Fujifilm North America Corp., Graphic Systems Div, Valhalla, NY, announced the Onset Challenge—a five-step process that demonstrates how the Onset family of wide-format printers can help increase profitability. Taking the Onset Challenge begins with a visit to onsetchallenge.com. The Website provides visitors with an opportunity to answer questions about their business needs and then returns the Onset options that fit those needs. The site also provides a return-on-investment (ROI) calculator to demonstrate how quickly the press can pay for itself.
At first glance, it may seem as if the garment marketplace is running low on truly new special-effects prints. However, inks, fabrics, and printing processes are changing in response to consumer trends. For example, customer requirements for PVC-free inks and increased use of polyester fabrics are affecting garment screen-printing significantly and will continue to do so for the foreseeable future.
Having almost 60 years of back issues of Screen Printing magazine at my disposal makes it very hard to not thumb through the pages of history every now and then. While taking a look at editions from the 1960s, when the publication was called Screen Process, I found a great article that makes for an interesting comparison to a piece Screen Printing published just a couple of years ago. The subject matter is distortion printing, a process that challenges graphics producers of every era.
Wouldn’t it be wonderful if there were a way to create multiple orders from a single set of separations with only one screen that has to change? Of course this can be done the old-fashioned way, where the client has his name unceremoniously slapped underneath the design as an afterthought. But what about a creative layout wherein the client’s name is the highlight of the design?
The following is an inspirational tale from the vaults. Screen Printing (then called Screen Process) published a case study in its August, 1954 edition about how the city of Tacoma, WA used this venerable approach to graphics production to tackle the "complex problem of identifying and numbering, departmentally and serially, all the motor vehicles and equipment owned by the city of Tacoma." The story unfolds as follows:
Nazdar (www.nazdar.com) announces the availability of Lyson TX650 series, a water-based dye-sublimation ink for transfer applications. It is designed to deliver excellent color vibrancy and unparalleled durability, and Nazdar says the ink is ideal for sportswear garments, soft signage, home textiles, and more. Lyson TX650 series ink is formulated for wide-format digital printers that use Epson DX4 and DX5 printhead technologies, including—but not limited to—systems from Roland, Mimaki, and Mutoh. The ink is available in CMYKLcLm in 1-liter bottles.
The VUTEk GS3250LX from EFI (www.efi.com) is a wide-format UV inkjet printer that incorporates LED technology to reduce energy consumption and extend curing-system life. According to EFI, the VUTEk GS3250lx produced high-definition P-O-P graphics at true 1000-dpi resolution and with three-layer white-ink printing. The system is designed to print up to 55 pieces/hr at a size of 4 x 8 ft (1.2 x 2.4 m).
Océ (www.oceusa.com) recently added Adhesive-backed Bond (ABBND) to its Océ Première Collection of media. It is designed for the use with the Océ ColorWave 600. Th 24-lb, white media includes a repositionable, acrylic-microsphere adhesive and a silicone release liner. Océ says ABBND is ideal for posters, indoor signage, and P-O-P displays. ABBND is available in widths of 24 and 36 in. (610 and 914 mm). Océ also reports that it has qualified several products produced by M-real Corp.
In March, YoungName Engineering appointed ColDesi, Inc. as the exclusive distributor of its product lines, including the CAMS automated rhinestone-setting systems. ColDesi will appoint regional distributors, cover North American support and parts for all existing CAMS machine owners, and honor existing warranties.
This article covers the trends in green wide-format printing, which are largely enabled by UV-curable inkjet printers. While I believe strongly in conservation, it would be a big stretch to call me a tree-hugger or sustainability freak. My take on sustainability is that there are a lot of very practical reasons for companies to undertake sustainability initiatives that are all based on the potential these initiatives have on growing the bottom line.