Screen Printing - December 2011/January 2012

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December 2011 / January 2012

Views on Printing’s Future

p. 4

SGIA 2011 in Reviewp. 32

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SCREENPRINTING Online Communities

DECEMBER 2011 / JANUARY 2012

www.screenweb.com

Steve DuccilliGroup [email protected]

Gregory SharplessAssociate [email protected]

Gail [email protected]

Ben P. RosenfieldManaging [email protected]

Keri HarperArt [email protected]

Mark Coudray, Rick Davis, Tim Greene, Andy MacDougall, Rick Mandel, Thomas TriminghamColumnists

Linda VolzProduction [email protected]

Lou Arneberg - East and Midwest US, Eastern Canada, [email protected] Stauss - West and South US, Western Canada, [email protected] Development Managers

Andy Anderson, Jeff Arbogast, Albert Basse III, Reynold Bookman, Bob Chambers, Don Curtis, Dean DeMarco, Michael Emrich, Craig Furst, David Gintzler, Ryan Moor, Bob Roberts, Jon Weber, Andy WoodEditorial Advisory Board

Jerry SwormstedtChairman of the Board

Tedd SwormstedtPresident

John TymoskiAssociate Director/Online

Customer ServiceScreen PrintingSubscription ServicesP.O. Box 1060Skokie, IL 60076P: 847-763-4938/877-494-0727F: 847-763-9030E: [email protected]

Free Subscriptionwww.screenweb.com/subscribeRenewals/Address Changeswww.screenweb.com/renew

8 Managing Mesh-to-Frame Attachment This guide focuses on affixing mesh to a variety of frame systems.

12 Stencilmaking: Light Sources and Artwork These expert tips describe how light in screen exposure and artwork in stencilmaking

affect quality on press.

14 Printing on Activewear Use the advice in this article to find the right inks for decorating performance fabrics.

18 Preventing and Removing Haze Get the ghosts out of your screen-printed graphics by implementing the best practices described here.

20 Defining the Ideal Manual Press These guidelines simplify the process of selecting a manual press.

22 Predicting and Managing Dot Gain Learn how to control the variables that influence dot interactions in garment screen printing.

26 How to Select a Garment Dryer Wade through the many operating specs associated with garment dryers by using

the tips shared here.

28 UV Inkjet Maintenance Keeping your UV inkjet working at optimum levels needn’t be a challenge.

30 An Overview of UV Curing This overview takes the mystery out of how UV inks are formulated and how they work.

FEATURES

4 The Future for Printing Gail Flower What does the future hold for screen and digital printing? Take in the opinions and views from attendees and exhibitors at SGIA 2011.

32 SGIA 2011: An Overview of Products Promoted in New Orleans Discover several of the products brought to the Big Easy.

DEPARTMENTS37 STATEMENT OF OWNERSHIP

38 US & CANADIAN DIRECTORY

39 OPPORTUNITY EXCHANGE

40 ADVERTISING INDEX

SCREEN PRINTING (ISSN 0036-0594) is published bi-monthly by ST Media Group International Inc., 11262 Cornell Park Dr., Cincinnati, OH 45242-1812. Telephone: (513) 421-2050, Fax: (513)

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Volume 102 / Number 6

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screenprinting�

Gail Flower

Every year during SGIA exhibitors show their latest and greatest pieces of equipment, substrates, inks, adhesives, and textiles, and every year we query the exhibitors and attendees regard-ing what the future looks like for the industry.

Since numbers never lie, if you only look at the numbers, while the show did not grow since 2010 in Las Vegas, SGIA’s Susan Veoni says, “Our numbers increased since the last time we were in New Orleans in 2009.” These are the raw numbers: 2009 drew 14,245 registrants and 405 exhibitors; 2010 drew 21,956 registrants and 487 exhibi-tors; 2011 drew 16,006 registrants and 456 exhibitors. Booths seemed larger with more equipment this year. More than 20 educational sessions engaged printers at the show. For those wanting some specific advice, six Expert Advice Zones had experts in digital apparel, digital signage, industrial and printed electronics, narrow format, PDAA graphics, and screen-printed apparel.

And it’s not just the numbers since 2009 in New Orleans, but mainly the mood of the whole show seemed up. As is normal, when the press confer-

ences and classes were in session, the attendance on the show floor lulled, but then picked up after the event. This year, though few exhibitors left their kits in the press room, 15 exhibitors held press conferences to announce their latest innovative print products including EFI, Spectra Jet Inc., Durst, Hewlett Packard, Ilford, Screen USA, Kornit Digital, Van Son Holland Ink, Mu-toh, Mimaki USA, Dynamesh, Richmond Graphic Products, Aurora Specialty Textiles, and one new company with a printer and inks to announce—Novus Imaging. At lunch on the show floor, over bowls of étouffee, attendees asked, “What did you see that I could use in my shop?” They intended to buy something before leaving New Orleans, and that’s a positive sign.

Even the keynoter, Brian Hart of Hart Consulting had a positive forecast, “There’s 30% more work out there for re-tailers to do with 30% less staff for them to do it. So what they’re looking for right now are partners they can bring on to fulfill those needs. Although the economy doesn’t prove it, there’s more opportunity for graphic communication companies than before,” he claimed.

To give attendees and exhibitors every chance to share their opinions, we invited them to Screen Printing’s booth to talk to the editors. We also asked exhibitors what they predicted will come in the ensuing year. Here’s what they said.

DiGital GrowthA fast-moving area for graphics print-ing lies in the growth of digital. If it can be digital, it will be is a frequently quoted comment attributed to Benny Landa of Indigo, now HP-Indigo. “I think this quote extrapolates to the screen and specialty printing markets,” says Tim Greene, adding that innova-tions in material deposition, printhead technologies, and substrates enable digital printing systems to take on more marketshare than in the past. But some things can’t be digital, he adds.

“There will always be room for flexo and screen-printing processes for different applications and/or longer job runs; however, we see the future in digital printing and laser cutting inline,” says Mike Bacon. “This eliminates waste, tooling costs, design times for tooling changeover waste, and reduc-

Exhibitors and attendees from SGia 2011 make their predictions in this article.

tion of operators. Digital printers and laser converting offer true plateless technology that allows the prepress department to RIP files and send both the cut and print files to the machine so that the operator only needs to push a button and run a product.”

As the speed and accuracy of digital printing increase, so will the in-herent benefits of minimal set ups and changeovers, adds Herb Gieseler.

Even with growing digital print-ing, screen printing is still a platform for long runs, says Rick Moore, explaining that printers have already made an investment in equipment and screen but that production has steadily moved to wide-format digital and printers are now moving workloads to UV flatbed systems.

DECLINING RUN LENGTHSDanielle Mattiussi, Mike Bacon, David Murphy, Hiroshi Ono, and Jim Lambert all commented on declining run lengths and shorter lead times, requiring flex-ible printing and converting equipment. Optimizing efficiencies everywhere sets the pace for production control in a successful printing operation.

“Where end users may have once requested a print run of 2000 identical point-of-purchase displays, they are now asking for 500 for one region, 150 for a smaller market highlighting a new promotion, 50 for a new store, and on until the total reaches the original,” Harel Ifhar says.

NEW INKS, SUBSTRATES, AND EQUIPMENT According to Greene, tremendous in-novations are taking place all the time in inks, material deposition, printhead technology, and substrates that enable digital printing systems, tools, and technologies to be applied to the wide range of applications that now fall under the screen- specialty printing headings.

One of the new inks introduced at the SGIA 2011 represented a green product, neither latex nor UV cured, AquEpoxy ink introduced by Novus Im-

aging for their new wide-format inkjet printer.

Sal Sheikh predicts that the flat-bed UV market will grow in the coming year for four main reasons. First, there will be transfers from older to newer printing technologies. Users will realize productivity gains and cost savings without sacrificing quality. Second, new applications use flatbed print-ers—applications such as packaging for variable-data, short runs, and prototyp-ing. Third, traditional signage applica-tions will contribute to UV’s growth as more prints are made directly on a rigid substrate. And fourth, more flatbed UV inkjet printers will become available, especially at entry levels.

Eric Matsumoto agrees that many screen-printing applications are switch-ing to UV inkjet technology.

LEAN MANUFACTURINGThe industry is headed into lean manu-facturing. Chase Roh says more than 60% of garment printers plan to adopt the direct-to-garment printer approach and that the new generation of printers for garments is much more productive.

Bacon and many of the others agree that lean is the way to go to con-trol the cost of manufacturing. Danielle Mattiussi adds that from a software per-spective, customers are looking at ways to automate every facet of production.

Continued reduction of the labor force remains a component of cost con-trols for printers. As new manufacturing methods, such as cellular manufactur-ing, digital printing, and fabrication are added, speed and accuracy increase. Giesler sees a shift in the future back to more domestic manufacturing as these changes take place, as opposed to out-sourcing or off-shore printing. However, he also sees consolidation of companies and assets in the future.

Juergen Roesch explains that print shops are looking to integrate all shop-handling processes connected to MIS: inventory, ordering, scheduling, cost control, and billing—and if you can add automation, centralize color man-agement, and create color appearance

Image courtesy of Darek Johnson





across all devices, digital or not, you can stay on top of all operations.

Dealers and shops are looking at scalable solutions, Roesch adds—tools that work modularly, are easy to oper-ate, and can be extended to multiple production sites. The flexibility to expand or contract to fit the economic situation is needed now more than ever.

CUSTOMIZATIONWherein lies the promise of growth? “Customization, localization, and the ability to change labels dynamically is creating a while new market for label printing,” Jim Lambert says.

An area in our industry that benefits from a slow economy is where labels and marketing are used to capture the consumers’ attention, adds John Bennett. Brand marketers and gro-cery and mass merchandisers tend to change prices frequently in this type of economy; therefore, there are increase demands for media that can present these changes to the customer.

David Murphy sees potential in retail, interior décor, event graphics, out-of-home advertising, vehicle graph-ics, and traffic signage. He sees growing markets in folding cartons, corrugated packaging, and P-O-P displays that are just ripe for the benefits of high-quality digital printing.

According to Kim Hensley, label printing will fill a growing need to prevent products from being tampered with by using incorporated holograms, watermarks, RFID, and other tamper-evident films.

The market for personalized products continues to grow across every facet of the printing industry, and businesses that capitalize on this oppor-tunity will thrive in the future, explains Hiroshi Ono. Helping fuel the trend are the recent advancements in UV-LED

technologies, which enable printing on unconventional substrates and even directly onto products—from pens, key chains, and promotional items to cell phone covers and laptop computers.

Sal Sheikh believes that new applications, such as packaging printed on flatbed UV inkjet printers using vari-able-data short runs and prototyping, are the wave of the future.

HEALTHY REBOUNDTimes are inevitably changing for most screen printers. Industrial printing applications using specialty inks will provide an area of growth, especially in photovoltaics, RFID applications, and other segments. T-shirts, textiles, special effects, long runs, décor, pro-motional items, and security are other areas of positive growth in traditional screen-printing venues.

“I think the industry is at a crossroads for many companies,” Riley Hopkins says. Though old-style busi-ness is giving way to new-style business somewhat, smaller companies and those capable of flexible production have an advantage. Paying attention to matching colors in an advertising cam-paign printed on different presses, to meeting a deadline, to providing value-added services, to controlling costs seems to make a big difference between the survivors in a tight economy.

“I’m optimistic that the industry will continue to grow in exciting new directions while at the same time re-taining some of the core principles that got us to where we are now,” Hopkins says. “I, for one, welcome the new and exciting possibilities.” Taking the size, attendance, and mood at SGIA 2011 into consideration, the future holds lots of change, but lots of possibilities for growth.

AnaJet Inc., Costa Mesa, CAChase Roh, Founder

FLEXcon, Spencer, MAJohn Bennett, VP, Product Identification

GMG Americas, Hingham, MAJuergen Roesch, Manager, Business Development

Hewlett-Packard Company, San Diego, CADavid Murphy, Director of Marketing, Americas, HP Graphics

Hewlett-Packard Company, Scitex Industrial Printing Solutions, Netanya, IsraelHarel Ifhar, Marketing Manager

Hop Industries, Lyndhurst, NJEric Matsumoto, Account Representative

InfoTrends, Rockville, MDTim Greene, Director

INX International, Digital Division, San Leandro, CAJim Lambert, VP and GM

MACtac Graphic Products, Stow, OHRick Moore, Marketing Director

MACtac Roll Label, Stow, OHKim Hensley, Product Manager

Océ North America, a Canon Group company, Chicago, ILSal Sheikh, VP Marketing

ONYX Graphics, Inc., Salt Lake City, UTDanielle Mattiussi, Director, Product Marketing

PANNAM Imaging, Cleveland, OHHerb Gieseler, Senior Technology Engineer

Riley Hopkins Screen Printing Machinery, Gig Harbor, WARiley Hopkins, President

Roland DGA Corp., Irvine, CAHiroshi Ono, Group Product Manager

Spartanics, Rolling Meadows, ILMike Bacon, VP Sales and Marketing

PANEL OF RESPONDENTS

SCREENPRINTING6

Image courtesy of SGIA Image courtesy of SGIA

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SOURCE BOOK

Managing Mesh-to-Frame Attachment

SCREENPRINTING8 SCREENPRINTING8

Frames come in two main varieties: static and retensionable. Of these two groups, the static or rigid frame—com-monly known as a stretch-and-glue frame—is the simplest form. Rigid frames are available in many different materials and profiles. The most com-mon materials are wood, tubular alu-minum, and tubular steel. Wood frames are arguably the most popular due to their lower cost but are limited in size for strength reasons and generally not recommended for high-resolution, tight-tolerance work. Among the metal rigid-frame types, tubular aluminum is the most popular in the United States. Aluminum frames are lighter than steel frames but provide similar stability. Steel frames, epoxy coated or powder coated, are more popular overseas.

Tubular aluminum frames sup-port a variety of gluing surfaces, includ-ing sandblasted, ground, or raw with no texture (Figure 1). Frames have a great surface to work with when they’re brand new. But the surface can become less than ideal once multiple layers of adhesive, fabric, and ink residue have built up. You can re-glue mesh over old adhesive numerous times before the frames must be reconditioned; how-ever, many printers don’t take the time to prep the frame properly when they attempt to recondition it.

Sanding the glue off of an aluminum frame is a common mis-take because it leaves the surface too smooth for the adhesive to bite into it effectively. Sandblasting is great for small frames but may be impractical for large frames. So this leaves mechanical brush grinders, angle grinders with flap-per discs, or chemicals.

The chemical method is most commonly used with coated steel frames, but it is also used with alumi-num frames. The chemicals come in two main varieties: gels and liquids.

To ensure the best performance, the exact chemical makeup of the strippers should be recommended by the manu-facturer of the adhesive you use.

The task of chemical adhesive removal can be performed in a few different ways. Some people dip their frames, if the size allows, in a stripper solution. Others will paint or spray the cleaning chemical onto the frame, wait a period of time, and then remove the residue with scrapers. To complete the process, excess stripper material and residue are cleaned from the frame with an appropriate solvent.

No matter which method of adhesive removal you use, once you’ve reconditioned a frame, you will need to treat it as if it were brand new. That means you’ll need to check the glu-ing surface and edges of the frame for nicks, cuts, or any sharp protru-sions that could cut or puncture the mesh during the stretching and gluing process.

The use of a solvent to clean the gluing surface also is recommended for non-wood frames. The solvent should evaporate rapidly and leave little to no residue. Oily solvents, such as min-eral spirits, lacquer thinners, or safety solvents, are not appropriate. Solvents such as acetone or isopropyl alcohol (99%) are very good choices and will leave the frame clean and free of any material that could compromise the adhesive bond.

Stretching and gluing with rigid framesThe two main categories of stretching devices are mechanical and pneu-matic systems (Figure 2). Within the pneumatic category are air-bar and individual-clamp stretching systems. Air-bar systems tend to be less expen-sive, but they normally don’t stretch mesh as uniformly as a system based on individual pneumatic clamps. Systems based on individual pneumatic clamps can compensate for inconsistency in mesh loading, while air-bar systems can’t. Both types of pneumatic systems allow for the fabric to stabilize because constant pressure is put on the mesh during the stretching process. Another benefit to pneumatic systems is the fact that most can pre-bow the frame, result-ing in even more consistent tensioning.

Mechanical stretching systems are most often used for low-volume stretching or where a tight budget is involved. Extremely large mechanical units also available for large-format screenmaking. Mechanical systems are highly effective in getting the job done, but generally they lack the finesse of a quality pneumatic system.

After the mesh is stretched, it’s time to adhere it to the frame. Consider the following points about adhesives:

Adhesives are effective when using wood or metal frames. They’re the only option when using metal frames.

•

Figure 1 It’s beneficial to have a textured frame surface on the edge to which the mesh will be glued because it improves the adhesive bond. Shown here, from left to right, are close-ups of a raw or untextured frame surface and ground and sandblasted frames.

2011-2012 SOURCE BOOK

DECEMBER 2011 JANUARY 2012 9

Common adhesive formulations include two-part epoxies, two-part urethanes, and cyanoacrylates. All three systems can be called two-part; two feature a base material and a catalyst, and the other comes with an adhesive and an activator that is used to make the adhesive cure instantly.

Urethane and epoxy adhesives consist of a base adhesive that requires a catalyst. The catalyst accelerates the curing and improves the hardness of the adhesive. The mixed adhesive and catalyst has a pot life, which will vary depending on the formulation and manufacturer. Cyanoacrylates consist of ethyl cyanoacrylates, which have a good strength characteristic, fair sol-vent resistance, and compatibility with most materials.

Catalyzed adhesives are available, including formulations for just about any application, mesh count, frame type, and environment. Viscosity is important because it influences how well the adhesive penetrates the fabric to reach the frame.

When mixing catalyzed systems, adding more catalyst will help with the chemical resistance but it will slow down the reaction time of the adhesive. Normally, the two-part epoxy systems are tack dry in 5-20 min but are not fully cured for 24 hr.

Methods of adhesive application are personal choices. Use the one that’s best for you or suggested by the manu-facturer.

Retensionable frames The alternative to the stretch-and-glue process for attaching mesh to rigid frames is to use retensionable frames. These frames became extremely popular because standard polyester mesh fabrics were unstable in terms of maintaining consistent tension levels. With the advent of newer low-elonga-tion (LE) fabrics, the benefit of retight-ening mesh is no longer as important, but these frames are still very useful. Retensionable frames area available in drawbar and roller configurations.

As their name implies, retension-

•

•

•

•

•

able frames allow mesh to be reten-sioned. They use no glue, and they can be fitted with new mesh relatively quickly without the use of chemicals.

It takes some skill to get consis-tent tensions with these frames, and the process usually takes a little more labor to stabilize the fabric, but the results are usually worth it.

Drawbar frames have several configurations for locking the fabric into the frame. One is a stretch-and-glue version, but most consist of either one to two plastic rods or a metal bar that slide into grooves or channels on the frame sides and lock the mesh in place. Which configuration to use depends mainly personal preference, but also on the mesh type and thread count you use. For instance, printers working with stainless-steel mesh tend to use the single plastic rod or metal bar locking mechanisms as opposed to the two-rod systems since these meshes are stiffer and the single-component locking systems are easier to work with. Lock-ing the fabric in the frame uniformly is fairly critical to ensure a consistent stretch with drawbar systems.

The act of stretching screens on a drawbar frame usually consists of either turning a series of bolts along the side of the frame or using a special tool on the corners to draw the bar back mechanically. In the first scenario, depending on how much you turn each individual bolt along the frame, you can influence the fabric in that general area to compensate for any inconsistencies in the way the mesh was loaded. In the second situation, the construction of the frame may cause issues because as you tension the mesh, the dimensions of the frame will increase. This is not a problem in some applications, but it’s something to keep in mind if you’re considering this frame type.

Roller frames are clearly the most popular of the retensionable frames. Once again, some skill is required to use these frames, but once they are mastered, roller frames provide a quick and easy method of making a screen. The principle behind the roller frame

is that the fabric is locked in the frame with either a plastic strip or two round plastic rods. Then the rollers are turned away from each other to increase the tension. Just like the drawbar frame, the fabric can be retensioned to a de-gree to compensate for tension lost dur-ing printing. Also, pneumatic tensioning systems are offered for roller frames to simplify tensioning even more.

With all retensionable frames, you have to take care when reclaiming and handling due to the fact that there are many pockets in which cleaning chemicals can collect, only to drip out at the worst possible time. The other common issue with these frames is that oily reclaimers and ink washes tend to get trapped in the locking channels and can sometimes lead to the fabric slipping out of the channels. Liquids also can leak into the hollow tubes. This problem is quite common when using a dip tank in the screen-cleaning area. Everything works fine until the frame is placed under vacuum in the exposure unit, which causes chemicals trapped inside the tubes to be pulled out and across the screen, ruining the emulsion.

Figure 2 Shown here are a mechanical-drawbar stretching system (top) and a pneumatic system featuring numerous independent clamps (bottom).

Brother,™ one of the leading manufacturers of printers worldwide, is set to introduce their new GraffiTee™ Series of digital garment printers. The machines are priced to be extremely affordable. Brother is the only digital garment printer manufacturer who manufactures not only their own hardware, but also the critical print heads and inks. The new print heads used in the upcoming GraffiTee™ Series of garment printers deliver more efficient and higher quality printing than their current generation.

The new GraffiTee™ Series of digital garment printers consists of an initial lineup of three models. The uniqueness of this series is that they are built modularly, providing buyers a path to upgrade rather than one of obsolescence. This series of three machines offers a CMYK- only printer, a CMYK with two white print heads, and a CMYK with four white print heads for higher speed and performance. The GraffiTee™ Series will be priced very competitively, starting at under $20,000.

Brother has had great success in the digital garment printing industry with

the GT-541 and GT-782 setting the standard for ease of use and reliability in the industry. Pete Holland, Sr. Director of Industrial Products Division at Brother, says “the reliability and long term durability of our garment printers is based on Brother’s experience as a leader in the production of printers for the home, office and business community with our complete line of, inkjet and laser fax machines, printers and all-in-ones.” Mr. Holland continues by saying “Brother integrates itscore technology of printing into the new GraffiTee™ Series of garment printers by manufacturing the printer, the print heads, the ink, and also the controller to insure a fully integrated system versus many competitors who are ‘assemblers’ of garment printers.”

He continues by saying, “this ability to produce a product with all critical components designed and manufactured by Brother makes the GraffiTee™

Series of digital garment printers our finest product line yet.”

Brother will officially launch the new GraffiTee™ Series at the ISS Show in Long Beach, CA on January 20-22, 2012. You can see this new series at booth number 1601.

Brother™ introduces their ALL NEW GraffiTee™ Series of Digital Garment Printers

Advertisement

Advanced Features(Subject to change)

• Up to 1200 dpi allowing photographic quality printing

• Up to 8 print heads for faster throughput

• One pass printing, with both CMYK and white ink printing simultaneously for higher productivity

• USB memory stick compatibility to load designs without a computer

• Ink cartridge system designed to provide

consistent, high quality printing

• Compact size for versatility in many work environments, including storefront

• Simple user interface without the need for RIP software

• Inks certified by Oeko-Tex® Standard 100

Brother,™ one of the leading manufacturers of printers worldwide, is set to introduce their new GraffiTee™ Series of digital garment printers. The machines are priced to be extremely affordable. Brother is the only digital garment printer manufacturer who manufactures not only their own hardware, but also the critical print heads and inks. The new print heads used in the upcoming GraffiTee™ Series of garment printers deliver more efficient and higher quality printing than their current generation.

The new GraffiTee™ Series of digital garment printers consists of an initial lineup of three models. The uniqueness of this series is that they are built modularly, providing buyers a path to upgrade rather than one of obsolescence. This series of three machines offers a CMYK- only printer, a CMYK with two white print heads, and a CMYK with four white print heads for higher speed and performance. The GraffiTee™ Series will be priced very competitively, starting at under $20,000.

Brother has had great success in the digital garment printing industry with

the GT-541 and GT-782 setting the standard for ease of use and reliability in the industry. Pete Holland, Sr. Director of Industrial Products Division at Brother, says “the reliability and long term durability of our garment printers is based on Brother’s experience as a leader in the production of printers for the home, office and business community with our complete line of, inkjet and laser fax machines, printers and all-in-ones.” Mr. Holland continues by saying “Brother integrates itscore technology of printing into the new GraffiTee™ Series of garment printers by manufacturing the printer, the print heads, the ink, and also the controller to insure a fully integrated system versus many competitors who are ‘assemblers’ of garment printers.”

He continues by saying, “this ability to produce a product with all critical components designed and manufactured by Brother makes the GraffiTee™

Series of digital garment printers our finest product line yet.”

Brother will officially launch the new GraffiTee™ Series at the ISS Show in Long Beach, CA on January 20-22, 2012. You can see this new series at booth number 1601.

Brother™ introduces their ALL NEW GraffiTee™ Series of Digital Garment Printers

Advertisement

Advanced Features(Subject to change)

• Up to 1200 dpi allowing photographic quality printing

• Up to 8 print heads for faster throughput

• One pass printing, with both CMYK and white ink printing simultaneously for higher productivity

• USB memory stick compatibility to load designs without a computer

• Ink cartridge system designed to provide

consistent, high quality printing

• Compact size for versatility in many work environments, including storefront

• Simple user interface without the need for RIP software

• Inks certified by Oeko-Tex® Standard 100

www.stmediagroup.com/digital/?m=12&y=2011&b=sprt&p=11&l=www.graffitee.com

SOURCE BOOK

SCREENPRINTING12

Light sources have three main at-tributes. The optimization of each determines whether stencil quality is excellent, good, or poor.

Spectral output The wave-lengths of light, or spectral output, of an exposure source should match closely the spectral sensitivity of photostencil materials. The closer the match, the more efficient the light source, and the better it will cure or crosslink the molecules of the stencil material so that the stencil will be more durable. Common sensitizers used in photo films and emulsions have specific sensitivity ranges. It’s a common misconception that photographic stencil materials are UV-sensitive. In fact, they are sensitive to light ranging from upper ultraviolet through the visible blue part of the spectrum. That’s why yellow lights make good safelights—photostencil materials don’t react to the longer wavelengths of yellow.

Light intensity Photostencil materials, even those comparatively fast ones formulated for projection expo-sure, are not nearly as fast exposing or sensitive as camera film. If photographic stencil materials were made that fast, they would be virtually impossible to protect from pre-exposure. Thus, light sources need the power—the inten-sity—to expose stencils in a reasonably productive amount of time.

Light geometry Light geometry concerns the angle of incidence of light rays as they strike the artwork and pass through its clear portions into the photostencil material. Light rays emitted from a small area or point source—at a minimum distance of 1.5 times the diag-onal of the stencil—are more nearly per-pendicular as they meet the artwork and stencil (perpendicular light incidence). This affords better transfer of image and non-image information from the artwork into the photostencil material.

Stencilmaking: Light Sources and Artwork

By contrast, with a widely dispersed light source such as fluores-cent tubes, light rays enter the stencil material at oblique angles, quite literally angled behind the dark edges of the artwork, reducing the fine detail or resolution of the stencil (wide angle incidence).

Light sources are categorized according to how well they provide these three key exposure attributes. The highest quality light sources are metal halide or carbon arc. Mercury vapor and pulsed xenon are of medium quality. Quartz lamps, fluorescent tubes, flood bulbs, etc., have problematic deficiencies, though they can be quite adequate for low-resolution work—or in shops that don’t need high stencil throughput.

All is not lost if you have a poor light source, but you will have to work smart to compensate for it and understand and accept the limitations imposed by it.

ArtworkThe essence of screen printing is a stencil that blocks the flow of ink to

non-image areas of the print and is open in image areas, allowing ink to flow freely through the mesh. The integrity of the stencil material and the uncom-promised openness of the image areas are equally essential. In addition, there should be a clear demarcation between image and non-image areas. These at-tributes originate with the artwork.

Artwork refers to any imaged me-dia placed between a light source and photostencil film or emulsion during exposure. Most photographic stencils are contact-exposed in a vacuum frame, so the dimensions of the artwork are the same as those of the stencil and the final print. Imagesetter-exposed silver film (right-reading photographic positives), laser toner (usually on vellum), inkjet on inkjet film, thermal images, and knife-cut masking film are examples of commercial media used for contact exposure.

Photostencils can never be bet-ter than the artwork used to generate them, nor can the final print be better than the stencil. If the dark areas of the artwork lack sufficient density to block light during exposure, or if they contain

Proper exposure lighting and high-quality artwork contribute greatly to the production of a reliable, effective stencil that leads to quality prints on press. However, poor artwork—no matter how good the exposure lighting—can lead to serious problems in stencilmak-ing and unacceptable quality on press.

Light

Artwork Stencil Print

Good Artwork

Stencil fully exposed, completely blocking ink

in non-image area; image area clear

Complete ink coverage

Sharp edges

No ink in non-image area

Light

Problematic Artwork

Stencil voids and blockages in image

areas; “fuzzy” edges

Incomplete ink coverage

Poor edge definition

Ink bleeds in non-image areas



pinholes or thin spots, stencil material will harden in what should be the open image areas of the stencil, and ink will not flow readily through the image areas of the stencil during printing.

Similarly, if clear areas of the artwork are, at best, translucent rather than transparent, or contain artifacts such as dirt or dust, light energy will be filtered or blocked before it reaches the stencil material; non-image areas of the stencil won’t be fully cured or cross-linked and may break down during the printing run. Finally, if the delinea-tion of image and non-image areas is pixilated, fuzzy, or lacking in acutance (edge sharpness or definition), so will the image edges on the final print.

This article was provided by Don Marsden, Ulano Corp., Brooklyn, NY.

QUICK TIPS

For imagesetter-exposed silver fi lm, any text or other information should be on the emulsion side of the positive and appear as you will want it to look on the fi nal print; the emulsion side of the positive is placed against the stencil material during exposure.

Projection exposure requires silver fi lm positives that are considerably smaller than the fi nal size of the print. Such positives must be of very good quality, as projection by its nature enlarges imperfections. Computer-to-screen systems don’t use artwork as we’ve defi ned it here. These systems either apply an image directly to the stencil material via inkjet deposition or with a digital-light-processing system to expose a screen pixel by pixel (digital direct exposure).

The dark and clear areas of artwork can be measured on a densitometer. The opacity of the dark areas is referred to as D-max (maximum density) followed by the numeric densitometer reading. D-min refers to the minimum density, which is a measure of the clarity of the artwork. D-max 4.0 is ideal for stencilmaking, as it allows full exposure of non-image areas even if the artwork medium is cloudy or fogged.

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SCREENPRINTING14

It is no secret that activewear and performance garments are continuing to grow in popularity. The fluctuating costs of cotton, combined with innovations in fibers, fabric weaves, and overall ad-vancements in garment technology have driven the growth of activewear within the industry. For example, manufactur-ers have added wicking technologies to collared shirts, polo shirts, and even children’s wear.

The ripple of consumer response and increased demand for performance garments has been equally noticeable. A national fitness campaign and greater focus on personal fitness has undoubt-edly raised awareness and given voice to a more active society. With this, we have seen the rise of more and more active events, fitness institutions, and the for-mation of a new, niche market of active consumers.

Now, what does this mean to screen printers and our industry? In the past, few ink options existed for printing onto these new fabrics. However, many ink manufactures on the forefront of the movement have developed inks specifi-cally for printing on these types of gar-ments. These innovative inks designed for performance wear have increased bleed-resistance properties to a much higher level than previously offered. In addition, inks developed for printing on polyester include added elasticity and are designed for printing on a wider range of mesh counts, thus support-ing further detail in designs. The inks are easy to work with and offer more opportunity for advanced artwork on performance garments.

However, the solution does not remain solely in the ink. Many factors contribute to the success or failure of a print. Not all activewear and perfor-mance garments are the same. It is important to do some work and research before you pull your squeegee to ensure you have the best print possible.

Printing on Activewear

SubstrateThe first step when printing on active-wear is to define and evaluate the sub-strate. This should include defining the fiber content, fabric weave and texture, specialty fiber/fabric finishes, and any other unique properties that may affect the print process.

Fiber content As we know, most activewear and performance gar-ments use synthetic fibers. What is the fiber content your substrate? Could the fabric present ink-adhesion problems? Do the fibers have potential to bleed dye into the ink? Does the fiber content lend to stretch? Composition of the garment is very important. The fiber content will dictate any special proper-ties you will need to look for when choosing an ink.

It is important to remember that many fibers or fiber blends may require multiple additional properties, so care-fully evaluate each one to ensure you get the best result. This is a great time to contact an ink manufacturer or dis-tributer to obtain a recommendation for additional or job-specific information.

Fabric weave and texture New, innovative, and specialty fabric weaves continue to drive innovation in performance textiles. Although most of the fabric weaves seen today may be new or uncommon to the everyday screen printer, it is important to exam-ine these to understand how the ink will sit on the garment.

Specialty finishes or per-formance properties A lot of the difficulty in tackling performance wear is translating the fabric/garment nomencla-ture and its associated properties. Many garment manufacturers and brands have trademarked names for performance fabrics. What Brand A calls Active-Fit could likely be very similar in content to what Brand B calls Quick-Wick. Familiar-ize yourself with the content and basic technology of these trademark names.

InkAfter looking at the content of the gar-ment, it is important to ensure that you understand the limitations of the ink and garment and use that knowledge to select the appropriate ink for the job. Consider the following properties:

Bleed resistance Polyester is an inherent bleeder, meaning that the dye used in polyester will leach or sublimate through an ink film, consequently shift-ing the color of the ink film. This mate-rial requires the use of a bleed-resistant ink. If the garment is dyed polyester and is engineered to stretch, you’ll need to select an ink that has bleed resistance and supports elongation.

Adhesion Nylon is another common synthetic fabric in the athletic market; however, nylon brings up a completely different issue of adhesion. Many ink manufactures have options for this as well—yes, even for stretchy ny-lon. Depending on the fiber denier (high denier equals a smoother surface) or weave of the nylon, a performance ink may also be used. If the denier is lower or the nylon garment is dazzle cloth or even nylon mesh, many performance inks will still print with little to no issue. If the garment fiber has a high denier, an ink designed specifically for printing on nylon is required.

Adding a catalyst to standard inks when printing on nylon fabrics is a somewhat common practice. Be cautious with the catalyst as it makes the ink brittle and is therefore not recommended for printing on stretchy nylon. Again, take a look at the stretch required by the garment. Stretch in a nylon garment can amplify adhesion issues. In some instances, when a very stretchy garment is stretched to its limits, the ink is not able to adjust or keep up with the elongation. Some areas of the ink film may start to break away from the garment, causing further adhe-sion issues.

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SCREENPRINTING16

Stretch properties If the gar-ment has high-elongation components in it, such as spandex, then it is very likely that the ink will need extra elon-gation. Many times, an ink that supports a standard amount of elongation will be printed on a garment with stretch, and the ink will crack before the garment reaches its full potential for stretch. This is especially true for inks with extra bleed resistance, which are typi-cally printed on performance wear. This phenomenon will often be mistaken for undercured ink when in reality the ink doesn’t have as much elongation as the garment.

Evaluate the elasticity of the ink as compared to the stretch of the garment, and only choose an ink that is formulated for sufficient elasticity to expand with the garment and return to its normal state without negative effects. Many ink manufacturers offer stretch additives; however, it is impor-tant to understand how these may affect the bleed-resistance properties of the standard ink.

White inks For cotton/poly blends, it is common to have a white ink that has bleed resistance and to print colors on top. A white ink designed for printing on polyester has a limited amount of stretch, is heavy in hand and body, is printed through more open or coarse mesh, and generally has diffi-culty with supporting halftone printing. Nylon inks do not offer great opacity and most likely need to be underbased. However, new performance inks have fewer limitations. They can be printed through finer mesh, hold great half-tones, and support high elongation.

Design and printNow that you’ve evaluated the substrate and defined the ideal ink for the job, you can now move on to the often more ex-citing details of design and overall print concept. While in the creative process, be aware of the intended use, function, and performance characteristics of the garment (Figure 1).

Here’s an example: If the apparel is a wicking garment for a regional foot race, you do not want a huge, bullet-proof print located on the chest and/or back. This takes away from the wick-ing properties (and intended benefit) of the garment. Adjust your artwork to complement the garment. Get creative! Consider placing art in areas other than the left chest and full back. A clean de-sign centered on the chest with two or three colors and sponsors printed on the back in one color may be a good option. A tonal print that will not inhibit bleed is also a nice choice and, in addition, can be very soft. As innovations in active-wear and performance fabrics continue to expand into everyday T-shirts—and even corporate wear—lightweight and refined graphics can add new dimension to the typical embroidered and single-color designs.

Don’t forget to again reference the texture of the garment. A standard ink designed for the garment type will take on the texture of the garment. A tonal print similar to the one previously discussed is great for garments that have texture as it will sink down into the garment. If that is not an option, consider doing faux embroidery or a simulated patch. This incorporates spe-cial effects into the performance wear

and works particularly well on collared or polo shirts. Remember, the graphic will take away from the wicking or performance properties of the garment, so keep it small.

It is important to discuss and clearly communicate to the customer any and all limitations that activewear and/or performance garments may pres-ent. It is not uncommon for customers to ask for something that is just not pos-sible. Most customers are happier when they know up front what is and is not possible when dealing with expensive performance wear.

Research options and know what your shop is capable of printing. It may require some time and effort in R&D, but it is a great opportunity to offer more to your customers. Keep records of your past jobs, including notes of successes and failures in production. This will prevent you from starting from scratch with each new garment, and can even prevent wasted testing efforts or costly mistakes.

In a saturated and competitive market, the ability to print success-fully on activewear and performance garments offers a great opportunity to expand into a growing and lucrative niche. In fact, it may be just what your business needs to further specialize and maintain a competitive edge. Remem-ber, printing on these fabrics is not what it used to be. Don’t be afraid to be different!

This article was provided by Erin Lamb, Wilflex Inks Div., PolyOne Corp., Avon Lake, OH.

Figure 1 An effective activewear print is one that is creative but works in harmony with the garment’s performance characteristics (A), complements the apparel’s texture or construction (B), and uses inks that not only accommodate necessary elongation (C), but also re-main attractive when returned to their original state (D).

A B C D

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SCREENPRINTING18

As the number of products referred to as haze removers continues to grow, so does the confusion over what classifies as a haze remover. Some degreasers also dehaze, and some dehazers also de-grease. There are abraders that dehaze and dehazers that abrade. To simplify matters, let’s organize and define com-mon screen-prep and cleaning products.

Degreasers consist of one or more of the following ingredients: detergents, emulsifiers, surfactants, and wetting agents. They clean the mesh prior to application of emulsion or film and remove most forms of contamination and foreign matter from the screens so a smooth, uniform, blemish-free coating can be achieved. Screens should be de-greased just before the mesh is coated. Degreasers are not intended to dehaze.

Abraders scratch the knuckles of the mesh at a microscopic level, which increases the surface area and helps im-prove stencil adhesion. The active ingre-dient is silicon carbide, which is a dark, insoluble, crystalline compound used to abrade the mesh. These products are most frequently used to improve the durability of capillary and indirect films when longer production runs are required. Abraders are not intended to dehaze.

Ink removers consist of various blends of solvents used to dissolve inks for cleanup after printing, or for use while printing. If used after printing, they are classified as ink washes or ink degradants. These ink removers evapo-rate slowly, contain emulsifiers, and are used during the reclaiming process. Ink removers used while printing are classi-fied as screen openers, press washes, or on-press cleaners. These ink removers are used to open up a clogged screen, to clean excess ink from the substrate side of the screen, and for making color changes at press. They usually evaporate faster than ink washes and

preferably leave little to no oily residue so tapes can be used promptly there-after. Ink removers are not intended to dehaze, but some show promise when used only for removing ink haze.

Haze removers traditionally contain some form of caustic ingredient, such as sodium or potassium hydroxide and/or sodium hypochlorite, and may include a solvent or solvent blend, as in the case of most single-component haze removers. They remove ink and/or emulsion ghost-haze images (stains) that remain in the mesh after removing the ink and emulsion from the screen during the reclaiming process.

Classifying ghost imagesThe two basic types of ghost haze are stains left by the printing ink and those left by the emulsion. The severity of ghosting often depends on the type of ink used. For example, catalyzed inks contain solvents that react with low-surface-energy substrates to improve ink adhesion. These types of inks can create ghost haze that is difficult to remove. Inks also contain pigments that get trapped in between the knuckles of the mesh, bond to the mesh, or become partially dissolved by hot solvents and slightly penetrate the mesh.

Another area we think about is the negative image created by the stenciled parts of the screen. Here, the emulsion or film used to define the customer’s artwork most often causes the ghost haze; however, the ghosting can be attributed to a combination of the emulsion and the ink staining the mesh in these areas.

Other considerationsUnderexposure prevents the emulsion that encapsulates the mesh from the squeegee side from absorbing enough UV light to become anchored firmly to the screen. When developed, most of

this emulsion rinses away along with the unexposed emulsion from the image area. The only firmly anchored emul-sion resides on the side closest to the light source—the substrate side. This leaves mesh threads on the squeegee side exposed and susceptible to staining from ink and emulsion. Additionally, a reaction may occur between partially hardened emulsion, which may remain on the squeegee side of the screen, and the ink. This reaction makes reclaiming difficult and often results in excessive ghosting.

When deciding which haze remover will best meet your needs, you want to consider which type of haze is most prevalent in your shop. If you determine that ink is the only cause of your haze, you may be able to remove it by using a highly effective ink remover, sparing your screens the damage caused by unnecessarily using aggressive and caustic haze removers, thus extending the screens’ useful life. If, on the other hand, you’ve determined that emul-sion is the only cause of your haze, you may not need to use a solvent activa-tor with your haze remover in the case where two-part haze removers are used, thereby saving you time and money.

In most cases, however, printers experience haze caused by both the ink and the emulsion. Two-component haze removers usually work best in such situ-ations, followed by haze removers that contain a caustic ingredient and some form of solvent. Typical two-component haze removers work most effectively by applying the first component to a dry or nearly dry screen. These systems are less harmful to the mesh, but they work slower than caustic systems. For maximum effectiveness, they should be allowed to dry naturally on the screen. Once dry, they are activated by apply-ing a solvent ink wash onto the dried haze remover. This ensures that ink

Preventing and Removing Haze



and emulsion stains are treated. If you find that time is a factor, or you do not want to use two products for removing haze and are not as concerned about potentially harming the mesh, you should select a caustic haze remover that contains solvent.

Process-related variables contrib-ute to the severity of ghost images as much, if not more, than your inks and stencil systems. Since process-related variables are often more controllable than the type of ink or emulsion you use, let’s take some time discussing how these variables contribute to ghosting.

Low and unstable screen tension Low and unstable screen ten-sion can contribute to high degrees of ghost haze. Low-tension screens require excessive off-contact on press in order to achieve proper peel/snap-off during printing. This causes inordinate mesh elongation as the squeegee stretches the screen during the print stroke. At this point, the ink transfers through the mesh, and pigment particles get trapped in the knuckles of the mesh when the screen relaxes to its resting position. High, stable tension reduces ghost haze.

Unnecessary use of roughen-ing agents Roughening agents, or abraders, improve stencil bonding and durability, but they should not be used unless absolutely necessary. An alterna-tive is to use a degreaser/wetting agent that treats and conditions the mesh for improved stencil durability.

Improper drying Improperly dried and/or exposed emulsions are the leading cause of emulsion ghosting.

Emulsions with residual moisture do not cross-link thoroughly. If the drying area has a relative humidity greater than 50%, residual moisture will be present in your coated screens.

Underexposure Unfortunately, most screen printers don’t understand what complete exposure means. Many believe it is the shortest exposure in which the emulsion doesn’t fall off the screen when developing with a garden-hose sprayer. If this is how you pick your exposure times, you are grossly underexposing the emulsion and con-tributing to your haze problems.

Use of hot solvents Use of hot solvents causes emulsions and polyester mesh to swell, trapping pigments in the weave of the mesh. Haze removers have difficulty reaching trapped pigments, which reduces their effectiveness.

Delayed ink removal The longer you wait to remove inks from screens after production, the more dif-ficult it becomes to remove the result-ing ink stains. This is especially true for solvent-based and many UV inks. Applying a slowly evaporating ink wash to screens right after ink is removed is an effective way to reduce ghost im-ages when immediate reclaiming is not feasible.

Incorrect use of reclaiming chemicals Misuse of screen-reclaim-ing products contributes to ghosting problems. All screen-cleaning products should be applied to both sides of the screen and brushed into both sides of the screen. Remember to remove these products from both sides of the screen

with a high-pressure wash . What some perceive as emulsion-haze problem can actually be a procedural issue—for ex-ample, pressure washing from only one side of the screen (Figure 1).

Latent or phantom haze This type of haze is virtually invisible on the screen when viewed head on. There is no apparent stain, and the screen mesh may appear like new. Only when the screen is viewed at approxi-mately 45° does the latent image be-come apparent. Latent haze may show up in the most unlikely places, such as embedded in the design of a subsequent job. The printed image shows areas of lighter color anywhere the image overlaps a previous job’s latent haze. If screens are not processed correctly and carefully during each step, a thin film of chemical residue may contribute to la-tent haze. For example, underexposure and improper developing cause difficul-ties in reclaiming and leave the stencil susceptible to other chemical reactions with inks and ink removers. These reac-tions can cause physical changes to the mesh that may contribute to latent haze.

Possible remedies for latent ghost haze include keeping a close control over all screenmaking and cleaning procedures, using mesh-preparation products that rely on surface treat-ments and wetting agents to balance the surface tension of the mesh, and using a slow-acting, two-part haze remover that contains sodium hypochlorite and can be dried on the screen.

Figure 1 The pressure-washed side of a screen (left) shows what appears to be haze. But upon inspecting the non-pressure-washed side (center), we see that the problem is not a ghost image, but trapped emulsion near mesh knuckles. When both sides are thoroughly pres-sure washed, the emulsion is completely removed and the screen looks pristine (right).

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SCREENPRINTING20

No matter how large your garment-printing operation, chances are that manual presses play an important role. In larger shops, these presses may be used to handle sampling and overflow work, while in smaller shops manual models may be the backbone of pro-duction. But regardless of what part manual presses play in your facility, the machines must be sturdy, accurate, and reliable.

Ease of use is the first thing to look for in a manual press. You do not want a machine that takes excessive effort to use. Some believe that the heavier a press is built, the stronger and better it is. This is not necessarily true. For example, some presses are built like tanks but have weak registra-tion systems. On the other hand, there are plenty of solid manual presses that require twice the effort to operate.

Start your search for manual garment presses by polling your fellow printers in the industry. Ask for their general opinions on the performance of units they’ve used. Developing a general consensus can help steer you in the right direction. In addition to getting user feedback about different press models, here are some other features and considerations to keep in mind:

Number of colors The number of colors supported by the press you plan to purchase is always an impor-tant concern. If you operate a fledg-ling company, you may want to plan for expansion from the standpoint of colors. Although you may be satisfied initially with a six-color press to keep things simple, you might instead want to consider an eight-color unit that will accommodate future jobs.

Microregistration Design movement during a job run is one of the most frustrating aspects of manual screen printing. To reregister an image, you typically have to wipe the screens

Defining the Ideal Manual Press

clean and print your registration marks. Having a good microregistration system will enable you to make small adjust-ments to get the print back in register without having to clean the screens. When assessing a press’s microregistra-tion, determine whether the system is easy to work with, accurate, and able to hold its position well once you’ve tightened down your screens.

Platen-plane adjustmentMost manual presses do not have this feature—the presses are supposedly designed to make such adjustments un-necessary. But the truth is platen plane shifts as a press starts to wear from daily use. This may not be an issue for those who print athletic wear, because critical registration isn’t involved with those graphics, but it can have a major influence on close-tolerance graphics, such as butt-registered artwork or pro-cess-color designs.

Because most printers who at-tempt close-tolerance work use highly tensioned screens, any variation in platen plane can have negative effects in the form of film-thickness inconsisten-cies, registration shifts, and undesirable dot gain. In addition to eliminating these negatives, the adjustable platen plane also allows for increased accuracy in setting off-contact, which must be very consistent when printing close-toler-ance graphics.

Frame-clamp format Rear frame clamping and side frame clamp-ing are the two primary formats. The concern is the press’s capacity for main-taining screen stability once the frame is locked into place. The last thing any printer wants is screen movement once the press is dialed in.

Presses that are designed with rear clamp mounts work well for trapped artwork and athletic types of printing. Although you can achieve tight registration with a rear-clamp manual

press, you are more likely to experi-ence registration shifts than you would with a press that is manufactured with side clamps. Side-clamp presses allow for greater stability because the frames are fixed to the press with two clamps as opposed to just a single, rear-mount clamp.

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MANUFACTURERS OF MANUAL GARMENT PRESSES

21DECEMBER 2011 JANUARY 2012

Most rear-clamp manual presses can be modified to accept side clamps with attachments either available through the manufacturer or a third-party accessory supplier. Side-clamp presses are preferable for close-toler-ance printing and allow for the addition-al stability needed for such applications.

Garment-loading clearanceMany first-time press buyers fail to consider this important aspect of press design. Garment-loading clearance refers to the workable area you have to load the garment onto the platen. Some presses have large platen-mounting devices beneath the platens that can take up valuable space needed to allow smaller-sized garments to stretch easily onto the platen. Youth platens help, as do elongated youth platens, which allow you to load the garment away from the platen mount. When you’re looking at a potential press, consider the area underneath the platen in the context of printing of youth garments. If it appears to be an issue, ask the manufacturer for some options.

Platen construction Wood and aluminum are the most common materials used for platens on manual presses. The ideal platen is one that is very resistant to solvents and heat. For-mica-topped, wooden platens work well as long as you don’t leave them under flash units for extended periods of time. Excessive heat can melt Formica and cause it to catch fire. Aluminum platens won’t melt or ignite under flash units, but they can warp over time. In either case, you would need to replace the platens—a proposition that can quickly become quite costly. Here again, you should get the opinions of other printers to see what has worked best for them in the past.

Pressing aheadConducting the proper research and knowing what you need in a manual garment screen-printing press can make all the difference in terms of increasing productivity, reducing waste, and grow-ing the profitability of your facility.


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SCREENPRINTING22 SCREENPRINTING22

Predicting and Managing Dot Gain

Dot gain is the amount that a halftone dot will increase in size during a printing run. All printing of halftone dots creates this spread to some degree; the challenge is to control and manage it to reduce the amount of unpredictable shifts in the finished imprints. The more separation issues you can deal with on the comput-er, the less you will have to address when it’s time to print T-shirts.

Garment screen printing tends to produce more dot gain than graphics screen printing. The primary cause is the garment’s uneven printing surface. When a halftone pattern is printed onto a woven surface, some of the dots may not make good contact with the fabric, and the ink will remain in the screen. When the next several prints are made, these dots will stack up with new ones and be-gin to spread out as more ink is pushed through the screen.

If your artwork changes with almost every job, you will need to have flexible methods for estimating and controlling dot gain, with checks and bal-ances in several departments. The best way to manage dot gain in a screen-print-ing environment is to isolate and control the production variables, then run some print tests to determine when and where dot gain occurs so that your artists can compensate for the gain in the artwork itself.

Production variablesOff-contact impacts dot gain in produc-tion the most. If you can control and standardize your off-contact distance to the minimum level necessary for proper ink release, then you can master dot gain. To do so, you must have consistent screen tension, screen leveling, press alignment, press leveling, print pressure (minimum required), flood pressure, and enough experience to adjust for different garment types and printing speeds.

Testing allows you to build a

profile of gain characteristics for the art department. Begin by creating a series of 20-step grayscale patterns in several half-tone line counts. Generate a film positive of this test sheet (Figure 1), then use it to create a stencil following the same screenmaking techniques you plan to use in production. When the screen is complete, use it to produce sample prints of the grayscale pattern. Run test prints with inks in several different colors (white, black, and a few primary colors) and viscosity ranges.

Don’t forget to use proper printing speed. Aim for the best quality possible. You’ll then be able to use the test results as a reliable standard for all your prints. Keep in mind that this test will only give you results as good as your best efforts in screen creation, press setup, squeegee selection, and careful printing. Treat your tests as if you’re running a crucial job for your most demanding customer. Use your best equipment and methods.

To evaluate your test results, compare the original film positive used to produce the test screen or a computer

printout of the test pattern with your test print (or with your first and last test prints if you did a volume run of the test). You should be able to see where the gray values match up and where they

Figure 2 Compare the test patterns to the original film positives or a computer print-out of the pattern.

Figure 1 A simple, 20-step grayscale will help you determine the effects of dot gain on your garment graphics.



don’t (Figure 2) when comparing these items under identical lighting. Look at the 10-90% tonal areas, compare them with the same areas on the computer printout, and determine the shift in tonal value you’re seeing. For example, do the 10% dots look more like 20% or 30%?

Look for situations in which there may be more apparent dot gain in the midtones and shadows than in the high-lights—a possible indication too much ink flow (the need for a higher mesh count) or poor screen tension. The goal is to have even dot gain in most areas. When you do, the final print in your test run is likely to appear more stabilized than some of the earlier prints you generated.

Art The best way to adjust dot gain visually in Adobe Photoshop depends on your color-separation method. One of the

easiest ways is to load each separation selection into an individual alpha chan-nel with the layer options tuned to echo each ink color (Figure 3). You then can view the channels and overlay them onto each other to see how they’ll interact. This doesn’t give you a true example of the final print, because of the opacity and the interplay of the hue shifts that may occur, but it can come close enough to catch any major problems.

After you load a separation set into channels, you can adjust and view the dot gain that is likely to occur by opening each channel and then using Photoshop’s curves menu. You want to push the midtone of the curve diagonally toward the black point of the menu. This will cause the image to get darker and lose tonal range quickly as the values start to flatten and lose division between levels of brightness. Watch for a visible change in tonal value that approximates what

you see in your test prints and the effect that this tonal shift has on your image’s clarity. The example in Figure 4 shows the extreme level of dot gain that may occur by pushing the curves menu too far. Lightening the value of the underbase reveals how the image can be damaged.

The lessons that you learn from these curves adjustments should affirm the results you saw on your test prints. You can expect value increases through-out your separation set that are similar to what you saw with your test file. If you desire an even higher level of precision in determining levels of likely dot gain, you can record the input and output levels of the adjustment curve after you adjust your original test file to echo the printed sample as closely as possible. Then you could save this curve adjustment in the curves menu and load it when you wish to adjust a separation channel that has the same halftone line count, uses the

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SCREENPRINTING24

same ink, and will be printed on the same garment type as the test sample. This method should provide you with a very predicable adjustment tool for standard dot gain using a controlled set of variables.

Output resolution and mesh count can affect dot gain dramatically. The art-ist should make these decisions instead

of the production staff, thereby control-ling how much ink goes into each color. The output decision is the control over the frequency, and therefore the size, of the printed dot. Relatively small adjust-ments in dot-gain size can make a huge difference. If an artist picks a 42-line/in. halftone instead of a 55-line/in. halftone, it may seem like a small difference in

the number of dots, but it represents thousands of dots in relatively small halftoned area.

Do more dots mean more detail? Not always. There is a struggle between the loss of tonal range at higher resolu-tion and the retention of detail. A loss of tonal range commonly occurs at 65 lines/in. or above that may make any additional detail retention irrelevant if a printer has normal levels of dot gain. Most garment printers achieve the best results with halftones in the 40- to 55-line/in. range.

The artist needs to experience the cause and effect of dot gain to properly pick mesh counts for halftone artwork. This is a function of practice and thoughtful observation of previ-ously printed pieces. Mesh selection can make or break a design. It dictates how much ink is picked up on successive screens and how much ink is there in the first place to spread. Selecting a mesh count that is high enough, but not too high, is critical for controlling dot gain. If the mesh count is too high, you will have a dull printed image, and you may even have difficulty getting opacity on a colored garment. The right mesh count will cover a printed area with a stable ink deposit that is bright, vibrant, and con-sistent. For detailed halftone prints, the mesh count can vary between 180-230 threads/in. for an underbase color and up to 180-355 threads/in. for overprinted colors.

The visual method of adjusting artwork for dot gain can be effective when it’s used with knowledge and experience. There is always the possibil-ity of some unforeseen variables skewing the results, but just remember to record and isolate any unexpected results and you will profit from these problems as well. Estimating dot gain in Photoshop will save significant time and head off potential disasters on press if it is care-fully done. Rather than fear dot gain and the problems it represents, take charge of the issue by evaluating the results of print production and then implement a system in prepress to compensate.

Figure 4 Care is required when using Photoshop’s curves menu to check separations. Overdoing it when adjusting curves can hinder print quality.

Figure 3 Overlaying separation channels in Photoshop gives a general idea of how dot gain will affect your graphic.

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SCREENPRINTING26

How to Select a Garment Dryer

With all the equipment choices avail-able today, selecting the right dryer for your garment-printing operation shop can be a complicated proposition. You have to determine whether a dryer’s performance specifications will satisfy your current production needs and be able to keep pace as your company grows. And the dryer actually has to fit on your production floor! Fortu-nately, dryers are available in a variety of sizes, configurations, and prices to meet the needs of all kinds of garment screen printers, from start-up busi-nesses to high-output operations.

Heating systemsHeat generated in a dryer causes ink to set and bond to the garment. Dry-ers are designed to deliver this heat either electrically—using infrared (IR) heat—or by way of combusted fuel gas (propane or natural gas). What’s the difference? After all, heat is heat, right? Well, sort of. It’s true that the 320°F necessary to cure most plastisol inks is still 320°F in an electric IR dryer or a gas-fired model, but the real difference is in how the dryers reach and maintain that temperature and apply the heat to screen-printed garments.

IR dryers use radiant heat gener-ated by electrically powered panels or tubes to cure the printed garments. The substrate and ink film must absorb the radiant heat in order to completely cure the print. IR dryers are often fa-vored by small- to medium-sized shops because they typically cost less to purchase and take up less floor space than gas-fired models.

IR dryers can be used effectively when they’re carefully set up to ac-commodate the ink type and printed thickness, as well as garment weight and moisture content. They are used

primarily with plastisol inks, which harden or cure when exposed to the proper temperature for an appropriate amount of time. To achieve a proper cure, the entire ink film, as well as the garment surface, must reach the ink’s curing temperature.

Because both the garment and ink film must absorb heat in the IR dryer, it follows that a heavy sweatshirt printed with a thick ink film requires more time in the dryer than a light-weight T-shirt printed with a thin ink film. Very thick ink films and heavy garments, such as those found in some athletic-apparel applications, can act as a heat sink. In turn, a much longer dwell time is needed to achieve a full cure. Certain specialty inks can also in-crease dwell time in an IR dryer, as can bright whites and inks that are made with a high pigment load. Examples in-clude gold inks, glitters, and metallics. These inks slowly absorb IR energy de-livered in the form of IR radiation and can sometimes reflect the IR energy.

In addition to managing the time printed garments must remain in the oven, you also must keep an eye on moisture in your garments and the humidity in the shop. Moisture can be the biggest obstacle to a thorough cure with an IR dryer. Only when moisture is removed from the garment can the gar-ment and ink film begin to absorb the heat necessary to cure. Some manufac-turers offer integrated air-circulation systems with their IR dryers to evacu-ate moisture more rapidly, increase the heat-absorption rates in garments and ink films, and keep the oven chamber temperature more consistent.

Gas dryers burn fuel gas to heat air, which is then moved at high veloc-ity to cure printed garments. The hot air penetrates the print and garment,

quickly driving away excess moisture and bringing the garment and ink tem-peratures into curing range.

Gas dryers are typically used in shops that produce high-volume jobs. They are also recommended for shops that work with water-based garment inks. These inks dry by evaporation and require both the heat and high-ve-locity air movement provided by a gas dryer to cure efficiently and effectively.

In gas dryers, one or more burners generate heat, and a pow-ered blower takes in filtered air and pushes it through the burner chamber. The heated air then enters a plenum chamber and makes contact with printed garments by way of strategi-cally placed jet nozzles or air knives that concentrate and direct the hot air. Some manufacturers offer recirculation systems to boost efficiency by keeping heated air in the dryer. A portion of the circulating air is exhausted as fresh, filtered air is introduced to the system. A few dryer models are configured so that the operator can adjust the rate of intake and exhaust to best match the application at hand. Piping the dryer’s exhaust to the outside is an important part of maintaining a safe working envi-ronment for employees.

ControlsAnalog controls are available on both gas and electric dryers. Analog control systems can be as simple as an on-off switch and a dial that controls belt speed. The next step up is a combina-tion of analog and digital controls. The most common setup is digital tem-perature control and analog belt-speed control. Digital control systems may include alphanumeric readouts and electronically programmed tempera-ture and belt speed, and some models



come with displays and touchscreen interfaces.

A large IR dryer or gas dryer with either a combination of analog/digital or completely digital control will help you keep up when job sizes increase. These types of controls tend to be more sensitive, accurate, and responsive, al-lowing users to carefully tune tempera-tures, belt speeds, and other operating parameters to effectively deal with large runs and jobs that involve more demanding inks, such as glitters, metal-lics, and high-density formulations. You may also find that precision controls al-low you to successfully use your dryer to cure a variety of screen-printed products other than textiles.

The less sophisticated the controls, the more important it is that you conduct tests to determine what temperature settings and belt speeds are required to cure your prints. Use temperature probes to monitor heat levels, and perform rub and wash tests on the printed garments to ensure that the ink film is completely cured.

BeltsDryers use conveyor belts made of stainless steel, Teflon-coated fiber-glass, and other materials designed to withstand heat and wear. Belt speeds are measured in ft/min. and can be adjusted on garment dryers. The larger the range of possible belt speeds, the wider the variety of inks, garment types, and printing techniques that the dryer will support. Belt timing is impor-tant for avoiding over- or undercuring prints. This is why some dryers feature four-point tracking systems to keep belts aligned and traveling at expected speeds.

Belt width is another impor-tant consideration. You may be able to fit only one garment on a narrow belt, but a wide belt may allow you fit several garments side-by-side for higher volume production. Belts are typically available in widths from 18-86 in. A belt’s height from the floor also can affect productivity. Belt heights

MANUFACTURERS OF GARMENT DRYERS

ANATOL EQUIPMENT MFG. CO.www.anatol.com

A.W.T. WORLD TRADEwww.awt-gpi.com

BBC INDUSTRIESwww.bbcind.com

BROWN MFG. GROUP INC.www.brownmfg.net

CAPS INT’Lwww.caps-screenprinting.com

HIX CORP.www.hixcorp.com

INTERCHANGE EQUIPMENT INC.www.interchangecorp.com

LAWSON SCREEN & DIGITAL PRODUCTS, INC.www.lawsonsp.com

M&R SALES AND SERVCE, INC.www.mrprint.com

PRINTA SYSTEMSwww.printa.com

R JENNINGS MFG CO., INC.www.rjennings.com

RANAR MFG CO. INC.www.ranar.com

VASTEX INT’L, INC.www.vastex.com

WORKHORSE PRODUCTSwww.workhorseproducts.com

range from about 28-36 in. You should select a height that minimizes the need to bend or overextend the body when loading and unloading the dryer.

Some manufacturers offer a split-belt conveyor system with inde-pendent controls and reverse drives. A split-belt conveyor allows users to cure dissimilar products at the same time. One belt can be set up to slowly carry heavy sweatshirts printed with a thick ink films, while the other belt can be programmed to quickly transport lightweight T-shirts with thin ink films. And when these two belts are revers-ible, several operators can work at the dryer at once to load and unload from both sides.

Modules and optionsNot every screen-printing business is ready for a high-volume dryer today, but may need to upgrade to meet in-creasing demand in the future. For such shops, modular dryers are often beneficial. These machines let smaller shops start with dryers that fit their needs and later add features and func-tions as required. Modular components include such things as infeed and outfeed extensions, additional heating chambers and burners, and conveyor extensions.

Several options also are available to enhance a dryer’s functionality. The split-belt conveyor mentioned earlier is one example. Other options include a choice of power systems (single- or three-phase power and a variety of voltage and amperage requirements), cooling sections and blower banks on the outfeed to make garment handling more comfortable, optic-sensor-based belt-tracking systems, high maximum heating temperatures and belt speeds, and more.

A lot to processSorting through your dryer options might seem daunting, but you can make the process a lot simpler with a careful assessment of your needs. Start by building a list of the inks you

use (including manufacturers, formula-tions, and colors), the kinds of presses you have, and the types of garments you routinely print. Present this infor-mation to manufacturers as you hunt down the ideal dryer. They can use these details to help you select a model that will meet your existing needs and accommodate future demand.

A dryer may not be the most ro-mantic piece of equipment in a screen shop, but it’s the garment press’s soul mate. If you take the time to carefully weigh your options, you’ll find a com-panion dryer for your press that lets you maximize efficiency and quality on your production floor.

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SCREENPRINTING28

Wide-format UV inkjets come in models that can print on thick and rigid materials, combination systems for both flatbed and roll-to-roll printing, and flex-ible, roll-fed media. Regardless of the configuration of these printing devices, all of them share the distinguishing feature of printing with UV-curable inks, which are cured with specially designed lamp assemblies.

Inkjets with one curing assem-bly (a typical assembly consists of a single lamp and reflector) print in a unidirectional fashion, and the assem-bly is mounted on the trailing edge of the printhead to cure inks immediately after they’re jetted onto the substrate. Systems that have two sets of curing lamps position them on both sides of the printhead carriage. Such systems can run in bi-directional mode, with each lamp activated only when it’s on the trailing edge of the printhead.

Some dual-lamp printers can activate lamps to cure on the leading edge so that ink that is laid down is cured only after the carriage returns, not immediately upon deposition. The time between ink deposition and curing can affect the visual characteristics of the final print, which is why curing on the leading edge is referred to as glossy mode on some printer models, and cur-ing on the trailing edge is termed matte mode. The function of the UV lamp is the same regardless of whether a machine cures on the leading or trailing edge of the printhead.

Maintenance and troubleshootingParts of the UV-curing assemblies—UV lamps, reflectors, and air filters—re-quire periodic cleaning and replace-ment. Each manufacturer has a sche-dule for you to follow. Some may specify a reflector change at each lamp change; others may tell you to change the reflector every other time you change the lamp. Some printers use an

UV Inkjet Maintenance

all-in-one cartridge system that contains both the lamp and reflector. With such systems, users can remove the cartridge and insert a new one into the assembly housing when the lamp is no longer suit-able for curing.

Most manufacturers say that a UV lamp’s average life span is 1000 hours, plus or minus 200 hours. Some substrates require 100% output from the lamps for printed images to cure prop-erly, and frequent job runs on such ma-terials may reduce the effective life of the UV lamps. Conversely, high-volume work with less demanding substrates can prolong the usefulness of the curing lamps because they may not require that the lamps be operated at full power.

UV-LED units, a newer breed of curing technology, are engineered for low-temperature curing and, therefore, can accommodate a variety of heat-sen-sitive materials that might be affected by conventional UV curing. Many on-board UV-LED curing units are rated at 10,000 hours or more of useful life.

UV curing systems deliver an op-timum dose to printed substrates for a certain amount of time, after which the dose declines. Deterioration can occur very gradually, giving the impression, for example, that a 1000-hour-old lamp is functioning correctly. A dirty lens also reduces the dose delivered to the substrate’s surface.

Lamps will ultimately fail if they’re not replaced (Figure 1). Detect-ing a decline in curing-system perfor-mance before total lamp failure can be as simple as handling cured prints. The feel of the cured, printed surface will change when lamps start to reach the end of their usefulness. Those who want a more objective method of measuring curing-system performance can use a radiometer or, for inkjet systems that cannot accommodate probes between the printhead assembly and substrate path, an adhesive-backed label that

reacts to UV exposure by changing color (Figure 2). These labels can be affixed to substrates and run through the printer at various stages of lamp life, beginning when lamps are new and repeated periodically thereafter until lamp output becomes unsuitable.

Quantifying lamp output may be unnecessary if you simply monitor hours of lamp operation and stick to the manufacturer’s lamp-replacement guidelines. But you still need to take steps to optimize lamp life. One way is to make sure the lamps are idle when the printer is not in use. The printer’s operating software, which allows you to vary curing-lamp intensity to best match the substrate with which you’re work-ing, may enable you to select the time of inactivity that must elapse before the printer automatically powers down its curing system. Precise workflow man-agement is another way to make lamps last longer. Keeping the lamps powered up and in use once they’re activated can be more effective in terms of longevity than switching them on and off through-out the day. Queuing jobs in the RIP so that the printer is feed jobs constantly can help.

Figure 2 Adhesive-backed labels that change color according to exposure to UV light can help you assess lamp performance and remaining hours of useful life.

Figure 1 A hazy or cloudy area in the center of the UV lamp is a sign of complete failure.



Heat generated in the UV-cur-ing assembly is managed by air flow generated by fans or blowers. Keeping conventional curing lamps cool helps to prolong their life. In some cases, filters are included to prevent airborne contaminants from entering the curing assembly as it’s cooled. These filters must be cleaned regularly and replaced periodically. Dust buildup reduces the system’s ability to keep the assembly cool. Finally, the transparent plate that protects the curing assembly must be tended to routinely. Ink overspray, dust, and other substances will otherwise accumulate on the plate and cause UV light to reflect back into the assembly, creating excessive amounts of heat.

SafetyContaining the UV light produced by the curing assemblies also is a consid-eration. Exposure to UV light can be hazardous to the press operators, which is why UV inkjet printers contain vari-ous shielding systems and other safety measures. Routine inspection is neces-sary to ensure that these safeguards function properly. One such device is a normally closed shutter mechanism that is activated by the printing process. Flatbed UV inkjets, many of which accommodate thick substrates, have a necessary gap between the print bridge and the table to accept such materials. However, the printers generally are equipped with brush curtains or similar contraptions on either side of the print engine to contain the UV light.

Other types of safety consider-ations include shutoffs on a printer’s access points. These shutoff switches only allow activation of the UV lamps when certain parts of the printer, such as sliding doors and front covers, are closed tightly. This makes the curing as-sembly inaccessible while the machine is in use.

One of the major benefits of using UV inkjets is that their ink systems are free of solvents. However, some users may be sensitive to monomers and other chemical compounds in the inks that can undergo polymerization, as

well as to ozone, which is a byproduct of the use of UV lamps. Installing an air-filtration system nearby or a localized exhaust that vents to the outside can help reduce exposure to these chemi-cals. Some manufacturers call for the installation of a dedicated exhaust sys-

tem to support high-speed printing by extracting air that has passed through the printer to cool its curing compo-nents. Depending on the printer, you might be able to either connect ducts to the exhaust system or in-stall a ventila-tion hood directly above the printer.

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SCREENPRINTING30

UV technology gives screen printers the capability to print faster, more ef-ficiently, and more accurately on a wide range of materials. But to realize the full benefits of UV, users must under-stand the nature of UV inks and the equipment required to cure them.

Resins give UV ink its major characteristics, such as adhesion and flexibility. Monomers are selected to dissolve the resins and pigments in the formula to a workable viscosity. They’re also selected to complement the resin in achieving the desired performance char-acteristics of cured or dry ink film. Addi-tives contained in UV inks inlcude pig-ments (for color), flow agents, catalysts, and others. In UV inks, these catalysts are called photoinitiators. They absorb UV energy at certain wavelengths, creat-ing free radicals that connect with the molecules of the resins and monomers and, in turn, cross-link with each other, forming chains of molecules we recog-nize as the cured ink film. Chemists call this cross-linking reaction polymeriza-tion. UV inks are considered 100% solids because almost everything in them is used up in the polymerization process.

One of the major advantages of UV over conventional inks is that no volatile organic compounds (VOCs) are released into the air during the curing process. In addition, UV curing relies on polymerization rather than evapora-tion, which means UV inks can be cured much more quickly and in less space than solvent-based inks. Finally, the lack of solvent in UV inks allows them to be used with higher mesh counts and sup-port finer detail.

UV curingThe function of the curing unit is to deliver the UV energy that sets off the photoiniators and starts the polymeriza-tion process. However, before we ex-plore just how this energy is delivered,

An Overview of UV Curing

it might be beneficial to review the na-ture of electromagnetic energy. The UV range of the electromagnetic spectrum occurs at approximately 10-400 nm. The photoiniators used in UV inks typically react to specific wavelengths within the 200- to 400-nm range. However, the wavelengths that drive the curing reaction vary for different ink systems, which is why curing systems support different lamp types that deliver spe-cific frequencies of UV energy.

For UV inks to cure properly, they must not only be exposed to the right wavelengths of UV energy, but also to the right amount of energy delivered at the correct intensity. The amount of energy arriving at the surface of the printed substrate is called the dose and is measured in millijoules (mJ/sq cm). The dose of energy a UV print receives is affected by the conveyor speed and number of lamps in the curing unit, as well as the number of times that it is exposed to the curing environment. The intensity of energy emitted by curing lamps is known as irradiance and is measured in watts or milliwatts (w/sq

Figure 1 Mercury-vapor lamps are the most widely used type and exhibit peak intensity across a wide range of UV wavelengths.

cm or mw/sq cm. Irradiance is directly related to electrical power, lamp condi-tion, and the geometry of the reflec-tor that directs and focuses the lamp output. Irradiance does not vary with exposure time.

The depth of cure achieved in the ink film is directly influenced by the irradiance level of the lamp. Delivering higher, more intense energy at the sur-face of the ink will allow more energy to penetrate the thickness of the ink film.

In curing units, the lamp and reflector assembly that delivers the UV light is call an irradiator. The lamps used in curing units generally consist of mer-cury vapor contained in a transparent quartz envelope. The lamps are powered in one of two ways. One type has elec-trodes at each end. When electrical cur-rent is applied, an arc is formed within the lamp, causing it to emit UV energy. The other type of lamp is electrodeless and ignites the gas with microwaves. In this system, a microwave-generating unit is placed above the irradiator and the microwaves are directed to the lamp by waveguides.



The medium-pressure mercury lamp is the most common lamp used for curing UV screen-printing inks. Argon gas and an exact amount of mer-cury (to create the right pressure when vaporized) are captured in a tube of fused silica. As Figure 1 shows, vapor-ized mercury emits ultraviolet energy at certain wavelengths so that when UV inks with the proper photoinitiators are exposed, cross-linking (curing) results.

Research has revealed that the addition of compounds called metal halides to the mercury enhances the spectral output of the lamp. This enhanced output is advantageous for curing opaque ink systems and those containing the white pigment titanium dioxide (TiO2). Two such doped lamps include the iron and gallium varieties. Most curing units offered today are designed to allow lamps to be changed in a matter of minutes.

One factor that has the greatest impact on the curing efficiency of the lamp is the amount of electrical current that flows through it during operation. According to Ohm’s Law, volts x amps = watts. However, to calculate the actual power that the curing unit is receiving, watts must be multiplied by the power factor for the particular area (this factor can be supplied by the local electric company), and divided by the length of the lamp. The result is the exact power that the lamp is receiving, provided that there are no power fluctuations.

Curing units employ reflectors with different physical geometries to focus or scatter the lamp output across the print. The specific configuration of the reflector influences how the ink film is cured. Three main reflector geom-etries are used today: elliptical, which concentrates energy at the print surface with a narrow focal width; parabolic, which reflects energy at a slightly wider focal width; and multifaceted, which reflects energy at the widest focal width (Figure 2).

One final consideration about cur-ing equipment concerns heat manage-ment. High temperature created by the IR energy UV lamps emit is an unfortu-

nate byproduct of the curing process. Preventing this heat from building up and damaging sensitive substrates is a critical concern in UV curing. Systems for heat management in modern curing units include water cooling systems, fans, automatic shutter systems, and dichroic mirrors, which reflect UV but absorb IR energy.

Processing issuesControlling UV-ink-film thickness in screen printing is of paramount importance. Mesh type, screen-tension level, emulsion thickness, and related screenmaking factors all contribute to the amount of ink deposited on the sub-strate. These variables have to be con-trolled to achieve the ink-film thickness recommended by the ink manufacturer. Similarly, press-setup parameters must also be controlled, including squeegee hardness, screen off-contact, and squee-gee/floodbar speed and pressure.

The type of substrates you are printing on also influences the results you can expect from UV curing. On polycarbonate substrates, for example, UV energy at shorter wavelengths (below 300 nm) tends to affect the substrate surface. This phenomenon, known as photo-oxidation, appears as a gradual yellowing of the polycarbon-ate surface that occurs with repeated exposure to the UV energy.

The subtle change in the poly-carbonate surface affects ink adhesion, especially when multiple colors are printed. However, the use of gallium lamps, which release UV energy in the shorter wavelength range, has been shown to minimize this photo-oxidation

of polycarbonate.Polyester is another material

commonly printed with UV. The main factor to keep in mind when working with polyester is that this material needs to be pretreated by flame or corona or coated with some form of primer to achieve good ink adhesion.

The last issue in using UV technol-ogy is safety. While UV inks aren’t char-acterized by dangerous solvents, the monomers they contain can cause aller-gic reactions in users who are sensitive to them. Monomers used in UV inks are tested for toxicity (skin irritation) and assigned a rating from one to ten, where one is least toxic and ten most toxic. But even with low-toxicity monomers, it is always a good idea to wear protective clothing, including eye and hand protec-tion, when handling UV inks.

Besides UV energy, UV lamps also emit very bright visible light that could be harmful to the eyes if workers are exposed to it frequently or for long periods. This is why it is important to block light from escaping through the curing chamber’s conveyor openings by installing shields.

One other safety issue to keep in mind concerns ozone, which is a very unstable molecule of oxygen. Ozone is generated when an electric discharge passes through air or when oxygen is exposed to high-intensity UV energy. Ozone generated by curing units can lead to respiratory problems for those who work near the curing units, so it’s important to make sure that curing units are well vented to evacuate ozone from the work area.

Figure 2 UV reflectors are designed to direct UV energy from the curing lamp in differ-ent ways. Elliptical reflectors are used to focus UV energy in a tight area on the substrate surface. Parabolic reflectors spread the UV energy slightly more than the elliptical vari-ety. Multifaceted reflectors are used to disperse the UV energy over a broad area.

The 2011 SGIA Expo brought a variety of prepress, printing, and finish-ing solutions to the Ernest N. Morial Convention Center in New Orleans, LA, from October 19-21. This article dis-cusses some of the products displayed to the North American marketplace during the trade show.

Agfa Graphics debuted the :Anapurna M2540 flatbed UV inkjet printer. It prints a six-color inkset (CMYKLcLm) and white ink at speeds up to 484 sq ft/hr (45 sq m/hr) up to a size of 8.3 x 5 ft (2.5 x 15 m) on substrates up to 1.77 in. (45 mm) thick. Agfa says 11 retractable register pins are designed to simplify and enhance the precision of media positioning. Built-in ionizer elements prevent the buildup of electrostatic charge on me-dia, and shuttle safety sensors prevent printheads from hitting media.

Avery Dennison Graphics Div. showed a variety of films. Among them was MPI3300, a media line designed for digitally imaged, short-term applica-tions. Avery says the films are compat-ible with most solvent, eco-solvent, and UV inks. They come in gloss or matte finish and with clear permanent, clear removable, grey permanent, or grey removable adhesive. Available roll sizes include 24, 30, 50, 54, and 60 in. (610, 762, 1270, 1372, and 1524 mm).

BBC Industries highlighted the Big Buddy III, an 8-ft (2.4-m) dryer with a

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24-in.-wide (610-mm) belt, solid-state heat control, 6500-w heater, two-digital speed control, and more. It features Auto-Plateau technology, a system of two zones with custom-coiled, long-wave IR elements engineered to guaran-tee a heat-profile plateau. BBC says the dryer can accommodate more than 300 plastisol prints/hr.

Brother showcased its GT-782, a direct-to-garment inkjet printer equipped with dual, independently con-trolled platens and printhead modules. It supports a maximum print area of 16 x 18 in. (406 x 457 mm), imaging resolu-tions up to 600 dpi, and print speeds up to 60 prints/hr on light garments (up to 50 prints/hr on dark garments in one-pass white and up to 30 prints/hr on dark garments in two-pass white). GT-782 uses piezo-printhead technology and a five-color (CMYK+W), water-based inkset. Large, youth, and baby platens are available as options.

Caldera highlighted Flow+, a solution designed to interact with a RIP to deliver information about, and control of, processes involved with job workflows.

Chromaline spotlighted its Razor Fusion and Razor Film. Razor Fusion is a pure photopolymer emulsion that Chromaline says is engineered with ul-trafine particles to accommodate highly detailed imaging and sharp line edges. Razor Film is a pure photopolymer cap-

illary film that’s designed for very fine line and halftone printing. According to Chromaline, it supports wide exposure latitude and adhesion to a variety of meshes.

Condé promoted its SubliCube Systems, a line of three 3D-surface-decoration solutions. All come with a 3D vacuum press, refillable ink systems, a 24-in. (610-mm) Epson 7700 printer, SubliJet ink, and Wasatch SoftRIP. Model D10.1 comes with two vacuum frames, a vacuum frame stand, and two four-up phone-nesting tools. Model D10.2 comes with four vacuum frames, two vacuum frame stands, and four six-up phone-nesting tools. Model D10.3 comes with six vacuum frames, three vacuum frame stands, and six nine-up phone-nesting tools.

Contra Vision showed ORS and BACKLITE ORS see-through window-graphics products on non-perforated transparent material, such as self-adhe-sive PVC or polyester film. They have superimposed layers of ink in a print pattern. The Overlap Registration Sys-tem is a solution for managing the lack of registration in any printing system to provide see-through graphic panels of reliable color rendering and the desired visual perception of the image.

conVerd rolled out four sub-strates. BoxLite Chrome is an alumi-num metallized product for signage. It’s available in Mirror Gloss and Brushed

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Chrome. GreenLight Opti-Max is a satin gloss backlit poster stock. It’s designed for compatibility with a variety of print-ing solutions. EnviroScape Mural Plus! HD has a textured finish that’s designed to ease installation for wall, window, and rigid-surface applications. Envi-roboard MR/HD 12 mm is a white paper board engineered to provide strength and durability for signage, displays, and promotional furniture.

Douthitt spotlighted its computer-to-screen imaging system, available in three models to accommodate maxi-mum image sizes of 20 x 30, 50 x 30, and 50 x 40 in. (508 x 762, 1270 x 762, and 1270 x 1016 mm). They use solid ink, phase-change inkjet technology and support imaging resolutions from 600-1000 dpi. Their front-end workstation is compatible with Mac, PC, and Unix operating systems.

DuPont emphasized its new Tyvek Vivia High Opacity media. DuPont says the product offers vivid graphic reproduction and complete block-out. Tyvek Vivia High Opacity has a Class A fire rating based on testing conducted according to ASTM E-84.

Dynamesh displayed V-Screen, a mesh woven with VECRY, a ther-motropic liquid-crystal polymer that’s crystallized at a specific temperature and stabilized after spinning/ Dynamesh says V-Screen has twice the tensile strength of standard stainless-steel mesh. V-Screen is available in mesh counts ranging from 50-380 threads/in. and with thread diameters ranging from 100-23 μm.

EFI highlighted its VUTEk GS3250LX, a wide-format hybrid UV inkjet printer that features LED cur-ing technology. It prints eight colors (CMYKLcLmLyLk) plus white onto me-

dia up to 126.5 in. (3.2 meters) wide and up to 2 in. (5.1 mm) thick at resolutions up to 1000 dpi and at speed up to 1200 sq ft/hr (111.4 sq m/hr) in eight-color plus white mode and up to 2400 sq ft/hr (223 sq m/hr) in Fast 5 mode. White can be printed as an overprint, underprint, spot, underspot, fill, and overspot.

Eino Products showcased its Draw-Bar frames. Each is designed with a U-shaped channel with an enclosed fabric-locking bar that is drawn out-ward with bolts to tension and adjust the printing mesh. Draw-Bar frames are manufactured to custom specs, and Eino says the frames support ±1 N/cm accuracy in tensioning. Draw-Bar frames offer microregistration capabili-ties on press.

Esko Artwork focused on a variety of finishing systems. Among them was the i-XE10, a cutting table that features a 31 x 43-in. (800 x 1100-mm) work area, maximum speed of 52.5 in./sec (80 m/min), maximum acceleration of 1.2 G, maximum horizontal cutting power of 18.4 kg force, maximum vertical tool power of 12 kg force, and more. Control software includes i-cut Vision Pro with i-script and XE-Guide. The operator workstation includes PC, monitor, keyboard, and operator panel. A model with an auto feeder and auto stacker is available.

FLEXcon unveiled products for counters, floors, walls, windows and billboards. COUNTERdeco is a non-vinyl system available with clear matte polyolefin or clear polyester overlami-nates. It is FDA indirect food contact compliant. FLEXmark floor art in white, clear, silver, and brushed silver can be used for creating large, graphically branded zones that drive foot traffic. WALLdeco non-vinyl products feature a

microsphere repositionable, removable adhesive and are designed for short-term, interior, large- and small-format, contour-cut wall decals applied to flat, smooth, painted, non-vinyl wall boards. FLEXmark BILBRD SWVG gloss is for general-purpose, permanent signage.

Flexmag debuted its FlexCoat-EZ, a magnetic substrate that’s coated with a printable surface. According to Flexmag, FlexCoat-EZ’s surface is receptive to screen, digital, flexo, and offset printing. It is phthalate-free and 100% recyclable.

Franmar promoted Green Again screen wash, created from upcycled oils. The company says Green Again is non-toxic and non-evaporable, has VOC levels of 2.7% (23.7 g/L), rinses off with water, leaves no residue, is 100% biode-gradable, and is safe for drains. Green Again is packaged in recycled bottles that are gravity filled and is crated and shipped in recycled cardboard. Accord-ing to Franmar, Green Again is recog-nized by the U.S. EPA.

Fujifilm highlighted the Inca Onset S40, a wide-format UV inkjet printer that features a 123 x 63-in. (3124 x 1600-mm) print area for edge-to-edge imaging and supports media up to 2 in. (51 mm) thick. It prints Fujifilm Sericol Uvijet OB series inks on four or six col-ors (CMYK or CMYKLcLm) at speeds up to 5059 sq ft/hr (470 sq m/hr) when enabled with the optional 3/4 automa-tion system or 3299 sq ft/hr (306.5 sq m/hr) when in manual operation. The press uses Fujifilm Dimatix Sapphire QS-256 MEMS printheads. RIPs include ColorGate Production Server (Fujifilm Edition) v6.2 or later and Wasatch Soft-RIP v6.7 or higher.

Geo Knight & Co. showcased its Maxi•Press line of heat-transfer

Image courtesy of Darek Johnson Image courtesy of Darek Johnson

SCREENPRINTING34

tex Wallcover. Herculite classifies all of these materials as flame resistant. Roll widths vary from 30-98 in. (762-2489 mm), depending on roll length.

HIX Corp. highlighted its Verticure vertical dryer. It features individual dry-ing chambers, variable air-speed con-trol, forced air in each drawer, separate drawer timers, and more. One-, two-, and four-drawer models are available.

HP unveiled new offerings in its HP Scitex line of printing systems. The HP Scitex FB7600 Industrial Press, with new HP FB225 Scitex Inks, features inline saturation control for backlit ap-plications, hot folders, and a job queue. It can print up to 95 full boards/hr and has a P-O-P print mode that outputs 55 full boards/hr. The 16.6-ft (5-m) HP Scitex XP5500 features a new billboard mode for printing at speeds up to 3500 sq ft/hr (325 sq m/hr) using HP Specialty Billboard Scitex Ink. The HP Scitex XP2500 is designed as a UV alternative to solvent inkjet printers. It images at speeds up to 1850 sq ft/hr (265 sq m/hr).

Ink Mill showcased its VUTEk-compatible inks, including formulations designed for the VUTEk QS and GS lines of wide-format inkjet printers. The QS ink is designed for use with the QS3250R, QS3220, QS3200, QS2000, and QS220 models. The GS ink is designed for use with the GS5000r, GS3250r, GS3250, GS3200, and GS2000 models. Ink Mill says the inks have a greater color gamut are more scratch resistant and outdoor durable than their OEM counterparts.

Inkcups Now emphasized the ICN-2200L, a pad-printing press with a linear conveyor that features 3.5-in. (90-mm) ink-cup size, 3.14-in. (80-mm) image area, and 3.9 x 9.8-in. (100 x 250-mm)

plate size. The press supports produc-tion speeds up to 1500 impressions/hr in one- or two-color configuration. ICN-2200L’s plate area is illuminated, and it offers auto ink-mixing mode, variable cycle delay, X-Y pad mounts, electropneumatic control, and more. Automated pad cleaning is optional.

INX Digital showcased Triangle DTX and EDX inks. Triangle DTX is a system for direct-to-textile printing. It is a water-based formulation that’s designed for use with Epson printheads and synthetic fabrics. INX says DTX ex-hibits fast drying on polyesters, blends (minimum 60%), and various coated and uncoated media. It is available in six colors. EDX is billed as a color- and chemically compatible eco product that can produce OEM-quality output without the use of new color profiles. INX says EX is fast drying, is a low-odor formulation, and offers significant sav-ings when compared to Roland Soljet ECO inks.

KIWO debuted its Poly-Plus ER (Tack Free), a diazo dual-cure emul-sion. KIWO says it’s formulated to dis-solve instantly for easy reclaiming, has a 42% solids content for quick build up in fewer coats, has a tack-free surface for enhanced compatibility with inkjet films and for improved peel/snap-off on press, offers excellent resolution and exposure latitude for supporting fine details and process-color applications, and is resistant to plastisol, UV, and solvent inks.

Kornit Digital showed the Storm II, a dual-platen, direct-to-garment ink-jet printer. It uses Spectra piezo print-heads to jet a five-color (CMYK+W), water-based, pigmented inkset at reso-lutions up to 630 dpi. Storm II features

presses. The systems are available with 30 x 40-in. or 40 x 64-in. (762 x 1016-mm or 1016 x 1626-mm) platens and come standard with a single loading table. Twin-station Teflon shuttles and top and bottom heat are options.

GMG displayed PrintFactory GMG Edition, billed as an all-in-one so-lution for automated, standardized, and color-consistent large-format produc-tion. It bundles the PrintFactory Suite for banner, sign, and wide-format print-ing with GMG ColorServer and GMG SmartProfiler. A built-in preflight engine allows checking each file that is opened against job-specific parameters, and the system supports last-minute correc-tions, PDF files included. A dedicated LFP job-preparation environment facili-tates the addition of folds, seams, and tunnels; definition of diecut lines; and creation of tiles and grommets. Specific templates allow automated preparation for recurring jobs.

Graphics One presented the GO ColorMAX | Wallpaper, a 51-in. (1295-mm) inkjet printer designed to image directly onto wallpaper for home deco-ration, promotional graphics, and other applications. It prints water-based SEPI-AX inks (2 x CMYK) at speeds up to 129 sq ft/hr (12 sq m/hr) and at resolutions up to 1440 dpi. The printer is equipped with Epson DX7 piezo printheads, auto media-feeding system, and a pre/platen/post-heating system. An auto media-takeup system is optional.

Herculite rolled out its line of Bantex Digital Media. Products include 10-oz one- and two-sided, 12-oz two-sided, 13-oz one- and two-sided, and 18-oz two-sided printable substrates. Matte and gloss finishes are available. The line also includes Bantex Billboard and Ban-



tured overlaminates. The line includes Brushed Metal 4.0 mil, Fine Grain Wood 4.0 mil, Coarse Grain Wood 4.8 mil, Flock, Carbon Clear 6.8 mil, and Leather 4.0 mil. All are available in roll sizes of 54 in. x 164 ft (1372 mm x 50 m), except for Flock, which comes in a roll size of 54 in. x 82 ft (1372 mm x 25 m).

Marabu showed MaraJet solvent inks for Mimaki JV33/JV34, CJV-30, and JV3 inkjet printers. According to Marabu, these are plug-and-play cartridges that offer lower production costs, excellent lightfastness, vivid color density, wide color gamut, bright spot colors, problem-free printing, and accurate color reproduction. Marabu says the inks can be used without new color profiles. MaraJet inks are sold in 440-mL cartridges and 1-L bulk-ink containers.

Mimaki drew attention to the JV34-260, a four-color (CMYK) solvent inkjet printer that supports print widths up to 103.6 in. (2632 mm) and imaging resolutions up to 1440 dpi. It features variable-dot technology, a three-stage heater, an automatic drying fan, and more. Its media cutter (Y direction) is situated after the printhead section. The printer accommodates substrate rolls up to 220 lb (100 kg). It comes standard with Mimaki’s Uninterrupted Ink Supply System. The Mimaki Bulk Ink System is available as an option. A dye-sub ver-sion of the printer is planned.

Mutoh promoted its ValueJet 1324 and 1624 wide-format eco-solvent inkjet printers. The ValueJet 1324 prints at res-olutions up to 1440 dpi, supports media up to 54 in. (1372 mm) wide, and prints Eco-Ultra ink (CMYK) at speeds up to 300 sq ft/hr (27.8 sq m/hr). It features

individually controlled pre, platen, and post heat, as well as media auto-cut and a spectrophotometer port (Spectrovue VM-10 is optional). The ValueJet 1624 prints at resolutions up to 1440 dpi, supports media up to 64 in. (1626 mm) wide, and prints Eco-Ultra ink (CMYK) at speeds up to 313 sq ft/hr (29 sq m/hr). It features individually controlled pre, platen, and post heat, as well as media auto-cut and a spectrophotometer port (Spectrovue VM-10 is optional).

Nazdar showed its 4200 Series Multi-Purpose UV Screen Ink, for-mulated to resist edge chipping, ink flaking, and substrate shattering. The substrate range for 4200 includes treated corrugated plastic, styrene, and coated paper/board. The company also promoted its Lyson UV inks for inkjet printers. They’re available for wide-for-mat printers from Agfa, Dilli, DuPont, Durst, HP, Inca, and more. According to Nazdar, Lyson inks offer benefits such as OEM color match and enhanced gamut options, increased printing and curing performance, and convenient packaging sizes.

Nor-Cote promoted UV screen inks for the decoration of containers made of high-density polyethylene, PVC, PET (clear and colored), polycar-bonate, PETE, PETG, and low-density polyethylene tubes (soft-touch). Nor-Cote says multilayer printing of three to four layers of ink is easily achieved. Products include Nor-Cote 80, 88, Norcon, PCI, PPC, and PST. Compatible applications include cosmetics, hair-care products, sport and baby bottles, consumer cleaners, and more.

Novus Imaging debuted its Syner-gia H, a 3.2-m hybrid inkjet printer that the company says can deliver everyday

a print area up to 20 x 28 in. (508 x 711 mm) and supports throughput of up to 156 light garments/hr or 76 dark gar-ments/hr. It can accommodate finished garments or cut pieces.

Lawson Screen & Digital Products, Inc. highlighted its Mini Printer ASI, a clamshell-style graphics screen press that comes in three models with stan-dard print areas of 10 x 12, 14 x 22, and 18 x 24 in. (254 x 305, 356 x 559, and 457 x 610 mm). Each comes standard with dual-action squeegee, adjustable stroke, microregistration, universal screen holder, adjustable print/flood speeds, off-contact, foot pedal, ad-justable squeegee- and flood-angle control, and more. Lawson says the press supports print speeds up to 850 impressions/hr. Lawson also promoted Pre-Treat Vertical (one standard spray zone, vertical spray action), Pre-Treat Express (single spray zone, direct DC motor drive), and Pre-Treat Select (four spray zones, direct DC motor drive), all of which pretreat garments for direct inkjet printing.

MacDermid Autotype promoted the Quadra Industrial Film System, billed as an affordable, digital printing technology for producing functional graphics, graphic overlays, durable label components, and sample proofs. The system combines hardware, soft-ware, and consumables with technical support from MacDermid Autotype. According to the company, Roland LEC330 printers are specially config-ured to achieve MacDermid Autotype film-output standards. The system can image films up to 29 in. (737 mm) wide.

MACtac spotlighted a variety of film products. Among them were Permacolor PermaFlex DecoLam tex-


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production speeds of 1000 or 2000 sq ft/hr (93 or 186 sq m/hr). The system is available in UV and AQ models, which print UV-curable and aqueous-based AquEpoxy inks, respectively. Both mod-els accommodate rigid media up to 2 in. (51 mm) thick and roll-fed media up to 126 in. (3200 mm) wide. They feature Apple iPad control stations and Caldera Grand RIP+ software.

Océ drew attention to the ColorWave 600 Poster Printer. It uses Océ’s TonerPearls solid toner in CMYK cartridges and prints at resolutions up to 600 dpi and speeds up to 1141 sq ft/hr (106 sq m/hr) with optional take-up unit and 926 sq ft/hr (86 sq m/hr) without it. The printer features Océ’s CrystalPoint technology to produce what the com-pany says is instantly dry, water-resis-tant prints that are cut to size and ready for immediate mounting. Up to six rolls of media from 11-42 in. (279.4-1067 mm) wide can be loaded into the printer.

Onyx Graphics showed Smart-Apps Sign&Banner plug-in Version 1.1 for Adobe Illustrator software, among its other productivity tools. The software is designed to simplify and accelerate setup of wide-format signs and banners. It includes a Double-sided Bleed feature to specify an amount of print bleed, after which the plug-in matches the correct bleeds automati-cally for the reverse side of double-sid-ed banners. The tool can also account for banner poles or framing and uses presets for automating the process for different banner types. The plug-in is compatible with Mac OS and Windows.

Oyo Instruments promoted its lines of direct-film imagesetters and thermal direct-to-screen systems. Among them was the Liberator GMAX, a large-format imagesetter that supports media up to 54 in. (1372 mm) wide,

imaging resolutions up to 600 x 1200 dpi, and imaging speeds up to 6 in./min (152 mm). It features closed-loop regis-tration control, multilevel pulsing, and Harlequin RIP software with HDS Lite.

Palram exhibited PALCLEAR, a flat, solid, transparent PVC sheet that the company says has a new, improved, water-like clarity. It is available in Water Clear for improved light transmission and lower haze, Bluish with a more traditional tint, UV for UV protection on one side, HI (high impact) for impact resistance, Embossed for a prismatic fin-ish on one side, and Matte with a matte finish on one side. Standard sheet size is 48 x 96 in. (1219 x 2438 mm) and, ac-cording to Palram, are self-extinguishing and comply with several international standards.

PrinterEvolution launched its Evo33 Series of inkjet-printing solutions. The Evo33-U involves PrinterEvolution technicians making an on-site visit to up-grade components on a shop’s installed printer. The Evo33 is a printer that’s upgraded at PrinterEvolution’s facility and then installed at a printing facility. According to PrinterEvolution, the end result is a printer that is greener, faster, able to print at higher resolutions and with more inks.

Proell, Inc. promoted its Mirror Ink M3, formulated for second-surface deco-ration of transparent plastics and films. The company says M3 offers the highest gloss in the Mirror Ink line. Another recent development, Mirror Ink FSI, is designed for printing mirrors on the first surface of a substrate.

RH Solutions unveiled a suite of UV special-effect formulations for graph-ics screen printers, including RHUV-110a Gloss for Paper, 200 Gloss, 120b Matte, Gloss (for matte and coated materials), Crystal, Refractive, Wrinkle, Icy Snow,

Convexity (3D), Coral (Bubble), Golden Abrasive, Silver Abrasive, and Small, Mid, and Strong Abrasive (for coated materials). According to the company, the products support fine-line graphics and thick-film deposition. They can be used in the same graphic to produce multiple effects.

Roland showed a variety of imaging systems. Among them was the VersaUV LEJ-640, a 64-in. (1626-mm) hy-brid UV inkjet printer. It accommodates flexible media up to 39 mil (1.0 mm) and rigid substrates up to 0.51 in. (13 mm) thick. The system supports a maximum print speed of 133 sq ft/hr in CMYK High Speed mode and prints ECO-UV inks in six colors (CMYK+White+Gloss, CMYK+White+Clear, CMYK+2xWhite, CMYK+2xClear) or ECO-UV S in five colors (CMYK+White, CMYK+2xWhite) at resolutions up to 1440 dpi.

RTape Corp. emphasized its FlexCut Sticky and FlexCut Sweet, 100% polyurethane films with a glazed surface; MetalFlex, 100% polyurethane film with a metallic effect; CoolFlex, a 100% polyurethane film that’s transfer-rable without a heat press; ReflexCut, a reflective film; Tatoo ClearFlex, a 100% polyurethane flex film; Sublix, a polyester satin for die, heat, or laser cut-ting; CoolPrint, a 100% polyurethane film that’s transferrable without a heat press; VelCut Evo and VelCutPremium, which feature flock fibers on a temporary back-ing; and more.

Sakurai highlighted the Maestro SD Series of automatic rotary-stop-cyl-inder screen presses, available in two models. Among them was the MS-80SD, which supports a maximum sheet size of 31.5 x 21.7 in. (800 x 550 mm), maximum print size of 28 x 19.7 in. (720 x 500 mm), and maximum frame size of 34.6 x 34.6 in. (880 x 880 mm). The press accommo-


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dates substrate thicknesses of 0.001-0.03 in. (0.05-0.80 mm) and offers print speeds up to 2000 impressions/hr.

Sawgrass Technologies showed its M-TT, SubliM, and SubliM Direct SPS inks. M-TT textile inks are compatible with natural and synthetic fibers and are available in CMYK sets. SubliM inks are formulated for direct dye-sub print-ing onto polyester fabrics and are avail-able in CMYKLcLmOB. SubliM Direct SPS inks are available in CMYKLcLmOB and formulated for high-seed dye-sub printing onto polyester fabrics.

Screen USA showcased its True-press Jet2500UV, a 98.4-in. (2500-mm) wide-format inkjet printer that prints on roll-fed and rigid media, including textiles, metal, wood, and more. It sup-ports imaging resolutions up to 1500 dpi and uses a CMYK inkset (LcLm+White optional). Truepress Jet2500UV offers the ability to print up to seven image layers in one pass, allowing images to be viewed from both sides of transpar-ent material without show-through. Wasatch SoftRIP TX Gold Edition drives the printer.

Sefar promoted PME, which the company says is the most accurate mesh available for high-end screen-printing applications. According to Sefar, PME stretched quickly and consistently to high tensions, exhibits minimal loss of tension, and provides the greatest possible dimensional stabil-ity. The mesh fabric is woven from what Sefar describes as a special, high-mod-ule polyester yarn. PME is available in white or yellow, in custom widths, and in standard widths of 45, 55, and 62 in. (1143, 1397, and 1575 mm).

Seiko Instruments USA drew attention to its ColorPainter W-54s, a 54-in. (1372-mm) inkjet printer that uses a four- or six-color inkset (CMYKLcLm in GX low-solvent, high-viscosity or IX low-odor, HAPS-free, high-viscos-ity formulations) and accommodates roll- or sheet-fed media. It features a three-way, independently controlled heater. SIIT Onyx RIPCenter drives the printer. Options include a blower/dryer unit, take-up unit, cutter unit, exhaust attachment, and more.

Spartanics showcased its X140 Laser Cutting Station. Spartanics says

the system can be built into print lines of all types and any assembly chassis. X140 is engineered to cut inline at web speeds as fast as 328 ft/min (100 m/min).

Stahls’ ID Direct emphasized CAD-CUT Premium Plus. The company bills it as a softer and more stretchable heat-transfer material that offers quick application time and features a matte finish. It can be applied with a heat press to a variety of fabrics

Teckwin showed its TS-300, an eight-color (CMYKLcLm+White+ Varnish) UV inkjet printer. It prints up to 15 boards at a size of 4 x 8 ft (1.2 x 2.4 m) per hour and at resolutions up to 800 x 1600 dpi. Maximum board size is 98 x 59 in. (2489 x 1499 mm); maximum width for flexible media is 72.8 in. (1849 mm). The printer uses Teckwin Auro-raTeck UV pigmented inks and 15-pl piezo printheads. It features and LED light table for backlit printing, pop-up registration pins, and more.

Ulano promoted its EZ-FILM, a capillary film for garment-printing applications. Ulano says it’s priced as a viable alternative to direct emulsion and reports that the capillary film offers better solubility for easier adhesion, bet-ter copying properties, high resolution, sharper edges, better mesh bridging, wider exposure latitude, better toler-ance for light scattering, better solvent resistance, and more.

Vycom showed its Celtec Ultra White, a solid-PVC formulation designed specifically for outdoor applications that require resistance to UV degradation and impact. It is compatible with screen and digital printing and comes in standard thicknesses of 0.08, 0.12, and 0.24 in. (2, 3, and 6 mm). It features a smooth gloss finish.

Xanté focused on its Excela-graphix 4200 inkjet printer. It features drop-on-demand thermal imaging based on Memjet Waterfall Printhead Technol-ogy, designed to print more than three billion drops of ink per second for print speeds up to 12 in./sec (305 mm/sec) at 1600 x 800 dpi and up to 6 in./sec (152 mm) at 1600 x 1600 dpi. It uses a five-color (CMYKK) dye-based, aqueous inkset and accommodates media up to 50 ft (15 m) long, 42 in. (1067 mm) wide, and 0.375 in. (9.5 mm) thick.

december 2011 january 2012 37

Equipment / Materials / Services

An advertising service for local or regional screen printing distributors/dealers and national companies with branches and/or distributors. The Products & Services (P&S) Codes and the Business Classification Codes in each listing are defined as follows:

1 Art, Photography, Cad Graphics2 Curing & Drying Equipment3 Finishing Equipment4 Printing Equipment & Accessories5 Screen and Stencil Making Equip. & Supplies6 Inks, Coatings & Chemicals7 Board & Paper, Foam Center board, Block Out Board.8 Garments & Piece goods

9 Glass & Containers10 Nameplates, Dials & Sheetmetal11 Plastics, Rigid & Flexible12 Pressure Sensitive Materials13 Misc. Substrates: Magnetic, Binders, Banners, etc.14 Testing & Instrumentation15 Computers, Color matching/Business, Hardware & Software16 Embroidery Equipment & Supplies

A Distributor B DealerC Branch of National

Manufacturer

U.S. Distributor & Dealer DirectoryFor Directory Rates or Information, please contact Victoria Wells

E: [email protected] P: (800) 925-1110 ext. 393 F: (513) 744-6993An advertising service for local or regional screen printing distributors/dealers and national companies with branches and/or

distributors. The Products & Services (P&S) Codes and the Business Classification Codes in each listing are defined as follows:

1 Art, Photography, Cad Graphics2 Curing & Drying Equipment3 Finishing Equipment4 Printing Equipment & Accessories5 Screen and Stencil Making Equip. & Supplies6 Inks, Coatings & Chemicals7 Board & Paper, Foam Center board, Block Out Board.8 Garments & Piece goods

U.S. Distributor & Dealer Directory

SCREENPRINTING38

COLORADODenver

Midwest Sign & Screen Printing Supply Co.5301 Peoria St., Unit F, 80239-2319. (800) 332-3819. (303) 373-9800. Fax: (800) 332-3820. Fax: (303) 373-9700. E-mail: [email protected]. Contact: Al Menzie, RAMON FONTANES, Aaron Remsburg. Business Class: A. Marketing area served: Regional. Product Codes: 1,2,3,4,5,6,7,11,12,13.

ILLINOIS

SaatiPrint2050 Hammond Dr., Schaumburg, IL 60173 (800) 368-3243. (847) 296-5090. Fax: (847) 296-7408. E-mail: info.US@saatiprint. com. Website: www.saa-tiamericas.com. Contact: Jan Bill. Busi-ness Class: A. Marketing area served: Regional. Product Codes: 2,4,5,6,14.

INDIANA

Atlas Screenprinting Equipment & Parts, Inc.31 N. Davis St., Dublin, IN 47335. (765) 478-9481. (800) 533-4173. Fax: (765) 478-9462. E-mail: [email protected]. Website: www.atlasckg.com.Marketing area served: National. Product Codes: 2,4,5.

LOUISIANA

Reece Supply Co. of Louisiana, Inc. 1017 Dealers Ave., Harahan, LA 70123. (504) 733-7799. Contact: Ronnie Garic. Marketing area served: Regional. Product Codes: 1,2,4,5, 6,7,10,11,12,13,14.

MASSACHUSETTS

Garston Screen Printing Supplies, Inc.8 Parkridge Rd., Haverhill, MA 01835. (800) 328-7775. Fax: (978) 374-9777. Contact: Dean Garston. Business Class: A,B. Marketing area served: Regional. Product Codes: 1,2,3,4,5,6,7,10,11,12,13,14.

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ARIZONAPhoenix

Advanced Screen Technologies, Inc.619 S. Hacienda Dr. #5, Tempe, AZ 85281. (480) 858-9804, (877) 509-7600 Website: www.advancedscreen.com. Contact; Tom Bays. Business Class: A,B. Marketing area served: Regional. Product Codes: 1,2,3,4,5,6,14.

CALIFORNIA

SaatiPrint15905 S. Broadway, Gardena, CA 90248. (800) 992-3676. (310) 523-3676. Fax: (310) 523-3610. E-mail: [email protected]. Website: www.saatiamericas.com. Business Class: A. Market-ing area served: Regional. Product Codes: 2,4,5,6,14.

Los Angeles

NuSign Supply, Inc.1365 Darius Ct., City of Industry, CA 91745. (626) 961-7688. Toll Free: (877) 6NU-SIGN. Fax: (626) 961-7225. Contact: Tony Le. Business Class: A,B. Marketing Area served: Local, Re-gional, National, International. Product Codes; 4,6,12,13.

San Francisco

Midwest Sign & Screen Printing Supply Co. 21054 Alexander Court, Hayward, CA, 94545-1234. (510) 732-5800. (800) 824-2468. Fax: (510) 732-7624. Fax: (800) 824-2474. E-mail: midwest@midwestsign .com. Contact: Marilee Fox-Cichon, Paul Louie, Kevin Todd, Steve Michel. Business Class: A. Mar-keting area served: Regional. Product Codes:1,2,3,4,5,6,7,11,12,13.

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MINNESOTA St. Paul

Midwest Sign & Screen Printing Supply Co.45 E. Maryland Ave., 55117. (651) 489-9999. (800) 328-6592. Fax: (651) 489-0202/ Fax: 800-328-6599. E-mail: midwest@midwestsign .com. Contact: Jason Knapp, Dan Fleming, Pete Wein-berg, Ryan Warner, John Hermes, Kevin Wood. Business Class: A. Prod-uct Codes: 1,2,3,4,5,6,7,11,12,13.

Rhinotech2415 Pilot Knob Rd., Mendota Hts., MN, 55120. (651) 686-5027. (888) 717-4466. Fax: (651) 686-9745. E-mail: [email protected]. Website: www.rhinotechinc.com. Contact: Todd Michaels. Business Class: A,B,C. Mar-keting area served: National. Product Codes: 2,4,5,6.

MISSOURI Kansas City

Midwest Sign & Screen Printing Supply Co.1806 Vernon St., Kansas City, MO 64116.. (816) 333-5224. (800) 233-3770. Fax: (800) 233-3771. Fax: (816) 333-5446. E-mail: midwest@midwest-sign .com. Contact: Junior Costigan, Patti Fairchild. Business Class: A. Mar-keting area served: Regional. Product Codes: 1,2,3,4,5,6,7,11,12,13.

St. Louis

Lawson Screen Products Inc.5110 Penrose St. 63115. (314) 382-9300. (800) 325-8317. Fax: (314) 382-3012. Contact: David Landesman. Business Class: A,B. Marketing area served: National. Product Codes: 1,2,4,5,6.

NEBRASKAOmaha

Midwest Sign & Screen Printing Supply Co.9313 “J” St., 68127. (402) 592-7555. (800) 228-3839. Fax: (402) 592-5267. Fax: (800) 228-3886. E-mail: midwest@midwestsign .com. Contact: Trish Nelson, John Schnackenberg, Dan Thomas. Business Class: A. Marketing area served: Regional. Product Codes: 1-2-4,5,6,7,11,12,13.

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NEW YORK

SaatiPrint247 Route 100, Somers, NY 10589.. (800) 431-2200. (914) 232-7781. Fax: (800) 829-9939. E-mail: [email protected]. Website: www.saatiameri-cas.com. Contact: Paul Cylenica. Busi-ness Class: A. Marketing area served: Regional. Product Codes: 2,4,5,6,14.

New Hartford

Reich Supply Co., Inc. 2 Campion Rd., New Hartford, NY 13413. (315) 732-6126. (800) 338-3322. Fax: (315) 732- 7841. E-mail: [email protected]. Website: www.reichsupply.com. Contact: Neil Reich. Business Class: A,B. Marketing area served: National. Product Codes: 1,2,4,5,6,7,11,12,13,14.

OREGON Portland

Midwest Sign & Screen Printing Supply Co. 5035 N.W. Front Ave. 97210-1105. (503) 224-1400. Fax: (503) 224-6400. 800-228-0596. Fax: 800-278-0596. E-mail: [email protected]. Contact: Karen Walker, Pat McNamara. Business Class: A. Marketing area served: Regional. Product Codes: 1,2,3,4,5,6,7,11,12,13.

TEXASDallas

Reece Supply Co. of Dallas, Inc.3308 Royalty Row, Irving, TX 75062. (972) 785-0212. (800) 938-8330. Fax: (972) 785-0512. Contact: Kelly Leon-ard. Business Class: A. Marketing area served: Regional. Product Codes: 1,2,4,5,6,7,10,11,12,13,14.

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Vancouver

Ryonet Corporation11800 NE 60th Way., Vancouver, WA, 98682. (360) 576-7188. (800) 314-6390. Fax: (360) 546-1454. E-mail: [email protected]. Web Site: www.silkscreeningsupplies.com. Contacts: Jeff Held. Ryan Moor. Business Class: A. Marketing area served: National, International. Product Codes: 2,4,5,6,8,11,12,13,14,15.

WISCONSIN Milwaukee

Midwest Sign & Screen Printing Supply Co.16405 W. Lincoln Avenue, New Berlin, WI 53132. (262) 641-8550. (800) 242-7430. Fax: (262) 641-8555. Fax: (800) 242-7439. E-mail: midwest@midwest-sign .com. Contacts: Tom Robinson, Craig Gray, Marty Campell, Fred Horn. Business Class: A. Product Codes: 1,2,3,4,5,6,7,11,12,13.

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El Paso

Reece Supply Co.1530 Goodyear Dr., Suite J, 79936. (915) 592-9600. (877) 776-0128. Fax: (915) 592-9050. Contact: Aaron Wie-berg. Business Class: A. Marketing area served: Regional. Product Codes: 1,2,4,5,6,7,10,11,12,13,14.

Houston

Reece Supply Co. of Houston, Inc.2602 Bell St., 77003-1753. (713) 228-9496. (800) 776-0113. Fax: (713) 228-9499. Contact Labon Tatum. Busi-ness Class: A. Marketing area served: Regional. Product Codes:1,2,4,5,6,7,10,11,12,13,14.

San Antonio

Reece Supply Co. of San Antonio, Inc.4960 Eisenhauer Rd. Ste 110 (78218). (210) 662-6898. Fax: (210) 662-6945. (800) 776-0224. Contact: Ricky Brown. Business Class: A. Marketing area served: Regional. Pro-duct Codes: 1,2,4,5,6,7,10,11, 12,13,14.

UTAHSalt Lake City

Midwest Sign & Screen Printing Supply Co. 1160 So. Pioneer Rd., Ste. 2, 84104. (801) 974-9449. (800) 497-6690. Fax: (801) 974-9442. Fax: (800) 497-6691. E-mail: [email protected]. Contact: Sean Hession. Busi-ness Class: A. Marketing area served: Regional. Product Codes: 1,2,3,4,5,6,7,11,12,13.

WASHINGTON Seattle

Midwest Sign & Screen Printing Supply Co. 401 Evans Black Dr., 98188-2912. (206) 433-8080. (800) 426-4938. Fax: (206) 433-8021. Fax: (800) 426-4950. E-mail: [email protected]. Contacts: Jeff Macey, Todd Colvin. Business Class: A. Marketing area served: Regional. Product Codes: 1,2,3,4,5,6,7,11,12,13.

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ONTARIO

Cosmex Graphics Inc.390 Deslauriers St., St. Laurent, Quebec, H4N 1V2, (514) 745-3446. Fax: (514) 745-3449. Contact: Enzo Di Gneo. Business Class: A,B. Marketing area served: Nation-al. Product Codes: 1,2,3,4,5,6,12,14.

Ecoscreen, Inc.300 Commerce St., Vars, Ontario, K0A-3H0. (613) 443-1999. (888) 265-3556. Fax: s(613) 443-1909. E-mail: [email protected]. Website: www.ecoscreen.ca. Contact: Mike Brugger. Business Class: C. Marketing area served: National. Product Codes: 5,6.

SaatiPrint1680 Courtney Park Dr. E., Units 1 & 2, Mississauga, Ontario L5T 1R4, (905) 564-5388. (800) 567-0086. Fax: (905) 564-5391. Contact: Alfred Guinness. Business Class: A. Marketing area served: Regional. Product Codes: 2,4,5,6,14.

Markham

Sias Canada Ltd.3400-14th Ave., Units 37 & 38, L3R OH7, (905) 305-1500. Fax: (905) 305-1501. Contact: Karl Bakker. Business Class: A. Marketing area served: National. Product Codes: 2,4.

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UV Dryer ReflectorsManufactures reflectors for UV

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Liberty UV Dryer PartsGPI now carries completeline of Liberty UV ballasts,

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39DECEMBER 2011 JANUARY 2012

marketplace A Paid Advertising service of SCREENPRINTING magazine.

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ADVERTISING INDEXSCREENPRINTINGDecember 2011/January 2012

Advertiser Page Advertiser Page

Anajet Inc 15 Mimaki USA 13

Brother International 10-11 Nazdar OBC

Douthitt Corp. 1 Northwest Screen Systems Co. 21

Dynamesh Inc. 29 RH Solutions 23

Flexcon 17 Roland DGA Corporation 3

Franmar Chemical Inc. IBC Sign-Tronic AG IFC

George Knight & Co. 21 ST Book Store 25

Lawson Screen & Digital Products 25 Stahls’ Inc. 25

MacTAC 7, 40

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Screen Printing - December 2011/January 2012

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