产商之间还存在一些 细小但却很重要的差异,这为客户管理文件带来 较多麻烦。


Higher print quality for digital tiles

更高质量的数字瓷砖印刷

On March 12th Xaar, the world’s leading inkjet technology specialist, launched the all new Xaar 1002. For the company based in Cambridge (UK), which invests 12% of revenue in R&D, this next generation printhead aims to redefine the standard in single-pass ceramic tile decoration.

3月12日,世界领先的喷墨技术专家赛尔

英国剑桥,其将12%收入投入到 研发中,这个新一代喷头旨在重 新定义单通道瓷砖装饰的标准。 借鉴赛尔(Xaar)公司在陶瓷行

Drawing on Xaar’s experience gained in many years in the ceramics industry, the Xaar 1002 incorporates multiple new technology features (patent pending), delivering higher productivity and print quality, thanks to the improved drop volume uniformity and drop placement accuracy. Featuring 1000 Optimised Geometry nozzles, the Xaar 1002 can indeed jet and place drops with the highest precision, producing the smooth tones and solid areas needed to replicate natural materials that are virtually indistinguishable from the original real thing. The Xaar 1002 is available in two variants, GS6 and GS12, which have been developed and optimised for a wide range of creative and textured designs used on ceramic wall and floor tiles. The Xaar 1002 printhead builds on the success of the market-leading Xaar 1001 which transformed the decoration in the ceramics industry. Its performance and reliability is delivered by Xaar’s TF Technology™ combined with the Hybrid Side-Shooter™ architecture, the ink recirculation system which ensures maximum production uptime. Customer ‘ease of use’ has also been enhanced by an improvement to the customer electronic interface and by enabling a reduction in the set up time required. The Xaar 1002 is a highly versatile printhead. It is capable of handling a wide range of fluids and viscosity ranges. Also available alongside the Xaar 1002 is a range of systems components – including the new slimline HPC3, the XUSB

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Cera mic W o rld Review ch ines e edition 2014

(Xaar)公

司推出了全新Xaar1002系列喷头。该公司总部位于

业的多年经验,Xaar 1002融合了 多个新技术功能(专利申请中) ,提高生产率和打印质量,这要 得益于改善后的墨滴体积均匀性 和墨滴位置精度。Xaar 1002的特 征之一在于有1000个优化几何结 构排列喷头,使得其以最高精度 进行喷墨和定位,产生复制天然 材料所需的均匀色调和固体区 域,这与原来的真实材料相差无 几。 Xaar

1002有两种型号GS6和

GS12,这两种型号已经在陶瓷墙 砖和地砖的各种创意纹理设计方 面得到开发并优化。 Xaar 1002喷头在Xaar 1001成功 引领市场,并转变陶瓷装饰行业 的前提下得以构建生产。其性能 和可靠性来源于赛尔(Xaar)公 司的TF

Technology™与Hybrid

Side-Shooter™结构的结合——墨水循环系统,确保 最大限度的生产运行时间。除此之外,通过客户电子 界面的改善及减少设置时间,客户“简易操作性”也 得到了增强。 Xaar 1002是一款用途极广的打印头,能够广泛处理 不同液体及粘稠度。与Xaar 1002同时推出的是一系 列系统组件——包括新款超薄HPC3、XUSB以及 Xaar

Hydra——其设计便于配置、优化和集成以期

缩短投放市场的时间。


focus on digital decoration

and Xaar Hydra – which have been designed for easy configuration, optimisation and integration to reduce time-tomarket. In addition, the improved uniformity of the Xaar 1002 allows manufacturers to configure long print bars with multiple printheads faster and more easily. Finally, as the Xaar 1002 is fully compatible with Xaar 1001-enabled printers, users can easily upgrade whenever they wish and experience the benefits immediately. Ceramic tile decoration printers featuring the Xaar 1002 printhead are available now from Intesa-Sacmi, Projecta Siti B&T, SRS, TecnoFerrari, EFI Cretaprint, KERAjet, as well as from three Chinese producers, Hope, Meijia e New King Time Machinery. 

此外,Xaar 1002 改进后的均匀性允许制造商能够更 快更容易地将多个打印头整合成长杆。 最后,Xaar

1002完全兼容

Xaar1001驱动型打印

机,可方便用户随时进行升级,并即时体验由此带来 的好处。 使用Xaar

1002打印头的瓷砖装饰打印机厂商包括萨

克米(Intesa-Sacmi)、西蒂贝恩特(Projecta Siti B&T)、天工法拉利(TecnoFerrari)、EFI

快达平

(EFI Cretaprint)、凯拉捷特(KERAjet)以及三家中 国生产商希望(Hope)、美嘉(Meijia)及新景泰 (New King Time Machinery)。

Ce r am i c W or ld R e vi e w chi n e se e d i ti on 2 0 1 4

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products

SACMI The EKO Kiln is the most technologically advanced member of the Sacmi single-layer kiln family. With a channel width of almost 3 metres and a length of over 120 metres, the EKO kiln with self-recovery burners is the machine that best defines the Sacmi Group’s corporate philosophy of great design, quality and technology. With the EKO, in fact, both energy consumption and installed electrical power are lower, colour and size are more consistent and in-atmosphere fume and CO2 emissions have been reduced by 30%. The percentage of total recovery with respect to an FMS kiln which already has an XTR recovery system may be as high as a further 10% (from burners and cooling). This impressive result is made possible by the unique work pattern of the machine. Above 900 °C, where heat exchange occurs mostly by radiation, the EKO kiln consists of a series of thermal modules known as ‘heat cells’ in which fumes exchange thermal energy with the material in a way that is optimized, compared to traditional kilns (transversal flow and increased fume hold time in the firing chamber). Fume evacuation occurs in the cell itself, ceding part of the residual thermal energy to the ceramic heat exchanger inside the burner which, in turn, intensely pre-heats the combustion air (up to 700 °C). The average temperature of the evacuated fumes is less than 200 °C. Below 900 °C, instead, where heat exchange occurs by convection, conventional free-flame burners are installed, the fumes of which are

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extracted by a flue at the head of the kiln. Yet perhaps the most interesting aspect of this machine concerns fume control. Compared to a traditional kiln, the EKO releases smaller volumes of exhaust fumes into the atmosphere, thus reducing CO2 emissions per kg of fired product. On the first installations detected, fume volumes have been about 30% less than on traditional kilns. Summing up, then, with the EKO solution there are fewer pollutant fumes to be purified and filtration systems are therefore more compact. Lastly, the EKO kiln is run by a sophisticated control system featuring a dual touchscreen interface. The traditional temperature regulators are now gone and process control occurs by way of innovative temperature-pressure curve control. Attentiveness to the environment, the product and consumption are Sacmi’s key machine design musts. Yet they are also the prime objectives of today’s ceramic companies when they make investment decisions.

Cera mic W o rld Review ch inese edition 2014

EKO陶瓷窑是萨克米单层 陶瓷窑家族中技术最先进 的成员。该窑通道长约 120米,宽约3米,其回 收燃烧炉完美诠释了萨克 米集团的设计、品质和技 术理念。 EKO陶瓷窑能耗低耗电 少,颜色和尺寸的设计更 加协调,大气烟雾和二氧 化碳的排放量减少了30% 。FMS陶瓷窑安装了XTR 回收系统,使得其总回收 率再超10%(回收自燃烧 炉和冷却炉)。 这一技术效果显著,完全 得益于EKO陶瓷窑独特的 工作模式。当窑炉温度超 过900摄氏度时,热传导 通常通过辐射进行。传统 陶瓷窑多采用横向流,浓 烟在窑炉中维持时间长, 而EKO陶瓷窑内置一系列 号称“热量单元”的热模 块,使得烟雾在其中能够

有效将材料转换成热能。 烟雾在自身“单元”内部 排放,并将部分的残余热 能留在燃烧炉的陶瓷热交 换器内,转而集中预加热 助燃空气(达到700摄氏 度)。所排烟雾的平均温 度低于200摄氏度。而相 反,当窑炉温度低于900 摄氏度时,热交换则通过 热对流的方式产生。这 时,EKO陶瓷窑中安装的 传统无明火燃烧炉就能派 上用场,只需陶瓷窑顶部 的烟道轻松抽去烟雾即 可。 然而,该陶瓷窑最有趣的 部分莫过于烟雾控制了。 与传统陶瓷窑相比,EKO 陶瓷窑释放到大气中的废 弃烟雾量更少,因此烧成 物排放的每千克二氧化碳 量也随之减少。首次安装 的检测表明,烟雾量的排 放比传统陶瓷窑减少了 30%。总的来说,通过 EKO陶瓷窑解决方案,需 要净化的有害烟雾减少, 过滤系统因而也会更加简 化。 最后值得一提的是,EKO 陶瓷窑采用双触屏精密控 制系统。传统的调温器已 风光不再,而是通过颇具 创新的温度-压力弧线控 制器进行程序控制。 专注环境、产品及营销是 萨克米陶瓷窑长期以来的 核心设计理念,也是当今 陶瓷企业着手投资的主要 目标。


For over ten years, MECTILES ITALIA has been operating in the second-hand market for the ceramics industry, by providing all types of plants to companies preferring second-hand products of top-grade quality. MECTILES ITALIA offers complete plants covering the entire production line:

from raw material preparation to the enamelling and selection phases. Furthermore, the proposed solutions allow for combining ‘used and reconditioned’ plants with new machines, accessories and equipment. Thanks to extensive experience acquired over the years, reliability, highly qual-

ified technical assistance service capable of completing all installation, testing, start-up and product search phases, and the growing demand by Italian and international customers, MECTILES ITALIA makes a reliable choice for second-hand products for the ceramics industry worldwide.


products POPPI CLEMENTINO Poppi Clementino works in the four kilns (that were released outPoppi Clementino 始 的 平 均 温 度 应 该 控 制 在 energy saving and environmenside before the intervention), 终专注节能环保领域, 400摄氏度到520摄氏度 tal protection sector. It offers an were completely absorbed by 致力于节约能源和环境 之 间 。 ( 可 能 导 致 产 量 energy check-up service capathe energy-consuming machines, 保护。它提供的能源检 下降)。 ble of analysing the current situawithout altering their operation in 查服务,能够分析每个 Poppi Clementino的这 tion at each production facility, any way, bringing about a 30% proposes solutions for optimising reduction in the consumption of 生产设备的当前情况, 些 系 统 已 经 在 意 大 利 、 the thermal energy of the prothe spray dryer and 7,000 kWt of 为变废为宝,优化生产 西 班 牙 、 泰 国 和 印 度 尼 duction process using energy thermal energy, equal to 730 St过程的热能源提供解决 西 亚 的 各 种 生 产 设 备 中 waste products, while avoiding mc/hr of CH4, with an annual sav方案,避免改变现有的 得 到 运 用 , 获 得 的 结 果 alterations to the existing producing of 1,200,000 euro in the ener生产周期。 与原计划一致。 tion cycle. The machine that gy bill. 该设备实际上相当于一 该 图 表 包 含 了 一 套 设 备 tends to absorb the most thermal If prior analysis proves favourable, energy is certainly the spray dryer it is also possible to recover the 个喷雾干燥器,能够吸 的 布 局 , 四 个 陶 瓷 窑 回 as it has the highest incidence of heat contained in the fumes pro取大部分热能,因为它 收 的 热 能 被 运 用 于 三 个 thermal energy per kg of prodduced by the kilns; in this case, 每千克产品热能最高。 生产单元,这些生产单 POPPI CLEMENTINO s.r.l. uct. To reduce the costs of this suitable exchangers are installed, 为 了 降 低 该 设 备 的 成 元由一个七百万瓦特的 machine, in previous years cosaving 40% of the enthalpy con- DI EFFICIENZA E RIUTILIZZO COMBINATO ENERGIA NEL SETTORE CERAMICO 本,前几年便有提议采 燃气涡轮驱动。 generation systems were protained in the products of com用燃气涡轮和吸热引擎 不 必 改 变 其 自 身 运 作 , posed, both with gas turbines bustion; thanks to its automatic La Poppi Clementino operaand nel careful settore del risparmio energetico e della tutela ambientale, ed offre un and endothermic engines. cleanings.r.l. system heat 四 个e陶 瓷 窑 的 冷 却 空 气 servizio di check-up energetico, in grado di analizzare la 的废热发电系统。 situazione reale di ogni singola realtà produttiva, Indeed, this application proporre manag-soluzioni management tested in numerous di ottimizzazione dell’energia termica nel processo produttivo utilizzando cascami di energia 事实上,这一运用能够 ( 在介入之前被释放) fino ecoad oggi dispersi con la garanzia alterare il ciclo produttivo esistente. es to generate a notable applications, saiddi non equipment 创造显著地经济效益, 便 能 充 分 被 能 耗 器 吸 nomic saving in situationsLawhere maintains the efficiency its permacchina che tendenzialmente assorbe of maggior energia termica è sicuramente l’atomizzatore nel quale si ha 但必须单独获取电能或 收 , 从 而 减 少 干 燥 喷 雾 electricity or thermal energy must superiore formance levels in theper long l’incidenza di energia termica ogniterm. kg di prodotto. 者热能。然而,天然气 器30%的能耗以及7000 be acquired separately. HowevIt is also possible to optimise the Per ridurre i costi di tale macchina, sono stati proposti negli anni passati gli impianti di cogenerazione sia con er, the benefits are notably dwinuse of energy in the ceramic pro价格上涨以及涡轮和引 千 瓦 的 热 能 , 这 相 当 于 turbine a gas che con motori endotermici. dling due to the ever increasing duction process in settings where擎的所有服务保养成本 730标准立方米/小时的 Tale applicazione in effetti riesce a portare un beneficio economico notevole rispetto a realtà dove è necessario prices of natural gas andacquistare full ser- energia by the spray dryerinisforma powered elettrica o termica disgiunta, però con i prezzi sempre crescenti del gas naturale, i 上涨导致了利益明显缩 甲烷,每年节约120万欧 vice maintenance costssempre of the with alternative fuels,disuch as bio- delle turbine e dei motori (di certo al fornitore di tali maggior costi di full service manutenzione 小。 元。 essere competitivo turbines and engines.macchine Poppi conviene masses or coal dust. in fase di installazione perché poi potrà ottenere un ritorno economico notevole grazie alla manutenzione che non potrà essere 因此, affidata ad Poppi altri competitor), il vantaggio si倘 riduce Clemen若此前的分析行之有 Clementino is therefore notevolmente. proposFollowing an energy check-up tino计划推出 “Siste- 效 , 那 么 便 也 能 够 回 收 ing its “Sistema Intelligente” carried out by its technical office, Poppi Clementino Srl, propone quindi con il Sistema di sostituire in tutto o in parte il sistema di (smart system) as a full orLapartial Poppi Clementino is capable of Intelligente ma Intelligente”(智 该陶瓷窑产生的烟雾热 cogenerazione, considerando che avendo disponibilità di energia di scarto ad una certa temperatura è possibile replacement for the cogeneraand quantifying the con coprire fino alevaluating 50% il consumo degli ATM o anche valori vicino al 70% riducendo la temperatura 能系统),完全或部分 能 。di在 这 种 情 况 下 , 需 da unrequired, valore medio di 520 and °C a efcirca 400°C (logicamente con una riduzione di produzione tion system: in this way, atomizzazione through works certifying 取代废热发电系统:通 安装合适的交换器,从 proporzionale). the use of waste energy at a cerfectively guaranteeing the po过这种方式,在特定温 而 节 约 4 0 % 产 品 燃 烧 产 tain temperature, it is possible to Clementino tential saving proposing or La Poppi Srl ha giàand effettuato tali applicazioni su diversi stabilimenti in Italia, Spagna, Thailandia, 度下利用废能,能够减 生的焓。由于自动清洁 Indonesia ed irecommending risultati ottenuti sonothe in linea con quanto e proposto. cover up to 50% of the consumpsizing and concordato 少喷雾干燥器50%甚至 tion of the spray dryers or even up choice of materials to optimise Nello schema sottostante, si può notare un impianto realizzato in cui su tre unità produttive asservite系 ad 统 una和 热 管 理 系 统 的 广 turbina a gas da 7 MW stato inserito un recupero di calore70%的耗能。喷雾干燥 proveniente da quattro forni. to almost 70%, should the spray the endèresult. 泛测试运用,证明该设 drying temperature be low备能够长期保持高 ered from an average value 效运作。 of around 520 °C to approxi倘若设置中的喷雾 mately 400 °C (logically with POPPI 干燥器能够使用生 a proportional reduction in LEMENTINO S.R.L. 物燃料或煤粉等替 production). Poppi Clementino has already implement换燃料驱动,就可 ed these systems in various 能优化使用陶瓷生 production facilities in Italy, 产加工产生的能 Spain, Thailand and Indone量。 sia, and the results obtained 通过技术部门检查 are in line with those agreed 能源,Poppi Cleupon and proposed. The diagram contains the layout mentino 能够评估 of one of the plants built, in 并量化所需工作, which heat recovered from 有效确保潜在能源 four kilns was used in three 节约,并为优化结 production units served by a 果推荐选择材料及 7 MW gas turbine. The volumes of cooling air from the 用量。

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products SETEC Upward is a new machine designed by Setec for the automatic internal glazing of WCs, or more specifically, siphons and rims. This system allows users to solve the practical issues that are often encountered during the internal glazing of a component. Some parts of the siphon and the rim are not easily accessible due to their specific shape, and so the only way to achieve a uniform glaze application is to fill the component entirely. Upward allows for this filling to be performed automatically from above, using a suspended tank, which allows uniform spreading of the enamel and prevents the accumulation of dirt and dust on surfaces - a problem which is difficult to overcome when filling from below. A specially-designed emptying system serves to eliminate excess product and seal the remaining glaze onto the inner walls of the WCbowl. An automatic two-way tipping system ensures complete emptying of the bowl and perfect distribution of the enamel on the inner surfaces. Each stage of the glazing process is controlled by a modern touchscreen PLC (Programmable Logic Controller) that allows users to set the type of bowl to be

glazed (P-shaped or S-shaped siphon), and produces information on timings, delay, angles and a range of other parameters. The machine can be used to glaze standard-type bowls as well as one-piece WCs, and is equipped with all possible options, including stainless steel external tank, vibrating sieve, magnet filter, glaze suspension mixer, pneumatic pumps, suspended tank, drip sponge and level sensors. These accessories ensure that the glaze is kept clean and at the proper density, as well as preventing drips and other slight imperfections. The machine is made entirely of stainless steel in order to withstand the corrosive action of the ceramic glazes, and the software is quick to install and easy to use.

Setec设计的新款机器 Upward,能够实现马 桶内部自动上釉,更 具体地说,是在虹吸 器和镶边器上进行。 这一系统能帮助用户 解决在零件内部上釉 时经常发生的实际问 题。虹吸器和镶边器 部分零件形状特殊, 不易制造,因此,实 现统一上釉应用的唯 一方法就是将整个零 件填满。Upward使这 一填充技术在瓷砖上 层自动完成,运用吊 箱使瓷釉均匀铺开, 防止尘污在瓷砖表面 堆积——如果在瓷砖 下层填充,这一问题

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Cera mic W o rld Review ch inese edition 2014

就很难解决。清空系 统专门设计用来去除 过剩产品,封存马桶 台盆内壁的剩余瓷 釉。双向自动翻倒系 统确保了台盆的完全 清空以及瓷砖表面的 完美上釉。每一个上 釉步骤都由现代触摸 屏PLC(逻辑程序控制 器)控制,允许用户设 置上釉台盆的类型(P 型或S型虹吸管),并 提供计时、暂停、角 度等一系列参数。这 一机器能够用来为标 准型台盆以及一体式 马桶上釉,安装了所 有设备,包括不锈钢 外箱、振动筛、磁选 过滤器、悬停 上釉混合器、 气 动 泵 、 吊 箱、滴灌海绵 以及水平传感 器。这些配件 确 保 上 釉 清 洁 , 浓 度 合 适,同时防止 滴漏等各种小 问题。这一机 器完全由不锈 钢制成,能抵 抗 瓷 釉 的 侵 蚀,其软件安 装快捷,易于 使用。


products EBI-CERAMICURE The CeramiCure® Light Cure Acrylic (LCA™) and Self Cure Acrylic (SCA™), detailed below, are green technologies which allow for increased efficiency due to reduction in production costs and increased energy savings. Utilizing the CeramiCure® LCA™ repair process will allows a plant to reduce re-fire rates, minimize repair time and costs, increase productivity and kiln capacity and reduce gas, oil and electricity consumption, while simultaneously decreasing CO2 output. Likewise, utilizing the CeramiCure® SCA™ material allows a plant to turn scrap pieces into saleable inventory, resulting in increased profit margins through improved productivity and kiln capacity, while further decreasing energy usage and costs, and reducing overall CO2 output. Implementing both the CeramiCure® LCA™ and SCA™ technologies together will maximize energy savings, production cost reductions, and CO2 output while also resulting in additional Six Sigma and Lean Manufacturing benefits. CeramiCure® Light Cure Acrylic (LCA™) is the original, complete sanitary ceramic and porcelain repair solution for making virtually invisible repairs of minor glaze defects. Made of a high-tech nano-acrylic developed originally for a variety of medical applications, repairs using the LCA™ material withstand moisture, cleansers and heat up to 285°F and will not yellow or fall out over time. CeramiCure® LCA™ is available in more

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than 200 colors, with custom matching available prior to ordering, so mixing of colors is not required. Non-toxic, fast-curing and easy to use, the CeramiCure® LCA™ repair solution is efficient quality you can see. CeramiCure® Self Cure Acrylic (SCA™) is the original complete sanitary ceramic and porcelain repair solution or the restoration of previously unusable cracked or scrapped pieces. Based on the technology of the CeramiCure® LCA™ material, CeramiCure® SCA™ allows for the repairs of larger cracks in sanitary ware pieces, even those below the waterline. The CeramiCure® SCA™ solution utilizes a number of innovative non-toxic acrylic and composite materials to make structurally sound, leakproof repairs that were previously impossible to make. Scrapped pieces are no longer high cost lost revenue – they can now be transformed into saleable, profitable pieces with quick, easy and cost-effective repairs utilizing the CeramiCure® SCA™ material. To take advantage of the benefits and immediate cost savings realized through implementing the CeramiCure® LCA™ and SCA™ Repair solutions, visit www. ceramicure.com or contact us at info@ceramicure.com.

Cera mic W o rld Review ch inese edition 2014

下文详细介绍的丙烯酸 光 能 陶 瓷 修 复 系 统 (LCA ™)与自固化丙烯酸 修复系统(SCA ™)采用绿 色科技,有效降低了产 品成本,节约能源。利 用CeramiCure® LCA™ 修复加工陶瓷,能够帮 助企业降低复火率,减 少修复时间和成本,提 高产能与瓷砖质量,减 少煤气、燃油和电力消 耗,同时降低二氧化碳 的排放。同样的,利用 自固化丙烯酸修复系 统,能够帮助企业将瓷 器碎片变成可售产品, 通过优化产能和瓷器质 量来提高利润,同时进 一步减少能源消耗与成 本支出,降低二氧化碳 的总体排放。同时运用 丙烯酸光能陶瓷修复系 统与自固化丙烯酸修复 系统,将大大节约能 源,降低生产成本和二 氧化碳排放,同时获 得“六西格玛”与“节 约制造”带来的附加利 益。丙烯酸光能陶瓷修 复系统提供独创完整的 卫浴陶瓷修复方案,可 无痕修复瓷釉微小瑕

疵,。高科技纳米丙烯 酸酯原本是为了一系列 的医疗应用而开发的, 修复瓷砖时采用这一材 料能够使其抵抗潮湿与 清洁剂的侵蚀,耐285华 氏度的高温,不会因时 间长而发黄或掉落。丙 烯酸光能陶瓷修复系统 能提供200多种颜色,按 次序自定义搭配,因此 无需混合不同颜色。丙 烯酸光能陶瓷修复系统 质量可靠,无毒、修复 迅速并且使用便捷。固 化丙烯酸修复系统的陶 瓷修复方法具有独创 性、完整性及清洁性, 能够对无法使用的陶瓷 碎片进行修复。 运用固化丙烯酸修复材 料,能够修复卫生器具 碎片甚至水印线下的较 大裂痕。固化丙烯酸修 复系统利用了一系列创 新的无毒丙烯酸组合材 料来实现结构完美的防 漏修复,这些技术前所 未有。 利用固化丙烯酸修复材 料快速、便捷、低成本 地修复陶瓷碎片,已不 再是成本高昂的损失, 而是如今可 出售可获利 的产品。 想通过CeramiCure® LCA™ 以及 SCA ™ 修复 系统来实现 利益最大 化,快速节 约成本,请 登录网站 www.ceramicure. com或者 通过邮件联 系 我 们 info@ceramicure. com。


products I.C.F. & WELKO I.C.F. & Welko has recently developed, in cooperation with System Lamina, the technology for drying and firing ceramic plates with dimensions 1.6 x 5.5 m and thickness from 6 to 30 mm. The five-channel drier is equipped with all modern systems for heat recovery coming from the kiln. The kiln is 200 m long. The dryer and the kiln are able to produce up to 6,000 sq.m/day of large plates. The new plant allows for a very low energy consumption by using the hot air up to 250 °C coming from the cooling area for the burners and the dryer. Particular importance has been dedicated to the uniform distribution of the energy in the various sections of the dryer, such as preheating, heating and cooling. The perfect temperature control in the channels of the dryer and in the kiln allows to avoid any thermal stresses and to produce any kind of dimensions and thickness. The new system grants the utmost flexibility together with a very high product quality. ADVERTISING

I.C.F唯高公司近期联手 System Lamina,研发出 一项适用于面积1.6x5.5 米,厚达6-30毫米的陶瓷 板干燥烧制技术。五通道 干燥炉采用了先进的余热 回收技术,将长约200米 的陶瓷窑余热一并回收, 循环使用。干燥器和陶瓷 窑每日能生产出6000平方 米的陶瓷板。新设备利用 了燃烧炉和干燥炉冷却区 域产生的250摄氏度的热 空气,因此其能耗非常 低。无论是预热、加热还 是冷却,干燥炉各部分的 能量分配都经过了精细均 衡的测算。干燥炉和陶瓷 窑的各个通道控温严格, 以防出现热应力,同时可 生产不同规格的陶瓷板。 新系统灵活性强,产品质 量非常可靠。


I-TECH I-TECH, specialising in the design and production of ultrafine milling systems, recently launched an innovative range of I-MILL horizontal disk mills suitable for the production of ceramic digital decoration inks. I-MILL, an innovative mill for nanometric grade fine milling specially designed for the ceramic sector, is one of the most modern systems currently available on the market. All parts in contact with the product are made of antiwear material and are fully compatible with the additives and media used. The innovative design of the agitator disks guarantees efficient movement of the grinding media and consequently a high instantaneous energy delivery. Strengths: • Simple, robust and compact design. • High reliability and performance. • No contact between the product (ink) and the coupling/seal between the motor and the mill-

ing shaft. • The special design of the grinding chamber and the special separating turbine (installed at the end of the set of agitator disks) ensures lower impact of the grinding media on the separation filter and consequently a longer lifetime. • Much lower operating cost than rival systems. • Supervision software with content-rich graphical interface that at the same time is simple and easy to interpret. • The use of an inverter-controlled peristaltic type pump allows for extremely precise control of the ink flowrate entering the milling chamber with very low working pressures.

I-TECH,长期致力于特细 研磨系统的设计与生产。 该部门最近研制了一系列 适用于陶瓷数码装饰墨水 生产的水平盘磨机。IMILL是一款专门为陶瓷行 业设计的创新型磨粉机, 采用了目前市场上的最新 系统,能进行纳米级精加 工研磨。产品的所有零件 都由抗磨材料制成,与附 加剂和介质的使用完全兼 容。搅拌器磁盘的创新设 计 确 保 了 研 磨 剂 的 高 效 移动, 从而快 速输送 能量。 优

势: • 设计简洁、耐用、规模 小巧。 • 高度可靠,性能完美。 • 发动机与研磨轴之间的 产品(墨水)联结/密封 无触点。 • 研磨室的特殊���计与专 门的分离涡轮(安装于 搅拌器磁盘组末端)降 低了分离过滤器中研磨 剂产生的影响,从而延 长其使用寿命。 • 系统操作成本比竞争对 手的更低。 • 管理软件图表界面的内 容丰富,同时不失简 洁,易于理解。 • 由于使用了由变换器控 制的蠕动型抽水机,在 研磨室的低工作压力 下,达到了对墨水流速 的精准控制。 ADVERTISING


products LB OFFICINE MECCANICHE Migratech is the innovative dry milling system with microgranulation designed by LB. Indeed, the company has perfected the technology for the dry preparation of ceramic bodies, developing and optimising solutions involving plant designed for various types of production, while at the same time ensuring an extremely high quality finished product and a drastic reduction in energy costs. It also allows the user to produce according to criteria that ensure sustainable development. LB has chosen to use the MRV vertical roller mill for the grinding process, as this type of mill is capable of grinding the material to a fineness comparable to that obtained with water mills. MRV is a finishing mill, with builtin dryer and dynamic separator, ensuring that the different consistencies of the body components are mixed as efficiently as possible. Having perfected the traditional granulation technology, LB has defined a microgranulation process that allows the user to obtain powders with superior granulometric characteristics than those simply obtained with a water-based process, without producing the typical chunky sizes of traditional granulated products. In this way, Migratech bodies have all the positive characteristics of microgranulates but contemporaneously present less compaction issues during pressing, guaranteeing a good level of reactivity in the drying and firing stages. This particular microgranulation process is different from traditional humidifying

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and granulating ones, due to the fact that the finely ground powder is soaked in the GRC microgranulator at a higher level of moisture that maintained in the pressing phase, but lower than that used in the traditional granulation process. When the material leaves the GRC microgranulator, it undergoes a low temperature heat treatment as it passes through the EVF fluidbed dryer, to restore the body moisture to optimal values for pressing. The Migratech microgranulate presents excellent

C era mic W o rld Review ch ines e edition 2014

微粒化工艺干法研磨 由LB公司采用创新的 干磨系统及微颗粒设 计而成。 事实上,LB公司已经 完善了陶瓷胚体干法 技术,开发并优化了 生产中遇到的各种问 题解决方案,与此同 时,确保产品的超高 品质以及能源成本的 大幅降低。使用者能 够根据标准保证生产

的可持续发展。 LB已经选取了 MRV垂 直滚轴磨粉机来加工 研磨,这种磨粉机加 工的材料与水磨相差 无几。MRV是一个终 极磨粉机,内置干燥 机和动力分离器,尽 可能确保高效混合不 同浓度的胚体。 LB完善了传统的粒化 技术,定义了微粒化 加工,相比水力加 工,用户获得的粉末 有更高质量的粒化特 质,并且不会产生传 统粒化产品中常见的 厚块状粒子。 通过这种方式,微粒 化干法研磨机体积聚 了所有的微粒化优 点,与此同时,压制 过程中压缩问题更 少,确保在干燥和烧 制阶段有较好的反应 水平。由于在压制阶 段,细磨粉末吸收了 更多GRC微粒机中的 湿度,而传统的粒化 过程中湿度较低,这 一微粒化加工过程特 殊,与传统的加湿粒 化不同。当材料离开 GRC粒化器时,热加 工的温度较低,材料 通过EVF流体床干燥 器储存 压制过 程中胚 体的最 佳 湿 度。 微粒化 干法研 磨器具 有完美 的流动 性,在 压制过 程中易 于去除


flowability and is easy to de-air during pressing, ensuring that the pressed product is evenly compacted, with no need to modify the standard parameters of the press calibrated to suit spray-dried powders. Migratech also drastically reduces faults caused by the organic impurities usually found in the raw materials, and improves the mechanical and aesthetic characteristics of the finished product.

In terms of energy savings, based on production experiences with different types of ceramics, notable savings of gas, water and electricity can be achieved. There is a reduction in the CO2 released into the environment, and the costs incurred for both the use of deflocculants and for plant maintenance are reduced, as shown by the average percentage savings contained in the tables.

空气,确保压制产品 压缩平衡,不必为了 校准干燥喷雾粉而修 改压制过程的标准参 数。 微粒化干法研磨技术 还大大减少了通常在 原材料中发现的有机 杂质导致的种种问 题,改进了成品的机 械性能和美学性能。

在能源节约方面,基 于不同种类陶瓷的生 产经验,该技术能显 著节约煤气及水电的 耗能。 据表中平均节约百分 比数据显示,二氧化 碳在环境中的排放有 所降低,反凝剂的使 用以及设备维护的成 本也有所降低。

reduces the lateral pressure, consequently reducing the vertical pressure and the wear and tear of the relative components. When processed, the tile edge therefore presents a slight vertical ribbing, due to the aggressive force of the tools: the final spindle with resin-bonded wheel ensures that the tile edge is delicately ground and at the end of the line it appears smooth and even. The second step consists in chamfering with a double floating head. There are two types of chamfering process: mechanical, with a balance spring, or pneumatic, with air pressure balance, regulated with a pressure gauge. The floating chamfer is particularly suitable for use with tiles featuring a structured surface.

BMR采用Squadra® Dry技术,对双重烧制 及高孔隙产品进行调整 以及干去角处理。由于 安装了菱形边缘的工具 以 及 无 水 冷 却 系 统,Squadra® Dry运 用干燥技术整修瓷砖表 面,使其大小一致,相 互垂直,棱角规则。同 时,由于最后一步工序 无需对瓷砖进行烘干, 因此也可以节省干燥器 及相关能源的使用。 为了加工瓷砖的四条 边,需要运用两个模 块,另外瓷砖的中间部 分用来流转碎片;套管 式过滤器的运用有助于 抽出并消除粉尘。 在第一个处理阶段的首

次磨损循环中,需要运 用前研磨轮来去除25% 到50%的瓷砖面(或者 单孔瓷砖),所有材料 达到0.5至2毫米每轮的 标准。前轮必须去除瓷 砖中的大部分材料,通 过粉碎材料边缘来研磨 瓷砖。设计前轮的原则 是去除大部分材料以减 少横向压力,进而减少 相关零件的垂直压力和 磨损程度。在加工过程 中,瓷砖边缘由于工具 力的作用略呈垂直肋 状:树脂粘固轮的后轴 确保瓷砖边缘研磨精 致,使其在加工完成时 呈现出光滑平整的效 果。加工的第二个步骤 是运用双浮动磁头来去 角。去角加 工有两种方 式:运用平 衡弹簧的机 械法,或者 运用气压平 衡 的 气 动 法,需由压 力测量仪校 准。 流动挖槽机 特别适合运 用于具有结 构表面的瓷 砖。

BMR BMR presents Squadra® Dry, the squaring and dry chamfering line for double fired and highporosity products. Thanks to its diamond-edged tools, with no water based cooling systems, Squadra® Dry refinishes the sides of the ceramic tiles to correct the size, orthogonality and any irregular edges with a dry process. The tile does not need to be dried in the final phase, so eliminating the need for a dryer and the relative fuel. In order to process all four sides of a ceramic tile, two modules are used, with an intermediate section for rotating the pieces; the application of the sleeve filter helps to aspirate and eliminate the powders. The first processing phase is carried out by the front grinding wheels which remove from 25 to 50% of the porcelain tile (or monoporous tile) surface to be ground during the first abrasion cycle, the equivalent of between 0.5 and 2 mm per wheel for all the materials. When the front wheel must remove large amounts of material in porcelain tiles, it grinds the tile by breaking its edges into small pieces. The principle of the front wheels designed to strip away a great deal of the material

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products WEFLEX I-Tile® is an integrated system based on RTLS, RFID and Track+Race® technology that allows for real-time traceability of materials and optimizes handling and warehouse picking operations. I-Tile® is specifically customized to fit the requirements of and to solve the typical logistic problems of the ceramic companies, and has already been installed in various factories in Italy and abroad. I-Tile® includes innovative features, such as: • Shuttle control: I-Tile® also controls the movement of material through the shuttle, used in case of significant quantities of goods to be moved within the warehouse. • Picking bay: the system controls the movements of the pallet into the bay where the operator works. It also guides the operator allowing it to operate without error. • The management of the warehouse samples and of the production of the samples with the traceability of all components. Through the control of the position of the pallet RTLS Track + Race, each operation is executed correctly and the forklift driver is able to perform his work without ever taking his hands off the steering wheel. The advantages of the system are: • Increased capacity of order processing (>+20%);

• Absolute precision in the localization of every pallet stored, whether stored on the floor, shelves or on the forks of the forklift; • Elimination of physical inventories, that are replaced by random-checks and cycle-counting; • Implementation of specific performance indicators for the warehouse productivity; • Up to 20% reduction in fragmentation of stock (“tail” of product); • Ability to compose an order using more than one forklift to process more orders simultaneously (parallel block work), and to “plan the production of inventory”; • Total control of warehouse processes and movements; • Elimination of half pallet. Weflex’s partners for the development of I.Tile® are Onit Group (Cesena) for the software and Emisfera Sistemi (Reggio Emilia) for the Wi-fi.

CMF TECHNOLOGY Based on its experience gained in important cooperative relationships with Italian and foreign manufacturers in the surface treatment of technical and glazed porcelain stoneware tiles, CMF Technology has developed a new surface finish known as “dry lapping.” This new finish is achieved by means of multiple heads equipped with tangential brushes that can operate at extremely high speeds. By modifying operating parameters such as the speed of the

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conveyor belt, the pressure exerted by the grinding wheels, and the number and type of abrasives used, it is possible to achieve tiles that are extremely soft to the touch and, depending on the product, to enhance the tiles’ gloss and opacity. Furthermore, the Silktile CR dry lapping machine is equipped with an extremely quick and efficient tool changing system: the abrasive roller is “anchored” to the lapping head by means of a pair of opposing cones that are able to open/close on the

C era mic W o rld Review ch inese edition 2014

I-Tile系统是一个基于实时 定位系统、射频识别技术以 及追踪技术的综合系统,它 能够满足陶瓷材 料的实时 可追踪性,优化操作以及仓 储管理。 I-Tile系统根据陶瓷厂商的 不同需求 及 典型的物 流问 题定制设计,如今已在意大 利及 海 外的各工厂安装使 用。I-Tile系统具有以下创新 特质: • 往返控制:当仓库内大量 货物需要搬运,I-Tile系统 可通过穿梭机器控制物料 往返移动。 • 捡拾底板:该系统控制着 运货板进入底板的移动, 操作器在底板运作。它还 引导着操作器准确无误地 运作。

• 仓库样品的管理与样品生 产,所有部件都可追踪。 通过运货板位置的控制,实 时定位系统与追踪系统的操 作保持准确无误,因此铲车 司机必须双手不离方向盘地 完成自己的工作。 该系统的优点: • 订单处理容量增大(大于 20%); • 每块运货板定位精确,确 定安装于楼板、货架还是 铲车的铲叉上; • 由随机抽查和循环计算来 替代实际盘存; • 安装专门的性能指示器显 示仓库产能; • 减少了20%的残余存货( 又称“尾货”); • 能够组织多个铲车同时加 工多个订单(并行块工作) , “计划存货清单” ; • 总体控制仓库进 程与移动; • 去除半运货板。 I - T i l e 系 统 由 WEFLEX联合软件供 应商Onit集团(位于 切赛纳),以及无线 局 域 网 供 应 商 Emisfera Sistemi( 位于雷焦艾米利亚) 开发。

鉴于与意大利及国外制 造商在粗陶器上釉的表 面处理技术方面的合作 经验,CMF 科技开发 了名为“干燥研磨”的 新型表面抛光产品。 通过安装多种高速相切 刷的多头仪器,这一新 产品得以运作。 通过优化操作参数,如 传送带的速度、研磨轮 的压力以及使用磨料的

数量和类型,可以使瓷 砖的手感优越,并在产 品的基础上提升瓷砖的 光泽和透明度。 另外,Silktile CR干燥 研磨机安装了高速高效 的工具交换系统:磨料 滚轴通过一对相反的椎 体“固定”于研磨头, 这样滚轴就可以自动打 开/关闭。 该驱动器由一对同步发


roller itself. The drive is provided by a pair of synchronized motors that are able to deliver excellent mechanical torque. Due to the above-mentioned technical features, Silktile CR was successfully installed at a large number of Italian and foreign manufacturing facilities. Its ideal position is at the end of the line (at the entrance of the sorting line) since it does not use water, is compact without compro-

mising the line’s productivity, and does not require an operator’s presence. The process’s production costs are also decidedly worth mentioning: a considerable number of trials at different companies show that the cost of abrasives can be even less than 0.02 euro/sq.m.

动机驱动,能够完美分 配机械扭矩。 由于以上提到的种种技 术优点,Silktile CR成 功地应用于许多意大利 和国外生产设备上。它 的理想位置处于生产线

末端(在分类生产线的 入口处),因为无需用 水,无需压缩生产线产 能,也不需要人工现场 操作。 该技术的生产成本也值 得一提:在不同工厂的 多 次 试 验 表 明 , 磨 料 的 成 本 甚 至 可 以 低 于 每 平 方 米 0.02欧 元。

FRITTA In recent years, researching ceramic tiles has focused on the development of functional surfaces, among which particularly to be noted are materials that exhibit self-cleaning, bactericidal, and fungicidal properties. The ceramic sector ready markets materials that display these characteristics, though many require a more complex application process than the customary ceramic tile manufacturing method. Two standards are at present mainly used to measure antibacterial capacity in ceramic materials: ISO-27447:2009 and JIS-Z-2801:2010, with very different characteristics. However, both standards study antibacterial action with regard to the following bacterial strains: Escherichia coli O157:H7 which can cause serious illnesses, such as the hemolytic–uremic syndrome; and Staphylococcus Aureusis, a very dangerous and contagious bacterial strain that has developed as a result of the excessive, inappropriate use of antibiotics. Cases of infections have increased each year and, in addition, this bacterium has under-

gone genetic modification, 近年来,瓷砖研究的重 becoming increasingly aggres点集中于表面功能的��� sive and resistant to common 发,具有自净功能以及 antibiotics. Fritta’s research has 杀菌功能的材料特别值 allowed to obtain glossy or matt ceramic surfaces with antibac得一提。比起传统的瓷 terial properties for both monop砖制造方法,具有这些 orosa and porcelain tile cycles, 功能的陶瓷材料需要更 as well as for sanitary ware, pro复杂的应用加工。 viding two important advantag目前,我们运用两种截 es: a) It involves no modification of 然不同的标准来衡量陶 the original texture of the 瓷材料的抗菌能 product; 力:ISO-27447:2009 和 b) It involves no modification of the customary ceramic tile manufacturing Description R %RED methods. Glossy Porosa 0,58 73,65% The table Antibacterial GlossyPorosa 3,46 99,97% shows part of the results Glossy Porcelain Tile 0,97 89,25% of the study Antibacterial Glossy PorcelainTile 5,46 100% performed, Matt Porosa 0,87 89,45% obtained with industriAntibacterial MattPorosa 2,88 99,87% al applicaMatt Porcelain Tile 0,47 65,88% tions and firAntibacterial Matt Porcelain Tile 5,46 100% ings.

JIS-Z-2801:2010。然 而,两种标准都根据以 下细菌品种研究了抗菌 行为:大肠杆菌 O157:H7,会导致严重 的疾病,如溶血尿毒综 合征;金黄色葡萄球 菌,一种危险且易传染 的菌种,也是滥用抗生 素导致的结果。这些细 菌感染每年都在增加, 另外,这种细菌能够基 因修复,对普通抗生 素产生了强烈的抗药 性。 Fritta的研究目的在于 使得表面抛光或哑光 的瓷砖和清洁器具具 有抗菌性能,其包含 两个优势: a)无需修改产品的原 有结构; b)无需修改传统瓷砖 的加工方法。 该表格采用工业应用 方案和燃料数据为我 们呈现了部分研究结 果。

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products MEGACOLOR Megacolor Ceramic Products is a Spanish company with a worldwide presence in the ceramic market. It is specialised in the production, sales and distribution of ceramic colors and inks for inkjet decoration, developed by a skilled team with long-standing experience in the ceramic manufacturing. Thanks to this competence and the use of advanced technologies, Megacolor is able to grant one of the most advanced customer service and quality control, now available on the market. The range of colors, glazes, bodies and inks are employed by the most important ceramic floor and wall tiles in the world. The continuous R&D investments have led to the development of a new range of inks and digital effects called Inkjet Master. This new range of digital inks is totally changing the yields and efficiency of digital decoration and combines an advanced technology with a wide chromatic range, which allows for obtaining ceramic pieces with extraordinary technical

and aesthetic characteristics. The inks are homologated for the main digital printers produced by machinery manufacturers. Inkjet Master allows for: • High intensity colors and shades, which rank among the leading inks on the market. • Immediate adaptation to any machine and digital technology. • High stability and durability, due to a perfect combination of organic and inorganic part, thanks to internal R&D. • Complete quality control which grants the client for the highest product stability. • Environmental-friendly products, without need of special transport. • The products are not dangerous and do not have the label ADR/IMDG/ICAO.

EFI CRETAPRINT EFI Cretaprint has taken part in the most recent Indian Ceramics trade fair, which was held in the city of Ahmedabad (India). This is the fifth time that the Spanish manufacturer of digital printing machinery has participated as an exhibitor at this international event. Five years ago, as part of its internationalisation plan, the company set up its own permanent technical structure in the area of Ahmedabad and Morbi, the epicentre of ceramics in India. Thanks to this investment and to its dedication to local customers, EFI Cretaprint has already sold printing machines to 50 customers in this region. Currently, there are nearly 100 digital inkjet machines being used

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in India. At its stand at the Indian Ceramics trade fair, in addition to exhibiting a new cutting-edge machine, the company also presented the latest version of Fiery proServer, the first colour management software for ceramics. This solution improves tile design and production efficiency through fully optimised image processing and colour separation. As such, it considerably reduces the amount of time between the design and the launch of the ceramic model, producing the same top quality results in three to twelve colours and offering a greater level of process automation. Ultimately, Fiery proServer allows tile manufacturers to work with higher quality colours and

C era mic W o rld Review ch inese edition 2014

Megacolor是一家惠 及全 球 市场 的西 班 牙 陶瓷公司。该公司致力 于 喷墨装饰 所 需的 陶 瓷色彩与墨水的生产、 销售与分配,并由陶瓷 制 造 业 经 验丰富的高 技术团队参与研发。由 于 这一 优 势以及 先 进 技 术 的 使 用,Megacolor公司 为其 市 场 提 供了最 先 进 的 客户服 务 以 及 质 量控制。 全 球 最 重要的地砖 和 墙 砖 都 采用了该 公司 一系列的色彩、釉料、 胚体以及墨水。 公司注重研发投资,已 经 研发 出一系列 新 的 墨水和数字效果,被称 为“ 喷墨大师”。数字

墨水新品完全改变了投 资收益,具有数字装饰 的高效性,并将高科技 与色彩范围结合,使陶 瓷产品具有超凡的工艺 和美学特质。 这些墨水得到了主要的 数码打印机制造商的广 泛认可。 喷 墨 大 师( I n k j e t M a s t e r)具有以下特 征: • 高强度的渐变色彩, 在市场中名列前茅。 • 对任何设备与数字技 术的快速兼容性能。 • 高稳定性与持久性, 归功于内部研发将有机 和无机元素完美结合。 • 全面的质量控制呈现 给客户产品的最高稳定 性。 • 环保产品,无需专门 运输。 • 产品无害,无需附加 ADR/IMDG/ICAO等 危险品标签。

EFI 快达平(Cretaprint) 近日参加了在印度艾哈 迈 达 巴 德 (Ahmedabad)市举 行的陶瓷贸易展览会。 这是这家西班牙数码印 刷机械制造商第五次作 为参展商参与这个国际 盛会。 五年前,作为其国际化 计划的一部分,快达平 公司在印度陶瓷的震中 地区艾哈迈达巴德和 Morbi成立了常设技术 机构。由于这项投资以 及对当地客户的竭诚服 务, EFI 快达平已经向

这个地区的50个客户售 出打印机。目前,印度 有近100台数码喷墨打 印机 正投入使用。 公司在印度陶瓷贸易展 览会上,除了展出尖端 的新机型,还展示了最 新 版 本 的 F i e r y proServer ,第一个陶 瓷色彩管理软件。该解 决方案通过全面优化图 像处理和色彩分离,提 高了瓷砖设计和生产效 率。因此,它大大减少 了从设计到推出陶瓷样 板所需要的时间,同时 提供3到12种颜色的高


to easily and quickly develop new designs with greater colour consistency under any manufacturing conditions, which all considerably reduces ink consumption. In light of the positive response to this software, Fiery proServer currently has a professional dedicated exclusively in India to introducing this tool to its customer base and to providing the corresponding technical support. EFI Cretaprint is not only known for the quality and reliability of its machines, but is also building a strong presence

in the field of colour management software. In fact, the EFI America headquarters has an office in Bangalore (India) with close to 450 employees dedicated to software development and programming. Finally, at the trade fair the company also presented an innovative system for special effect applications with a download capacity 2.5 times that of the systems currently on the market, offering the chance to obtain truly stunning effects.

质量打印效果,提高流 程自动化水平。 最终,Fiery proServer 能够为瓷砖制造商提供 更高品质的色彩,并能 轻松快速地开发新的设 计方案,在任何生产条 件下都能保持色彩一致 性,大大降低墨水消耗 量。鉴于此软件市场反 响 积 极 , F i e r y proServer目前在印度 有专门的专业 技术人员,致 力于向客户群 引 荐 这 一 工

具,并提供相应的技术 支持. EFI快达平不仅以其机器 的质量和可靠性著称, 也在色彩管理软件领域 力求占据显要之位。事 实上,EFI美国总部在印 度班加罗尔设有办事 处,拥有近450名员 工,致力于软件开发和 编程。 最后,公司还 在展览会推出了一个创 新的特效应用系统,其 下载量是目前市场上系 统下载量的2.5倍,其 效果令人惊叹不已。

Wanxing Coloritalia 研 发实验室,在每一个创 新领域数码技术上时刻 准备着。由于Wanxing Coloritalia 在釉用色 料、玻璃色料、贵金属 色料上拥有20 年的丰富 经 验 , W a n x i n g Coloritalia 认为在强调 创造新产品不同的温度 和表面的效果上,确定 数码化生产方法与装饰 行业的应 用,是非常重 要的时刻。我们的研发 团队会继续在所有关于 数码化生产方法的新进 展保持高 度关注。当 然,我们不仅仅关注在 砖的表面 应用上,同 时也包含 新的喷头 和系统上, 使釉料和 墨水在使 用上呈现 不同的粒 度分布。

正处于开发阶段的新系 列喷釉墨水,将配合中 国wanxing 佛山基地进 行试产,中国wanxing 佛山基地已经完成第一 年的常规喷墨 墨水生 产,当前的生产能力是 每月100 吨,我们的目 标是在今年年底超过每 月600 吨,目前 许多公 司都在使用我们常规8 个颜色的墨水。研发中 心主要把精力投放在多 功能墨水上,其 中,白 色和金黄色墨水将让客 户以提高他们在暖色调 色阶上的应用。而在传 统 陶 瓷 色 料 上 , W a n x i n g Coloritalia 将保留玻璃 底釉的优势,继续生产 可靠有竞争的产品。最 后,关于三度 烧产品的 数码化印刷,Coloritalia 提供一系列的媒介,从透 明釉料,哑光釉,加白 釉料上,分离 其表面及 表达效果。

WANXING COLORITALIA The new R&D digital Wanxing Coloritalia laboratory that will operate in every innovative area of the digital technology is ready for action. Company management, considering the 20 years experience matured by Coloriatlia in the sectors of decorative ceramics and stains for glass, sheet metal and porcelain, felt that it was extremely important to finalise the digital production methods for applications linked to the decoration sector with emphasis on creating new effects and products for a multitude of temperatures and surfaces. The laboratory will also endeavour to maintain a high level of attention on all new developments regarding digital production methods. Its focus will not only go to the use of new surfaces, but will also embrace new printheads and systems that will enable the use of glazes and inks having different particle size distribution. This new series of decoration and glazing products, currently under development, will flank the traditional range of inks that has completed its first year of production in China at the Wanxing plant of Foshan.

Current production capacity is 100 tons per month. The goal is exceed 600 tons by the end of the year. The range comprises 8 colors currently used by many companies. Research is currently aimed at producing a more functional, white and a gold-yellow shade that will allow customer to enhance their gamut of warm tones. In relevance to traditional stain, Wanxing Coloritlia continues to produce highly reliable and competitive products with great care reserved to limiting glass glaze flaws and engobe color shading. Lastly, as regards third firing digital printing, Coloritalia offer a range of primers that isolate the surface and convey effects that range from transport gloss to glossy, mat and heavy white.

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Ceramic World Review China 2014