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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Cera mic W o rld Review ch ines e edition 2014
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