Laminating

Working with Paper Stocks and Laminations for Digital Inkjet Embellishments

Edited by Erin La Row, editor, PostPress

Digital embellishments can take a project to a new level – enhancing the look and feel of a product and propelling its brand recognition. But even the best-laid plans can experience hiccups along the way. Selecting the correct paper stock and lamination (if applicable) are keys to a successful job when working with digital inkjet spot coatings and/or digital foiling.

Kevin Abergel, president of Taktiful, sat down with two experts on selecting paper stocks and working through lamination challenges with digital embellishment: Ken Huizenga and Matt Redbear.

When it comes to digital embellishment specifically, what kind of limitations are you seeing when it comes to the type of paper stocks you can and can’t use? And which ones do you recommend for the best possible results?

Redbear: I divide it up into three different categories. There are paper stocks that absolutely work, there are stocks that absolutely do not work, and then there are the ones that can be made to work – they have special situations, special production requirements. Obviously, what’s going to work best is a smooth, coated stock. It’s going to give even results if you want a mirror finish. And I want to clarify, too, that what we’re mostly talking about here is polymer varnish overlays. We can move on to talk about other digital development embellishment methods, but when it comes to laying down inkjet varnish, the smoother the stock, the smoother your results.

There are certain types of offset stocks that I have had good success with, including Royal Sundance Felt – which you would think would never work with the polymer overlay. Cougar® Digital will work as well if the operator is applying the varnish in small areas. If the spot varnish image is large, you’re going to run into problems.

I have used an offset parchment and offset laid paper, which aren’t supposed to work and have had success. There are others that simply cannot work – anything that has a heavily embossed or hatched surface will be difficult. They do make a digital linen, but it will pick up the texture if you’re laying foil on top of that. Any super-porous felt-types of paper or a cork surface simply won’t work with digital embellishments.

When working with uncoated stocks, you must create a barrier somehow, whether it’s through laying down a toner first or a lamination on the sheet. You have an advantage when you’re using a Xerox® iGen® because you have the fuser oil, which creates an additional barrier on top of the toner. You can use a clear or white toner as an underlay as well. Any color of toner can be used as a barrier – the darker the toner, the better coverage you will have. You must have some type of barrier with uncoated stocks – a pre-varnish or lamination works as well.

Huizenga: Much like what Matt said, the smoother the surface, the better. If you’re going to have a stock that isn’t the smoothest sheet, then you may not want to have fine details in the design. However, larger areas or more of a full flood coat can be accomplished with your embellishment press. I tend to prefer, and so do many customers, a dull coated sheet to create the contrast from with spot digital inkjet varnish.

The new FSEA Sourcebook cover includes a soft-touch lamination over the print and then a raised digital inkjet varnish with a textured red metallic foil (produced by FSEA member Post Press Specialties, Independence, Missouri).

A critical point when working with paper stocks and digital embellishments is to make sure you keep your substrate as flat as possible. I always found when ordering parent-size sheets and cutting them down, it reintroduced a moisture change. It often can curl a stock, which can create challenges with the sheets going under inkjet heads that clear by half a mil. You want to be sure to keep it as flat as possible. Ordering precut stock that’s already been conditioned and has been sitting on your shelf a while will lend itself to a much better embellished product. A lot of the pearl ices and metallic-look papers do work. You just have to take into account both design elements and what the end use is for the product because there’s a lot of concerns: whether or not it’ll crack, whether or not it can stand up to the bindery concerns; as well as just making sure that it’ll stand up to its environment, depending on where it’s going or where the customer is going to send it.

Your dyne level is very important. You’re putting down a liquid that has to distribute itself just right. There are dyne pens to test substrates so you don’t get yourself into a bind before you start. If a customer were to ask you to use a certain type of stock that you’ve never used before, I strongly recommend having dyne pens available because you want to make sure that it is in the perfect printing range to apply the digital spot coating. The range is between 34 dynes (minimum) to 45 or more dynes.

Testing the dyne level of the sheet is going to help with bite (how much adhesion you’re going to get into the paper), but also wettability (how well does the varnish smooth out to get a nice, glossy look). Those are the two things you really want – you want it to adhere and you want it to flow on that sheet as nicely as possible. I remember running into issues for clients from time to time on certain C2S sheets. So basically, the coatings are on both sides of the sheet and, if you built up a big enough stack, some of that issue is the coating would stick to the varnish if it was too hot in the production environment.

Redbear: If you’re printing on both sides, it’s all stock dependent, but the smoother and glossier your stock, the more of a problem you’re going to have. We have built a rack where we can literally stand the sheets up apart from each other when it comes off the stacker. We stand them up rather than lay them down to get the pressure off them. Then they cure for another 24 to 48 hours and that usually overcomes the problem.

Including a soft-touch or matte lamination before a digital inkjet spot varnish or foil is used creates a nice barrier but also great contrast for the finished piece. What suggestions do you have when it comes to using lamination, and what kind of limitations have you experienced?

Huizenga: Laminating the paper stock is a great addition – soft-touch laminates can look fantastic. That contrast I talked about earlier becomes tremendous with a soft-touch laminate. I think for me, the biggest concern is what kind of laminator is being used. You obviously need to consider heat and curl, because as discussed earlier, you can’t get a curly sheet under inkjet heads. Making sure that you get the temperature just right, that your finished product lays flat and that it can go into the machine comfortably are very big concerns.

Redbear: Lamination issues are widespread and either it’s just not a full lamination or you get the ragged edges because the blade didn’t cut it clean – either can create issues with sheets being sensed as a double-fed. As far as appeal and use, people seem to gravitate toward the soft-touch laminates more. You’re adding the reverse tactile effects to the other tactile effect. You’ve got the complete 180 degrees going on. This can create really sexy pieces, particularly with a lot of contrast or very dark colors or just black.

Another concern is it can be too thick for some digital embellishment machines. If laminating an already thick stock, you accidentally may find yourself beyond the machine specs. Another thing is to be mindful of your registration marks. Make sure the glossiness of the laminate doesn’t throw off any registration system you may have on your press, and make sure that if you do laminate, the entire width of the sheet gets laminated. If not, those registration marks can remelt in the laminator, and then ghost across the sheet via the hot laminator rollers, and subsequently throw off your registration system when it comes time to embellish.

The dyne level also is important when it comes to laminate rolls and unfortunately, laminates have a shelf life just like foil has a shelf life. The dyne levels will start dipping after the laminate roll has gone past its prime. Also, when you’re buying your laminate, number one, make sure that you’re getting that sell-by date. And number two, if you’re using something you have in stock, track how long it’s been on the shelf. If it’s been on the shelf for two to three years, you might have flow issues and adhesion issues that are linked to the dyne levels. And, of course, as you mentioned, getting the right laminate to stick to the right ink – some laminates stick better with specific inkjet inks or toners.

Huizenga: I also would like to add one quick thing to consider when you’re using laminate – a lot of people are using single-sheet cutters

for their cutting of the dimensional products. Laminate is pretty much a no-go on most of those machines, so you need to be thinking about diecutting or very carefully guillotine cutting these sheets. It’s an important thing to keep in mind when you’re designing.

This article was derived from a recent video interview with Ken Huizenga and Matt Redbear in a four-part series. Members of the Foil & Specialty Effects Association and the Digital Embellishment Alliance have access to this video series and others. To learn more, visit www.embellishdigital.com.

Laminate, Coating or Cast and Cure™: Which Type of Soft-Touch Application to Use … and When

By Kim Guarnaccia, Huzzah Marketing

soft-touch, laminate — Nobelus®’ Karess® soft-touch laminate provides a luxurious tactile feel while also protecting the contents and package from damage during transit or on the store shelf. Photo provided by Huzzah Marketing.

An elegant matte appearance with a rich, suede-like feel, soft-touch finishes have become popular over the last decade with print and packaging designers and are now applied to a wide range of substrates, from paperboard and plastics to even aluminum.

For luxury, high-end brands, a soft-touch finish serves to emphasize their premium appeal. For other companies, soft touch makes the unboxing experience memorable, protects packaging against damage in high-traffic environments, and even helps increase sales.

But to complicate things, there are numerous ways to achieve a soft-touch effect, from lamination to coatings and even Cast and Cure™. Below is a summary of each of these processes.

Laminates

One of the most durable ways to achieve a soft-touch feel on a printed piece or packaging is to laminate board with a matte, biaxially oriented polypropylene (BoPP) film that offers a soft-touch surface during the finishing process.

Soft-touch laminates are commonly applied just after printing offset or digitally to add haptic (tactile) value. They also are compatible with other embellishment technologies, add scuff resistance and rigidity to a package’s structure, and will not impede a package from being diecut, stamped, spot-varnished or overprinted.

However, there are a few challenges to consider. Since soft-touch laminates will cause a slight shift in color, they tend to make printed inks appear more muted. Moreover, the plasticized film can make packaging more difficult to recycle, albeit modern recycling facilities, especially those in metropolitan areas, can accept laminated paper and board into their processing streams.

In terms of cost, soft-touch laminates tend to be a bit pricy. This is sometimes offset, however, by less expensive operational costs.

Coatings

Set off a circular pattern in by a high-gloss UV varnish, the soft-touch Cast-and-Cure application on this promotional shampoo bottle is elegant yet masculine. The coating’s tactile nature also makes the surface easier to handle in a bath’s wet, soapy environment. Photo provided by Huzzah Marketing.

The most common way to apply soft touch is via a specialty coating. Since soft-touch coatings do not require an extra press pass and often can be applied inline on press, it’s usually more cost-effective than a laminate. And provided that the coating is water-based or UV-cured, it will not affect the recyclability of the underlying substrate. Nor will it mute the color of any printed inks.

Moreover, since soft-touch coatings do not appreciably add to the overall structure thickness, it can accept folding, scoring, diecutting, embossing, overprinting and stamping. And by using different anilox rollers or a screen mesh, coatings can be applied heavily or lightly, depending on the amount of soft touch desired.

However, since coatings are difficult to deliver via inkjet, they are best applied via screen printing or flexography.

Cast and Cure

Unlike most soft-touch coatings, Cast and Cure™ (Breit-Tech.com) can be applied inline and is a standard feature on many digital, flexo and offset presses. This, combined with the fact that the Cast-and-Cure film can be reused up to a dozen times, makes this application one of the least expensive and most sustainable soft-touch options in the marketplace.

With the Cast-and-Cure process, a UV varnish is applied, after which a special film is “cast,” or overlaid, embedding a special matte effect into the varnish. The varnish is then UV-cured and the used film rolled onto a new core, so it can be reused. Finally, a specially formulated soft-touch ink is applied to the UV-cured varnish.

Since the process is essentially a simple application of a UV varnish and overprinted ink, this finish can be applied to just about any substrate, from paperboard, flexible cartons, plastics, labels and aluminum. And like coatings, Cast-and-Cure soft touch can be applied heavily or lightly, depending on how much of a soft-touch feel is desired.

Since varnish and ink is recyclable, the Cast-and-Cure soft touch application will not affect the recyclability or compostability of a substrate. Nor will it impede any specialty effects, such as embossing/debossing, folding/creasing or spot varnishing.

Author’s note: My grateful appreciation to Kevin Camblin of UV Specialties (uvspecialties.com); Laura Blake of Nobelus (nobelus.com); and Dan Plash of Breit Technologies (breit-tech.com) for generously providing input in their areas of expertise.

An appreciator of packaging that utilizes colorful special effects, Kim Guarnaccia provides copywriting, design and marketing to the print, packaging and paper multiverse. For more info, visit www.HuzzahLLC.com or email [email protected].

Trends and Troubleshooting with Laminated Film Equipment

By Liz Stevens, writer, PostPress

Film laminating is an option that can offer both practical, functional as well as embellishment solutions for printers and finishers. In the past, laminating has posed several challenges for a variety of reasons, but today’s equipment makers have largely tackled and overcome these challenges and have engineered advanced film laminating systems featuring the latest in automation, which makes the addition of the newest laminating equipment an attractive consideration.

PostPress talked with representatives from three leading equipment manufacturers and distributors – Best Graphics Group, Nobelus and Skandacor – to learn about emerging trends in film laminating, how new technologies can solve common laminating problems and the value-add that film laminating can provide for printers and finishers. Best Graphics Group, Waukesha, Wisconsin, offers a full line of graphic arts, bindery, finishing and packaging equipment from 20 global manufacturers. Nobelus, Knoxville, Tennessee, is a lamination system integrator and specialty films innovator. Skandacor, Webster, New York, offers laminating, binding, folding and cutting equipment and supplies.

A popular feature of Skandacor’s commercial lineup of laminators is its automation, allowing the machine to be started with just one button and graphical icon-based user interfaces.

What are some of the hot markets right now for film laminating? Why has there been growth in these areas?
John Hower, marketing & business development at Best Graphics Group, identified several areas where film laminating is in demand. “One area,” said Hower, “is book publications. Book readership is at the highest it has been since 2008 and, therefore, so is book manufacturing.” Another hot market is in folding cartons and packaging. “In this sector,” Hower said, “laminating adds higher structural integrity to cartons and packaging, and this typically requires unique films. We also are seeing a lot of interest from the marijuana/CBD industry; this market is in its infancy stage. There is a high growth rate of demand from the vast number of companies vying for market control that are looking for unique packaging options.” Hower also noted increased use in the commercial sector. “Differentiation is key, right? Utilizing textured films to create a sensory experience for the end user helps companies stand out.”

Dragan Nikolic, business development manager at Nobelus, pointed to a trio of hot markets. “Prime labels,” he said, “are increasingly being utilized by major and boutique brands to engage the senses and help consumers form a connection with products. Start-up brands want to stand out and make their packaging experience more memorable. Both profiles have a growing demand for embellishments and tactile finishes on prime labels.” Nikolic highlighted the expanding opportunities in flexible packaging. “Many brands are moving to flexible packaging solutions,” said Nikolic, “to accommodate an expanding line of products and meet new standards for sustainability to leave a smaller footprint. With products like Nobelus’ line of unsupported films, flex pack manufacturers can also offer more finishes and effects than ever before.” And Nikolic noted that lamination can provide the luster formerly found in silver halide. “Because silver halide has fallen out of favor with many digital photo producers due to supply issues and price increases, a digital solution that doesn’t use traditional silver halide is of great interest,” he said. “Nobelus integrates sheet-fed and roll-to-roll lamination to replicate a silver halide luster on digital print, preserving the look and feel of a traditionally produced photo almost perfectly.”

Nobelus’ extensive catalog of automated systems ensures PSPs get products to market on time while still adding value to finished print.

Bob Rowden, product development at Skandacor, also sees the tactile quality of film laminating creating market opportunities. “Tactile films continue to be the hottest market right now for film laminating,” he said. “Growth in this area is due to consumer demand and the realization amongst designers that film lamination is no longer just for print protection and durability, but a key component of the graphic design that can make or break the impact of the finished piece.” Rowden commented that Skandacor provides soft touch films that are very popular for their tactile feels but even more so for the special formulation that make them work as an excellent base layer for further embellishments like spot UV coatings and/or digital foils. Rowden also noted that the embossed features of one of Skandacor’s lines of films provides dimension to otherwise flat printing and can link well with the intended impact of the printed piece. “For example,” said Rowden, “Skandacor offers an authentic woodgrain pattern that totally transforms a hardwood furniture marketing piece, giving the visual impact of real wood.”

What challenges are there currently with film laminating applications? What technology does your equipment have to overcome these challenges?
“Digital print,” said Rowden, “has always been a challenging application for film lamination, however progress in film and equipment technology have overcome this, with our UltraGrip adhesives for the films and improved heat and pressure systems on the equipment. It is common to see infrared heaters in the industry, but the issue surrounding infrared heat with air is that the hot air quickly dissipates. Our technology utilizes sealed system liquid heaters which maintain the heat much more effectively, eliminating cold cycles and reducing energy consumption.”

“Another common challenge,” Rowden said, “is producing sheets that are suitable for downstream processing through finishing equipment, with curl and lamination flagging being the most common culprits when issues arise. Design improvements to decurling, cooling the sheet under tension and sheet separation all play key roles in getting
effective output.”

Nikolic brought up rising costs and supply chain issues. “It can be hard for PSPs to keep up with increasing supply chain and cost pressures in lamination,” he said. “In a time when raw material and freight costs are constantly rising, we’ve found some ways to help our customers employ more creative solutions. For instance, we’ve discovered that we can help converters create foil board on-demand with our metalized silver, gold and holographic laminates. This can save money on several fronts: cost of finished material, scaling down paper weight and carrying zero inventory.”

“Another challenge for PSPs,” said Nikolic, “is knowing which adhesives and laminates are compatible with emerging printing technologies and the various inks they use. Nobelus is currently addressing this issue by offering adhesives designed specifically for digital inks – in addition to our traditional adhesives – but we also fund research and development to discover more comprehensive solutions, such as equipment features that can increase bond strength and adhesives that work with any type of ink.”

In Hower’s experience, the primary challenge is that finishers and printers want to offer a wider range of solutions or applications to end users. “Printers can overcome this challenge by using technology that allows them to choose from multiple film materials,” he said. “The hot-knife capability that our equipment offers allows printers to utilize a wider variety of films, such as polypropylene, nylon, polyester and metalized films.”

What advantages does your film laminating equipment offer to the companies looking to add film laminating to their services offering?
“At Best Graphics Group,” said Hower, “our Ecosystem Film Laminators have a wide breadth of offerings, from short run, small format digital offerings to high volume, long run work, to roll-to-roll water-based solutions. Simply put, there is no single-sided application or price point that we cannot fulfill.”

Nikolic said that automation, a range of production capacity and options make Nobelus equipment attractive. “Labor shortages are making automation more vital than ever,” said Nikolic, “and Nobelus’ extensive catalog of automated systems ensures PSPs get products to market on time while still adding value to finished print. We offer units that can support production volumes ranging from medium to extremely high and have single-sided and dual-sided options.”

Rowden also cited automation. “With an aging workforce being replaced by younger digital-first workers, as well as skilled labor shortages,” he said, “we strive to make our equipment easy to use. A popular feature of Skandacor’s commercial lineup is its automation, allowing the machines to be started with just one button and graphical icon-based user interfaces with touch screens that make job setup intuitive. Time is money, so quick set-up and effective operation have become the most important aspects.”

Equipment design and durability, said Rowden, are also prime features for Skandacor. “Shorter runs and higher customer expectations regarding fast turn times have brought the cost of downtime into sharp focus,” he said. “We’ve analyzed build quality component-by-component to address any weak links in the systems and to eliminate unnecessary design features, while keeping overall machine performance front and center. By stepping back from the competing options and taking a systematic, user-first approach to the machine design, our equipment far surpasses any others in the market, making Skandacor the machines of choice for progressive printers looking for well-built, versatile and compact machines.”

Many of our readers are involved with trade/print finishing services. Do you have any comments on why you believe a finishing operation should consider adding or upgrading their film laminating capabilities?
Nikolic said that finishers can benefit by adding laminating for a choice of finish/embellishment and speedy production. “Getting prints to market quickly is pivotal in giving trade finishers an advantage over the competition,” said Nikolic, “and this requires updated equipment that can optimize the lamination process for improved productivity. Having modern sheet-fed and roll-to-roll lamination equipment in-house also enables trade finishers to offer a broader variety of finishing services and to supply their customers with more options for finishes and embellishments, resulting in higher profit margins.”

Best Graphics Group’s Ecosystem Film Laminators have a wide breadth of offerings, from short run, small format digital offering to high volume long run work.

Rowden stressed that lamination and specialty finishes are becoming increasingly popular and that with the Great Retirement, shops may want to replace older equipment with new, automated machinery. “Since lamination complements and often is required as part of overall print embellishment, shops without film lamination capability will find it hard to compete as print consumer demands change,” said Rowden. “The growth of the packaging segment also is driving demand for film lamination. For those looking to upgrade, we often find that automation and ease of use are primary drivers as skilled labor retires. Older mechanical equipment is difficult to find operators for and harder to maintain. Also, increased versatility and the ability to apply specialty finishes like digital foils and coatings have driven adoption of
newer technology.”

Hower asserted that for finishers, “film lamination is a further embellishment or offering for users. The ability to offer film lamination is proven to engage the customer and increase margins. Being able to provide film lamination in-house makes for decreased lead times for finishers and gives them increased quality control on the products they produce.”

All three of these equipment providers will be exhibiting live at Amplify, the print finishing & embellishment event taking place June 14 – 16, 2022, in Minneapolis, Minnesota. For more information on Amplify, visit www.amplifyprint.org.

Embellishing with EB

By Sage M. Schissel, Ph.D., PCT Ebeam and Integration, LLC

From glitz and glam to texture and realism, embellishment can provide an added layer of pizzaz to any package. When competition for the consumer’s attention has never been so fierce, embellishment can be the differentiator that makes a package fly off the shelf – figuratively speaking, that is. Embellishment has not quite yet risen to the level of magic, though what some producers have created is nothing short of remarkable!¹ Whether it be Cast and Cure™, cold foil transfer or spot embellishments, often these techniques are achieved with UV, but did you know that they also can be accomplished with electron beam (EB)?

A popular embellishment, Cast and Cure™, uses a specialty film to emboss a pattern into an overprint varnish (OPV).² The film is temporarily laminated to the OPV while still wet, allowing the surface of the OPV to conform to the features of the film. Then, the OPV is polymerized with EB, freezing the pattern into the coating. Finally, the film is removed and rewound separately for future use. Using Cast and Cure™ in combination with EB brings a holographic ‘wow’ to photoinitiator-free, indirect-food-contact-safe, EB-curable OPVs. According to Tim Cain, president of Breit Technologies LLC, “We think there are significant opportunities to expand Cast and Cure™ within the EB market. We have had success with the food markets, and this is an area that could see a great deal of expansion.”

Need a metallic finish? Cold foil transfer is the process of transferring a metallic foil from a carrier web to the packaging substrate.³ A laminating adhesive is applied to the substrate and the foil nipped to the adhesive. The system is exposed to the beam, polymerizing the adhesive and adhering the foil, and finally, the carrier web (with any remaining foil) is removed and rewound separately. Since EB has no trouble penetrating through the opaque foil, the adhesive does not need to be activated prior to being nipped to the foil. The location of both Cast and Cure™ and cold foil transfer embellishments can be controlled by selective placement of the OPV or laminating adhesive, respectively.

The equipment requirements for both types of embellishment are identical. Both require a secondary unwind and rewind for the addition and removal of the embossing film or foil carrier web. Moreover, a laminating nip is required before the beam entrance, and another adjustable web-guiding roll is needed after exiting the beam to ensure the proper release angle of the secondary web. Any ebeam line with these capabilities is, by default, also capable of laminating and curing coatings (or inks), and thus considered a 4-in-1 line. To accommodate the thickness of the secondary web, the maximum accelerating voltage of the EB is generally 150 kV.⁴ Since nitrogen inerting is only required for coatings, the beam also can be set up for both inerting and ozone exhaust.⁵

Want an embellishment that can be both visual and tactile? Spot embellishment might be the solution. This broad term encompasses multiple methods to achieve the selective placement of coating or ink. The embellishment can be applied with a patterned flexo plate, or digital inkjet heads can be used so that the embellishment can be changed frame by frame to match a digital print. Figure 1 shows an example of the latter method; indirect gravure was used to flood coat the HP Indigo-printed substrate with a matte OPV, then clear gloss inkjet ink was patterned over top in a wet-on-wet process.

Figure 1. (A) Web path for wet-on-wet spot embellishment using an indirect gravure coater and digital inkjet. (B) Examples of EB-cured spot embellishment on HP Indigo-printed substrate (left/middle, natural light and right, blacklight). Samples were flood coated with Ashland matte and embellished with Kao Collins clear gloss inkjet ink.

The contrast of the gloss between the embellishment and the flood coat is visually appealing, but also it resulted in a tactile effect from the contrasting coefficients of friction and the additional coat weight of the embellishment. Furthermore, the ink used in this example naturally fluoresces under blacklight, providing more creative opportunities. Voltage requirements vary depending on the thickness of the embellishment but most often fall between 100 and 125 kV for packaging applications.

When considering whether to use UV or EB for an embellishment application, it is helpful to review a few key aspects of the two technologies. Both UV and EB can be used to apply embellishments on a variety of substrates for a variety of different applications; however, the fact that EB doesn’t need an initiator gives the technology an advantage when used in sensitive applications, such as pharmaceutical or food packaging. No photoinitiator in the formulation eliminates any worry of photoinitiator-fragment migration.

Elizabeth Leeper, technical developer at Daybreak Technologies, said, “The photoinitiator (PI) package has to be carefully curated around the application. Different PIs absorb light at different wavelengths, and certain films, like those used for cold foil, can block portions of the UV spectrum. Also, by weight, PIs typically are the costliest component of any UV or UV-LED formulation.”

Another difference between EB and UV is the mechanism that governs depth of cure.⁴“In UV, the bulb’s spectral output coupled with the PI’s screening of the light makes for cure gradients. This can result in poor adhesion properties,” according to Leeper. Attention must be given to UV lamps as the bulbs decay over time and reflectors become dirty, since these factors influence the spectral output.

In contrast, the filaments that produce the electrons for EB equipment either function or don’t; there is no degradation in the interim. Electrons also are not influenced by optical clarity; rather, the depth of cure is determined by material density of the coating/film and the accelerating voltage (kV) of the machine. Monte Carlo simulations can be used to determine a voltage that avoids cure gradients. Additionally, working with color-blind electrons means more flexibility when it comes to embellishing with richly pigmented and/or metallic inks and coatings.

An area where UV technology excels in comparison to EB is cost. Historically, UV has been much less expensive than EB, providing new adopters a low barrier into the market, and, over time, establishing a broader base of users. Today, EB only makes up a small fraction of the radiation curing market. However, progress has been made in the last 15 years by efficiently scaling EB to the application. With the availability of units specifically designed with maximum voltages of 100 to 150 kV, there’s significant cost savings (and reduction in footprint) in comparison to the original low-energy electron beams, which can handle accelerating voltages up to 300 kV. Furthermore, as demand increases for faster line speeds and wider webs, the cost differences between UV and EB diminish. Where UV generally requires additional lamps as line speed increases, a single EB can accommodate line speeds up to 1,300 ft/min (400 m/min).

In summary, consider the advantages of EB the next time a package calls for embellishment! Whether it’s Cast and Cure™, cold foil transfer, spot embellishment or maybe even a new embellishment technique, EB can help push the bounds of possibility.

References:

2021. FSEA Gold Leaf Awards Celebrate UV Curing. UV+EB Tech. (3).
DeDonder, M., 2015. Cast and Cure: A Game-Changing Decorative Application Process. UV+EB Tech. (3).
Embellishments: foil stamping process. https://www.labelsandlabeling.com/label-academy/article/embellishments-foil-stamping-processes
Schissel, S., 2021. EB Operation 101. UV+EB Tech. (1).
Schissel, S., 2021. Comparing EB and UV: Common Questions. UV+EB Tech. (2).

Capturing Creativity with Konica Minolta’s Extreme Digital Guide

By Jewlissa Frickey, writer, PostPress

“The ongoing renaissance of print is driven by the desire to create a touchpoint in an increasingly touchless world,” said Print Panther in the Konica Minolta Extreme Digital Guide. “Power in print is evolving, materializing into an all-encompassing medium that is able to captivate and inspire. Print, as it is today, is rekindling the connection between art and exhibition, providing the wanted corporeal element to brand, product and experience.”

The FSEA Gold Leaf Awards program assessed entries submitted from around the world by finishers and binders that want to compete against the best in the industry. New technologies have fueled growth with expanded award categories in areas such as digital foil and other specialty UV coatings. Entries are judged on design, execution and level of difficulty in more than 35 categories, with a gold, silver and bronze award presented in each category.

Best of Show Honorable Mention at the 28^th Annual Gold Leaf Awards went to Print Panther for its Konica Minolta Extreme Digital Guide for showcasing the inspiring, tactile coatings and foils that now can be achieved digitally with Konica Minolta’s MGI JETVarnish 3DS with iFoil-S. “We wanted to make print an experience,” said Christine Yardley, president of Print Panther, “and I think we accomplished that with this piece.”

Every feature was deliberate, conveying a message with each design and copy. “The lead page says Extreme – and we wanted to say that first because print is becoming extreme,” said Yardley. “Having something with a touchpoint gives it that extreme edge.”

Each page features a unique image and technique. Print brings bears to life with the use of Invercote 11.4pt paper combined with a matte lamination, spot varnish, copper foil and matte gold foil. Imagery expands on another page as viewers sense the crisp coolness of a soda can where condensation leaves a vivid mark on Supreme Matte Cover 110lb paper with soft-touch lamination and spot varnish.

The guide used a cross section of papers and laminates and included foils, spot varnishes, flood varnishes, foil on foil, varnish on foil, and multiple foils. Each page utilizes a different effect, highlighting topography and the design elements. “We worked with amazing typography, photography and illustration – each page had a purpose,” Yardley said.

Each page was meant to exhibit a different embellishment with the print quality of the AccurioJet KM-1e LED UV inkjet press and the AccurioPress as the colorful backdrop. However, the guide required the use of various machinery, including the AccurioJet KM-1, AccurioPress, AccurioWide 160 and MGI JETVarnish 3DS with iFoil-S.

Within the guide is a detailed production note page. It outlines the types of paper, lamination, varnish, foil and any other specifications used for each page. “Papers such as the Neenah Starwhite Astrosilver Cover were the perfect papers for the Accurio KM-1 LED UV inkjet press, really illustrating the amazing print quality on a textured stock” Yardley said.

Other papers featured throughout the guide include a Supreme Gloss Cover, Pacesetter Semi Gloss Label Stock, Tango C2S, Cougar Cover and more.

The paper stocks were accented with gold foil, silver foil, diecuts, soft-touch and matte laminations and raised spot vanishes – all bringing to life toucans, zebras and bears … oh my!

With so many moving parts, so comes its challenges. “We had to tweak a few of the diecut pages, but overall once we had the plan in motion it ran wonderfully,” noted Yardley. The decision on using a split bindery method with wire-o was no exception to the challenges. “It made the process more time consuming, but overall, it was worth it in the end,” Yardley said.

Despite the global pandemic, Print Panther saw an opportunity to reach people with its digital guide. “The world is going to be looking for new ideas when we emerge from this, and print can tell a story like nothing else can,” Yardley said.

Print Panther’s objective was to make print an experience. Completing the project left only one question: Inspired? On the last page of the digital guide, viewers were left to contemplate the imagery they had seen, the last attempt to rekindle the connection between consumers and print. From design to copy, every part conveyed a message. The lead-in page delves into the renaissance of print and the desire for touch.

The overwhelming response to Print Panther’s Konica Minolta Extreme Digital Guide solidified its placement at the FSEA Gold Leaf Awards. “It was a labor of love that did us proud,” said Yardley. “I still smile when I look at the Inspired? page. It’s just a wonderful marriage of foil, typography and message.”

Working Through Challenges with Today’s Paper Stocks and Coatings

Compiled by PostPress Staff

Paper stocks and coatings usually are the culprits of potential challenges with foil stamping and embossing. Foil and/or embossing can be a smooth process when the proper stocks and coatings are used, but when there is not communication about the selection of stocks and coatings to match the foiling and/or embossing, roadblocks can occur.

Communication is the key to matching foils to the right coatings or paper stock. Greg Faddis, direct sales professional with UEI Group, which supplies dies and foils through Universal Engraving, Inc. and Infinity Foils, Inc., shared that the substrates chosen and the coatings used can pose problems. These problems especially occur when the print finisher plans a job with the expectation that the finishing will be applied to virgin or uncoated stock, but learns only when the job arrives for processing that a coated stock has been used. In addition, Faddis noted that pairing the stock with the correct foil is essential, especially when wide coverage is involved. “Fineline detail type is great, but when you get into the large panels and it’s on a coated sheet, air entrapment becomes an issue,” he said. To avoid these kinds of surprises and problems, “We encourage our customers to send us a sample of their sheet, or we can supply samples of our foils for the customers’ own testing. We also have worked with paper suppliers, arranging for them to send us developmental products to test before they hit the market.”

Sean Hurley, vice president of sales for MCD, Inc., a Madison, Wisconsin-based print finisher, added his own take on problematic coatings. “We definitely have seen challenges,” he said. “A lot of soft touch is being used inline, and it seems to never be the same. You would like to say that soft touch is soft touch, but that is not necessarily the case because different printers have different chemistries.” Hurley also has seen challenges posed by inline specialty coatings. “We benefit from doing offline UV coating because we understand the coating side, which then helps us deal with challenging coating-related issues,” he explained.

Dave Leyrer, finishing department manager with Orlando, Florida-based SunDance, echoed that soft-touch coating and laminates can be problematic. “Everybody seems to just love the soft touch, which is great,” Leyrer said, “but it can be pretty challenging to foil stamp on, whether it is a laminate or coating. It seems like we will use a coating on one job and it works beautifully, and three days later we will coat another job with the same coating and we have issues. It’s daunting to try to figure out what exactly the right combinations are.” Suppliers, however, are introducing coatings and laminates that work better with foil stamping. “The soft touch in particular has become much, much better,” he said. “One vendor has come out with a soft touch plus, and it is wonderful for applying coatings and also for foil.”

Derrick Unger, field service manager for BOBST North America, was asked if he has seen soft-touch coatings create challenges on larger platen presses. “The first time I ever ran into soft touch, it was a coating and not a laminate,” said Under, “it blew my mind because it felt exactly the same as the lamination.” While he hasn’t seen specific problems with soft touch, he pointed out that coating, in general, is an element that requires thorough understanding and close attention. “As far as the coating aspect goes, along with UV coating and over-stampable UV coating, what I see most is cross-contamination.” This occurs, he said, when proper cleaning has not been done between jobs or during coating changes. Unger would like to see coating companies and print press manufacturers collaborate to provide training on crossover and change-out of coatings so that cross-contamination is avoided.

Faddis noted that his team always uses a dyne pen to test whether a substrate will accept foil stamping. This device can be sourced online by searching for a dyne surface energy testing pen. “The minimum dyne pen level that we have found to accept foil is a level 38,” said Faddis. “It is important to do a dyne test because then you know what coatings will accept foil or won’t accept foil.” This is a great insurance policy to check that a coating is foil stampable.

Saving a Job

There are many times that a UV-coated foil stamping job comes to the print finisher and there was no communication between the printer and finisher in using the correct coating. Leyrer recommended that print finishers carefully pair coatings with compatible paper stocks. “In careful selection of the coating,” Leyrer said, “you want to work closely with your coating manufacturers and your paper manufacturers to make sure you are using products that are compatible with each other.” That, however, isn’t the end of it. “There always is a lot of testing involved at the final stage in production,” he said. “And keep really good notes on your testing; it is very useful for future jobs.”

Unger offered a method for saving a hot foiling job when the substrate unexpectedly is difficult to stamp with a coating on it. “For some coatings and surfaces, a way to break the surface tension is to use good old 400-grit sandpaper,” said Unger. This method involves putting a piece of sandpaper over the die area, running the sheets through with the sandpaper in place, then removing the sandpaper and running the sheets through again to add foil. “In order to save the job,” said Under, “you have to run it twice but many, many times that does work.”

“Another option to break up the surface tension of the sheet is by using a corona treater, although that’s more common in the label industry than it is in sheet-fed,” stated Faddis. Some finishers have a corona treatment tower on their press, and this allows them to fracture the coating to create pores, which will allow the foil to stick.”

MCD’s Sean Hurley weighed in on the issue: “We foil stamp over the top of UV coatings on a regular basis. We work closely with printers to make sure they are using coatings that are considered glueable and stampable, and they understand the importance of handling the coatings properly. A good press cleaning is critical in preventing contamination.” Hurley described how his team proceeds with problem coatings. “When we see a job where the dyne level is low, say a level of 32, we try to bring the dyne level up so we can get the foil to stick,” he said. “One way to do that is to try corona treating the sheets. We also might try to flash sheets to get the surface energy to change. If we find that the dyne level is very low to start, we know that the wrong UV was used or somehow contaminated. At that point, we will definitely look for a foil that is manufactured for UV coatings, apply corona treatment, or do something with a sandpaper pass.”

Substrate Tips

Today, there are a large variety of substrates on the market, including coated, uncoated and synthetic papers, as well as plastics sheets and film.

Faddis shared a simple tip when testing a stock for embossing. “Take the corner of the substrate, fold it against itself and let it fall back,” he said. “If it falls back past a 90-degree angle while trying to return to its original state, the stock’s ‘memory’ is weak and it is something that will not hold the embossing well.” He explained that any stock that stays closer to where it was folded to – less than a 90-degree angle – is a substrate that will accept embossing very well.

“As for foil stamping,” Faddis continued, “it is one of those things where it has to be tested.” Faddis noted that stocks with a high cotton content are difficult to successfully foil stamp. “It’s very soft, it’s very airy,” he said, “and so when you stamp it – or any textured substrate – you are trying to get a level foil stamp. With any substrate that has a lot of hills and valleys, I would try and stay away from it, only because you are not going to get a consistent look. The higher portions are going to look great, but on the lower portions the foil is going to easily come off because it is not completely foil stamped in the valley area of the substrate.”

“In reference to those valleys,” said Unger, “with certain linen stocks, I’ve seen them be inconsistent. You really have to smash them pretty hard to bring the top layer to a flat level when flat stamping. You still get to see that texture in the sheet.” Unger also noted that paper stock is dramatically affected by the environment. The relative humidity of a paper stock, for example, starts at a certain level in the pulp factory, but depending on its transport, where the rolls of paper are stored and sheeted, and the finisher’s in-house climate control, the humidity level might change radically and repeatedly. Maintaining a consistent environment for paper stock leads to a better result.

In Leyrer’s experience, “Every time somebody hands me a stock that feels velvety, like soft touch, I kind of shiver a little bit.” His company has had bad experiences with some stocks that were just not right for the job. “With a stock like Neenah’s Touche®, you can’t really foil stamp with a combo die or do a foil emboss on it; it doesn’t work very well,” stated Leyrer. “But you can flat stamp it and then emboss it and it works beautifully.”

There are certain cover stocks, especially those that have a leather-type look, that may obtain plasticizers that can cause problems with the foil a few months after the foil stamping. “We had real challenges getting foil to lay down on a cover stock, and we thought we finally got it working,” explained Leyrer. “But three months later, when we looked back at the product, the foil had bled out – the pigment had bled out into the materials.”

Neenah’s Touche® paper stock is easily foil stampable if the correct foil and makeready are used. Testing always is recommended before beginning the job.

Hurley agreed that Touche® can be a tough substrate to work with, but it is foil stampable with the right foil and makeready. “Another stock like Touche® is Plike®, which has a plastic-like surface and can create challenges with foil,” stated Hurley. “We also have seen some of the translucent stocks be problematic with embossing and foil stamping.”

It is important for foil stampers to stay abreast of new stock offerings and novel ways to use traditional stocks. Communicate with vendors and suppliers to learn about their products’ strengths and weaknesses. Then communicate with printers so that they understand the possibilities and limitations of the stocks so they provide complete descriptions of materials they are supplying for finishing. In addition, avoiding difficult stocks when possible also can help a foil stamping job go smoothly.

Lastly, the best advice for both paper stocks and coatings is to test all processes before the final production run. Of course, this is not always possible, but when time allows, testing first can save an enormous number of headaches down the road.

This article was based on a panel presentation – “Working Through Challenges with Today’s Paper Stocks and Coatings,” – which was part of FSEA’s Online Spring Summit in the summer of 2021. Thank you to panel members Greg Faddis, Universal Engraving, Inc.; Sean Hurley, MCD, Incorporated; Dave Leyrer, SunDance and Derrick Unger, BOBST.

Q&A: Laminating Films

by Jeff Truan, strategic account manager
Nobelus

The decision to add a laminating film to a printed product has become much more than just protecting the piece from moisture or other outside elements.

Today, there are a variety of choices to add specialty effects or special tactile surfaces with film lamination. PostPress sat down with Jeff Truan of Nobelus to ask a few questions on the current landscape for film laminations.

Q: In the past, film laminating was used mostly for protection of a printed piece, but today, there are a lot of different types of laminates for decorative and “touch and feel” applications. What type of laminating films are really popular right now for both decorative and functional applications?

Anything with a “tactile” surface is really getting noticed and requested.

For many years, the lone tactile product has been a smooth, soft-touch feel, but lately – with the linen, leather and even gritty laminates now making their way to the market – it is obvious that the consumer wants more than just something soft. The key of differentiation is what we hear from almost everyone. No one wants to be a “me, too” when it comes to their product or finished goods. The entire point is to make the person touching the product stop and think about why it felt different and notice that it is unique. At that point, the brand or marketer has disrupted the standard thought process and instantly stands out from its competitors. In addition, we continuously receive requests for matte finishes, and standard matte isn’t good enough anymore. Customers are asking for an ultra-matte film. Part of the reason for this is to help highlight further surface embellishments, such as specialty raised coatings or foils that will stand out even more visually when the consumer looks at the product/logo/brand on the finished piece.

It may seem odd in this e-commerce world that there still is a focus on touch, feel and visual impact, but actually it is growing for more than one reason.

First, there is massive competition among brands jostling for space and attention on store shelves to reach the consumer. Second, in
the e-commerce sector, brands find it critical that the first
impression be superb and that, when the product is unboxed and taken out, it meets or exceeds the consumer’s expectations. This dawn of a new day in fickle consumerism is causing every brand to rethink their packaging look and feel due to the growing split between brick and mortar and online shopping. The final – but still critical – piece to the puzzle is how to portray that branding on a computer screen, which is all the more challenging. With excellent photography and design, embellishments can be captured to increase the likelihood of a consumer connection – even through a computer monitor.

Q: What type of products are using these kinds of laminates?

Laminates are going on everything these days – from cosmetics and personal care products to consumer electronics and even now on-demand flexible packaging. It seems that every vertical is pervaded by the need to “be different than the other brand.” Just recently, I ran across a generic brand selling single-use towels spending most likely four or five times the normal cost to have a unique look and feel on the thin BOPP wrap that is on its towel rags. For many years, laminates traditionally have only been in commercial print, which continues to be a more and more demanding market. The first uses of film laminates were more utilitarian, mostly to protect from dirt and grease or to add stiffness. Now, with the cultural shift and more demanding and fickle needs of the everyday person, coupled with a clamoring for uniqueness in retail presence, it almost is more about the finished look and tactile feel rather than the robustness or protection.

Q: Of course, digital printing continues to grow. Are there any special precautions that need to be taken when film laminating digitally printed materials?

This really is answered by splitting digital into three categories – toner, electro-ink and UV inkjet.

Toner still is largely applied with a fuser oil, leaving a silicone residue. This residue typically means additional bonding agents are required on the adhesive of the laminating film so it will adhere over the sheet when using toner-based digital print. In many cases, this type of specialty film carries an upcharge premium due to the additional pass in the extrusion coating process. The additive allows penetration through the fuser oils and lets the glue “lock on” to the toner beneath, creating the bond.

Electro-ink technology, most commonly found on HP Indigo digital presses, is very close to traditional inks, and thus much easier to bond to almost all laminates. Laminating films used over this type of digital print include an adhesive that “crosslinks” with the Indigo technology, therefore creating an instantaneous, permanent “destruct” bond that requires tearing the fibers to pull it away from the ink/paper.

UV inkjet, found on digital units such as the Komori K1 and Fuji J-Press, is yet another hybrid ink technology, and although not as challenging as typical digital toners, it still has a fair amount of additive in the inkset that sometimes creates challenges in bonding. One of the most useful ways to ensure the ability to utilize the lesser expensive laminates on the UV inkjet technology is to consider lamination equipment that has an IR lamp set in the sheet-feeding system, thus reducing the amount of effect the UV ink additives have during lamination and creating a much better instant bond of lamination to the sheet.

Q: In recent years, have there been changes in machinery for applying laminating films that have helped to increase speeds and eliminate waste?

Recently, we have seen several adjustments from equipment manufacturers that include unique options catering to the changing needs of the print industry. Quick reference measurement scales built into the paper load area that coordinate with where the laminate is loaded on the machine make the alignment of paper to the film a far faster process than in yesteryear. Certain newer laminators include a pause/stop feature that allows the operator to stop the machine directly on the overlap of the stock feeding into the nip point, thus decreasing the changes of ruined sheets. This is more important than ever before with variable digital printed sheets – where every sheet can be unique.

Now there are inline sheetfed and roll laminators that can take output from the printing press as the sheets come out and adjust their speed on the fly – depending on the amount of material being pushed to them by the press. Blowers that spew negative ions to reduce the static caused by digital presses, as well as full touchscreen control panels that speed setup, all point to the fact that the lamination equipment of today has to be nimble, simple and carry the ability for a huge range of thicknesses and types of film laminates to be run.

One must go on record to clarify that, in spite of claims that have been put out into the market, there is no one single machine that can effectively run one-sided thin laminates on press sheets and two-sided encapsulation – simply due to the fact that operationally they are in separate worlds.

Q: What are some of the most common problems with printed materials that need to be laminated? What are some key tips for a printer to ensure proper adhesion and to eliminate any challenges during the film laminating process?

Many times, we see sheets that are not properly humidified or printed on too thin of stock, which create downstream problems by wrinkling – typically in the center of the tail of the sheet as it cannot manage the heat application. Additionally, common problems include curling issues due to improper tension settings on the machine; wrinkling due to defective laminate rolls; or the application of coatings to help inks or toners dry, but which effectively act as a barrier to any type of film lamination.

Companies that invest in certain types of toner-based digital presses many times do not realize that there is a significant upcharge for the laminating film. As with any type of finishing, it is very important that printers and the film laminater communicate on the type of press (digital or offset) on which the printed piece will run. Another tip is to let the printed sheets sit as long as possible before lamination (I know – good joke in an industry where yesterday is not fast enough!). Proper training on the film lamination equipment also is very important to ensure that the operators have a complete grasp of the best way to run the machine on various iterations of product. Lastly, try to let the laminated sheets sit for at least several hours after the lamination process to allow the glue to set up and cure as long as possible to maintain the best bond before cutting/folding/finishing/decorating.

Q: Foil “sleeking” continues to be a popular addition to short-run digitally printed materials. Although it is not laminating film, the process is somewhat similar. Explain how sleeking works and where it best fits for foil decorating applications.

Sleeking (digital foil through a toner adhesive) is a very unique opportunity for additional margins for finishers or printers. Sleeking has jumped onto center stage with the advent of personalization and greater decoration as requested by the customer. It is essentially a perfect fit for those wanting to do short- to medium-run metallic foil projects and personalized foil projects as it requires no die and very little setup. It is a “transfer foil” – originally designed around adhesion to the HP Indigo Electro-ink so that wherever there is HP ink on the sheet, the foil will adhere. The beauty of this technology is that it requires no dies, can do any design you wish in foil and makes turnaround times incredibly fast. It gives a high value-add for short-run metallic foil and can be combined with film laminates like “soft touch” to create something that is both pleasant looking and tactile – as well as tailored specifically to the person that receives it. Sleeking also is excellent for creating prototypes to showcase how a carton or label would look with a metallic foil finish for potential larger runs on high-volume equipment.

We see the sleeking technology being used for greeting cards, graduation announcements, book covers and direct mail with personalized foil, driving efficiencies and response rates like never before.

Let’s face it: who would have guessed that three years ago you could order your wedding invitations and announcements in a tactile finish, with gold foil showing the name of each person invited – individual to the card?

Jeff Truan is the strategic account representative for Nobelus^® – a worldwide supplier of thermal laminate films, variable-data foils and film laminating and foil “sleeking” equipment for the print, packaging, publishing and photo markets. Nobelus^® products are utilized by top brands, adding protection and attraction through holographic, tactile, anti-scuff and metallic effects. For more information, visit www.nobelus.com.

Lamination of Digital Output: Art vs. Science

by Scott Diamond, manager of laminating sales & service, Data-Bind

When it comes to testing for bond, the “x” test still is considered the best method.

With the modern trend in digital printing being short-run and quick turn, this can present difficulties in lamination. Too often we are asked the broad question of, “what temperature should I laminate at?” Or worse, the film manufacturer advertises a temperature for its film. The fact is, the manufacture is just telling you what temperature the adhesive will activate at, and this rarely equates to what temperature you will run your laminator. You have to take into account the thickness of film as well as substrate, the speed at which you want to run, the pressure of your roller, and finally, the biggest modern variables: what print engine it came off of and the amount of coverage, as well as colors. This is why I refer to laminating as an art more than a science.

While there are many different digital-grade laminating adhesives on the market, this is not a simple solution. Different manufactures’ adhesives work differently on the various outputs, and you also have to take into account what type of laminator you are using. For instance, heavy dark coverage from an Igen 4 will be very difficult to bond to. In this situation, you would ideally want to have your print sit for up to 72 hours after printing, use a good digital adhesive and also run on a high-quality, commercial-grade laminator. I have seen people try to laminate difficult digital output on a sub-$1,000 laminator designed for the educational market – one with no roller pressure control and minimal heat. This equates to putting racing fuel in a Ford Focus – you just don’t get that much better performance. The opposite also is true: if you have light coverage (mainly text) and a good commercial laminator with good adjustable roll pressure, you may be able to use a standard grade adhesive, even when printed off the toughest print engines to work with.

In the past, printer manufacturers have not been concerned with what happens after the print is printed. This trend is being reversed, and many of the big print engine manufacturers now have print finishing divisions that are working with the lamination companies to provide solutions for their customers. They are a good source for information.

Here are some basic tips:

Use a quality commercial laminator.
Test several digital adhesives to see what works best for your needs.
Wait 72 hours after printing before laminating.
Wait 24 hours after laminating before cutting or folding.
Understand and adhere to the basics of laminating: heat, speed, pressure and tension.

The key is to pre-qualify as often as you can. Most of the film manufacturers are willing to test product for you. It is in your best interest to take advantage of this service, so send in prints – lots of prints!

The basics: heat, pressure, speed, tension

A good bond that has penetrated the stock will pull up paper fibers when peeled away.

The first variable setting we run into will be heat. The typical thermal adhesive will activate and bond to offset print at temperatures of 212 to 230°F (100 to 110°C). Add 10 to 20 degrees to this for digital prints. There are many factors in the laminating machine that have to be considered. Higher laminating speeds call for higher temperatures, as do thicker stocks and film; consider dwell time and the actual temperature to which the adhesive can be brought. We are talking about the temperature necessary in the adhesive layer to adhere to the print and not the temperature of the roll in contact with the base film. At slow speeds, the temperature setting on the laminating roll may be close to the settings noted above, but laminating thicker films at higher speeds will require an increase in temperature settings to obtain these temperatures in the adhesive layer.

Pressure is another variable to consider: the more pressure you can apply, the better the bond. Be careful, though, as pressure also can increase curl in the product. You can correct curl to some extent using roll tension. If a print is curling down, increase top roll tension and/or decrease bottom roll tension. The opposite is true if the print is curling up. Many single-sided laminators have de-curl devices that will correct curl and allow the film to be run at very high pressure.

You also have to consider the type of film you are using. OPP films are more sensitive to heat, and they can shrink and distort at high temperature. PET- and Nylon-based films are more thermally stable and will allow higher temperatures of the laminating nip roll for higher operating speeds. Even the manufacturer of the film is a variable. No two digital adhesives are identical. All have strengths and weaknesses. While D&K was the first to be successful in the digital adhesive game, others have progressed and developed adhesives with a broader range. Nobelus has worked with several adhesive and film manufacturers to develop a broad spectrum digital adhesive in Ultra Grip, and KDX has made progress with a new generation of All-Stick.

The digital variables: print engine, coverage, color, post-laminating finishing (cutting or folding)

Next, we must take into account the digital variables, the first of which is what digital print engine your prints are coming off of. In general, the newer and more modern the print engine, the larger the obstacles. For instance, an IGen 4 of Indigo 10000 may pose more challenges in finishing than a smaller, older model from the same manufacturer. Also, the amount of coverage and bleed will affect bond, as will color. Darker colors tend to pose more problems. Finally, additional steps in finishing, such as folding or cutting, can affect the lamination. Whenever possible, having the laminated prints sit overnight before the final finishing step can help overcome bonding issues.

Testing for bond

The traditional method of the “X” test to check for bond still is good standard, although the results need to be interpreted in a different manner for digital prints. The technique involves slitting an “X” on the print, trying to just penetrate the film layer and not cut into the stock. Next, attempt to peel up the film. In a traditional offset print, a good bond will pull up fibers of the paper as the adhesive has penetrated into the stock. In a digital print, the adhesives may not penetrate the toner or fuser oil so you may not actually pull up fibers of paper; instead, you will actually pull up the ink. In theory, the ink should be well bonded to the paper and your adhesive will be bonded to the ink. Test in several spots, especially dark areas with heavy coverage.

Conclusion

There is no absolute right answer to how you need to laminate your digital prints. It is as much an art as a science, and you need to continually be monitoring what works. Pre-qualify, continually test and keep a log of what worked and what didn’t.

DataBind has been providing punching, binding and laminating systems to the printing industry for more than 50 years. Scott Diamond has over 25 years experience in the laminating and print finishing industry on both the film and equipment sides of the industry. For more information, call 860.265.3222 or visit www.data-bind.com.

Q&A: Common Issues in Laminating

by MACtac global

Static electricity is an issue that may arise and is impossible to prevent. However, it easily can be kept under control by taking a few precautions.

Laminating can be a delicate process with several potential process flaws that can affect the final look of a laminated print. Well versed in pressure-sensitive technologies, MACtac has identified some of the most common issues that can occur during the laminating process.

Question: What causes laminating bubbles?

Answer: Few issues look worse than when bubbles appear under the film. Bubbling can occur for many reasons, the most common of which are listed below.

Tension
Lack of supply roll tension can cause the film to not be taut as it enters the nib. This insufficient tension causes bubbles when air gets trapped between the film and image. Too little supply roll tension will cause bubbles before it will cause wrinkles in the film. Insufficient tension easily is fixed by adjusting the tension of the feed spool to the proper specifications for the type of film being used. For instance, thinner film needs less tension.

Speed
Feeding too quickly causes bubbles if the item is pushed into the nib faster than the speed of the laminator. The solution to this problem is too obvious to mention.

Heat
“Hot spots” are a key problem when laminating inkjet prints. Inkjet printers dump a lot of ink onto the print and a rushed operator may try to laminate the image before the ink is completely dry. The problem can be exacerbated by the fact that, if a laminator is allowed to sit for extended periods of time without the rolls turning, there can be varying degrees of temperature on different parts of the rolls. This creates hot spots. When running a laminator at 85°C, the point where the rolls sit together easily can become a hot spot of +95°C. When a moist inkjet print encounters one of these hot spots, the ink easily can boil, creating bubbles. Among the solutions to heat-related bubbling is not to let the rolls sit idle for extended periods of time, to speed up the laminator so less heat gets into the printer or to work with a temperature about max 40°C. Always use the appropriate pressure.

Silvering
Silvering is caused by the capture of tiny bubbles of air, which look like hazy or reflective areas in the lamination. It may go unseen over light areas of an image, but will be more obvious over dark or black areas. Silvering usually is caused by too low an operating temperature and most often is seen when a machine is not given time to warm up or if the film temperature drops too low. When a large machine is warmed up without the motor on, one side of each laminating roll remains relatively cool. When lamination is begun, a pattern of repeated silvering can be seen each time the cool side of a roller is applied to the lamination. “Cool spots” are areas that aren’t hot enough to melt the adhesive. If bands of silvering alternate with bands of properly adhered areas, it means one part of the roller was too cool.

Be sure to pay attention to any defect which repeats. This is typical of debris, damage or low temperature on a section of the roller. Bubbles also can be caused if the adhesive doesn’t bond properly to the image. It can look like a sheen on the image. Bonding problems also can be caused by inadequate heat, inadequate or uneven pressure or too much speed. Inadequate pressure can cause silvering if the film isn’t pressed onto the image hard enough, preventing the adhesive from properly bonding.

Question: What causes wrinkles during lamination?

The film will wrinkle if there is not enough supply roll tension. Every laminator needs a certain amount of resistance in the unwinding of the supply rolls so that the film lays flat as it goes into the nib of the laminating rollers. Thinner film needs less tension, thicker film needs more. Also, respect the laminating temperature of 40°C to avoid wrinkling due to damp materials during the laminating process. The moisture content of the printed substrates must be the lowest.

Question: What are “orange peel” wrinkles?

Answer: The industry term “orange peel” refers to very fine wrinkles or waves in the laminate. This is a common condition resulting from too much heat. Simply adjust the temperature to a lower setting. NOTE: A quick fix can be to speed up the laminator. As the film runs at greater speeds, the actual film temperature is reduced. Some orange peel may occur when laminating prints with a lot of solvent residues or oil-based prints.

Question: Why does waving/blistering/dimpling occur?

Answer: These occur from the natural moisture in the item making it swell during printing. When too much heat is used, the moisture is dried out, but the areas that swell prevent the item from lying flat. They can also be caused by too little tension and uneven pressure.

Question: How does pressure affect lamination?

Answer: Users should start with as little tension as possible and then add more as needed rather than starting with a lot and loosening up. Some of the most common problems with laminated prints due to the wrong amount of tension or pressure are as follows:

Infeed waves are mars in the finished product that result from the original image being somehow distorted before it went in. For instance, if there is insufficient tension on the image as it is going in, it could end up crooked or folded as it enters the nib of the rolls. When feeding an image into the laminator, make sure it is parallel to the roll. Once it gets pulled in, grab the back of the image and hold it taut so any wrinkles get smoothed out before they enter the nib.

Print curl occurs when an image is unrolled and wants to roll itself back up again. A little bit of this is normal, but if the print doesn’t lay flat after some gentle smoothing, it is a problem. Print curl happens when one side of an encapsulated image changes size out of proportion to the other side, causing the print to curl towards the smaller side. This can be caused if the user puts a heavy laminate on the top side and something thin and cheap on the back, but doesn’t adjust the tension to allow for the different dimensional stabilities of both types of film. For instance, if the user applies the same tension to both the top and bottom film, the bottom film will likely stretch more than the top since it is weaker. As the image cools, the bottom film will tighten up a little more than the top film since it was stretched farther, causing the image to curl towards the back.

Boat wake is an undesirable ripple pattern in a “V” shape on a finished print. Boat wake is caused by several things. For example, when trying to encapsulate something thick, the edges of the film hanging off the sides of the print will not get as much pressure, so they’ll drag behind, causing the ripple pattern. “Reverse boat wake” can be caused when too much pressure is applied to the sides of the roller, forcing the middle up and causing the film to drag behind the film on the sides.

Ripples occur when too much pressure is exerted on the item when it goes through the rolls on the way out of the laminator while the film is still hot. To prevent this, make sure the pressure is at the proper ration of speed for the pull and front rolls. Make sure to work with a low temperature without exceeding 40-45°C.

Question: How can static electricity build-up be handled?

Answer: Static electricity is an issue that may arise and is impossible to prevent. However, it easily can be kept under control by taking a few precautions.

Removing or neutralizing static electricity by induction is the oldest and simplest method. Tinsel is the most common tool for this application. However, tinsel oftentimes is misused and, therefore, sometimes not successful. When using tinsel, it must have a metal core. Tinsel with a string (non-conductive) core will not function properly. Secondly, the tinsel must be well grounded electrically, stretched tight and placed ¼ of an inch from the material to be neutralized. There also must be “free air space” under the material to be neutralized, directly under or over the spot where the tinsel is placed. If done properly, the tinsel will reduce static electricity on both sides of the static-laden material.

In addition, grounding all plant machinery and related equipment is most important. Besides the safety factor, a grounded machine will help drain off extremely high charges of static electricity from partial conductors.

Static electricity is an issue when laminating lighter weight films since they have a tendency to curl back towards the rear rolls. The film then can begin to wrap around the rear rolls. To alleviate this problem, put the laminator in reverse and gently pull the wrapped film off the rear rolls. To prevent wrap around, laminate all documents using a continuous feed as the weight will hold the laminations away from the rear rolls or leave a few inches of extra film as the weight will not allow the static to pull the film back into the rolls.

Question: What causes repeating marks?

Answer: Repeating marks occur when there is something on the roll, usually a piece of paper or a scrap of film. If the defect is adhesive residues, simply clean the rolls.

MACtac is a global company that always has been driven by innovation, discovering future customer needs and developing new products. MACtac offers a wide array of products used in various fields, including graphics and decoration, the self-adhesive label industry and fixing and mounting solutions in several industries. On top of a high level of in-house manufacturing and R&D excellence, MACtac has been working on developing a strong partnership with its customers and a solid sustainable development policy. For additional information on laminating and MACtac, contact Helene Gobry at [email protected] or visit www.mactac.com.

Laminating Films Enhance, Protect Products

by Francis Shea, M. Digital, Inc.

Laminating films have applications in the print finishing industry for both product protection and product enhancement. The laminating process enhances the life of a product or package by protecting the printed artwork, and new developments in films offer a high-end look and feel.

Question: How have laminating films been incorporated into luxury packaging and other carton work?

Answer: Laminating films with high scuff-resistance and unique touch surfaces increasingly have been used to protect high-end packaging cartons. By utilizing these films, the cosmetics, spirit or high-end electronics marketer can keep the product looking its best from pack-out to the retail shelf. Interesting surfaces like fine linen, leather or other custom structures add even more point-of-sale appeal with an embossed surface feel and decorative grain.

Film lamination always has been an excellent choice for protecting the printed sheet or carton from abrasion, chemicals and fingerprinting. The protection and enhancement that lamination offers cannot be matched by UV or water-based over-coatings. The scuff-resistant coating correlates to a lower reject rate as well.

Laminated films can be integrated into current wet or thermal lamination equipment. Films offer a smooth process side to aid in laminating and keep line speeds and throughput high. Additionally, the ability to laminate over digitally printed stock now is mandatory as digitally printed carton and board stocks are more commonplace.

Question: Are laminating films used for security purposes for packaging and other printed products?

Answer: Lamination films allow for security features, overt and covert, to be included under the surface, greatly enhancing the security and authenticity compared to other post-applied methods. By incorporating the security feature during carton lamination, laminating films offer more control by the marketer of its brand protection and security program. Some security elements even can be designed into the process flow to allow for tracking downstream.

Permanency, however, is the largest benefit of security features protected by laminated film. A security feature incorporated under the surface of a laminating film is less likely to be tampered with or removed. As the technology for on-product communication methods such as RFID and other machine-readable techniques grows, integration with lamination films offers unique possibilities to interact with customers and retailers from the shelf.

Question: Can specific custom images be incorporated into a laminating film?

Answer: Yes. Achilles Films offers a service that allows a logo, trade name or special image to be incorporated into a laminating film within six to eight weeks. This allows packages to have additional branding or an inspirational look and feel within normal production and project timelines.

Several worldwide brands in automotive, skin care and personal audio have had their logo and trademarks incorporated into laminating films to enhance product presentation kits, on-shelf packaging and certificates of authenticity. By utilizing customized laminating films, the brands have been able to accomplish marketing goals with a very individualized approach.

Question: How has the print finishing marketplace been adapting to the shrinking commercial print market?

Answer: We all know that traditional print has been contracting for some time now, and print will continue to adjust as more digital formats reach out to customers. Print finishers have been looking to expand their scope and are finding that packaging may be a smart focus. The packaging industry has been experiencing growth, and jobs often are sizeable projects with global brands.

There also have been some multi-media campaigns involving print ads that are matched with product carton constructions to translate the look and feel of a particular brand.

Achilles offers innovative paper enhancements, creative presentation products, high-quality lamination and trend-setting packaging solutions. With a strong presence in Germany and throughout Europe, Achilles has US representation in Florida through Francis Shea, M. Digital Inc. For more information, call 941.730.8213 or email [email protected].