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    PostPress

    Print Decorating, Binding and Finishing

    UV Coating

    Offline UV Coating Applications

    Edited by Erin La Row, editor, PostPress

    Offline UV coating continues to be a popular choice for many print applications. Although UV can be applied inline, there are still situations where offline is the best solution. It is especially important for specialty UV coating applications where soft-touch, glitter and textured finishes are used.

    PostPress magazine talked to Chris Hogge, director of sales and business development at Harris & Bruno; Ryan Moskun, marketing manager at Harris & Bruno; Andrew Brooks, coatings business development manager for paper-based packaging at Sun Chemical; and Glenn Webster, technical manager, functional materials applications at Sun Chemical, about best practices for offline UV coating.

    What important questions need to be asked to decrease press challenges before a print job is coated on an offline UV coater?

    Hogge and Moskun: What type of media is the printing/coating on, and what is the post-print dyne level of that piece? This consistently is a challenge in digital printing and proceeding into post-coating operations. If a printed image has a low dyne level, it makes it much more challenging to uniformly coat for protective or decorative effects.

    Brooks and Webster: It is important that the surface being printed on is receptive to UV coating. Most traditional print inks will do fine, but other UV coatings (previously applied), some digital prints and specialty substrates can be problematic for offline UV coatings due to the blooming of migratory surfactants and additives that change the surface energy of the post-dried inks.

    Are there recent developments with UV coatings in the processes of offline UV coating?

    Hogge and Moskun: One of the biggest game changers for coating was the chamber-anilox system, which is very different from the traditional roller-coater. Where a roller-coater constantly has to be adjusted to keep the coating even, a chamber-anilox system is perfectly metered every time, so the 1,000th sheet will come out just as smooth as the first.

    Additionally, a chamber-anilox system easily can accommodate particulates such as glitter, grit and soft touch with a smooth, even laydown. This was a huge leap over the roller-coater systems, which tend to have all of the particulates collect in the nip and end up never transferring to the page. Embellishments have been a big topic and will continue to be. People want to build off haptics and tactile feel for added response and enhanced print engagement with their customers.

    Brooks and Webster: The offline UV market is stable for traditional printing. There, of course, always are changes in viscosity, cure and regulatory needs, but this goes for both offline and inline UV coating.

    There always is a need to improve UV coatings adhesion on difficult substrates. As digital printing evolves and synthetic substrates advance, there is a need for UV coatings to evolve to meet these needs.

    Are there different UV coating formulations for different printing processes, inks and substrates?

    Hogge and Moskun: Absolutely, especially in the digital print industry where inks between presses can be so different. AQ inkjet, UV inkjet, dry toner and liquid toner all present challenges to post-print solutions like coating and finishing, and need to be understood for the overall solution to be successful. Media also has an impact on that. Having the right coating for the right job is important so that all desired properties are achieved. Knowing the dyne level of a substrate also helps determine the best course of action for preparing sheets for coating.

    Brooks and Webster: The standard UV coatings used in offline UV coaters are gloss, matte, satin and glueable/stampables. Formulations can change to match the ideal viscosity and cure of offline coaters. Questions should be asked to fully understand both the pumping and curing of any offline coater. We have seen people select an offline coater as a “hardware option” but never consider which UV coating they are planning to use for their application. Many offline coaters have shorter deliveries or less wattage on the cure lamps than traditional presses. It is best to get a UV coating designed or at least compatible with smaller deliveries.

    Another question to ask is how much coating can be applied and whether it can be adjusted. The rule of thumb we’ve always used is that most offline coaters apply a coating weight around 3 lbs/ream, equal to about a 12-14 bcm anilox. It is good to find out how much coating the offline coater being considered will apply.

    Finally, it is best to ask about the three options we’ve seen on offline coaters which make the most impact: 1) Preheat zone – Preheat can help a UV coating flow out better for a smoother finish, and liquify wax in digital ink to improve adhesion of the UV coating. 2) Anilox – Some offline coaters do have the ability to use an anilox. Anilox can provide more consistent coating thickness and allow the amount of coating applied to change. 3) Staging both infeed and outfeed – This is not so much coating related, but we have known many people who wished they did a better job picking the infeed and outfeed option on their offline coater.

    Are there specialty UV coatings available for offline flood UV other than gloss?

    Hogge and Moskun: Yes, there are several different styles of UV coating. Each unique coating can help convey a message, brand, enhance depth of print, as well as evoke senses such as smell or touch. Using a specialty finish to enhance print has shown to draw more attention and increase engagement. Some examples of specialty finishes are soft touch, grit, pearlescent, color shift, matte, satin, glitter and reticulation. Many of these special effects are great for lamination replacement and far more cost effective. As previously mentioned, many of these finishes are not obtainable with roller-coater systems, as their particulates do not properly transfer to the substrates. A chamber-anilox system is a much better choice for these types of applications.

    Is UV LED technology being used in offline UV or are most offline coating applications using more conventional UV drying technology?

    Hogge and Moskun: There has been a slow adoption to LED in offline UV technology. The primary limitation is the LED coatings market is not as mature as traditional AQ or UV coatings, thus the offerings and end market is not as vast. That could change in the future and with more development demand.

    Brooks and Webster: We have not seen LED offline coaters, but that does not mean they do not exist. One of the problems that we see with LED in offline coating is that the radiant infrared heat of a UV bulb sometimes helps UV coatings flow out better. LED has much less heat. We have seen people struggle with an LED-curable coating that flows out well to a nice glassy finish that most people like. The other concern is that often LED coatings will cure with ambient room light. If installing an LED offline coater, it is best to plan for “light management” to make the process easier. With these exceptions, there is no reason that LED coatings cannot be installed in an LED offline coater, but we have not seen many people asking for this yet.

    What are advantages of UV coating sheets offline vs. inline?

    Hogge and Moskun: Most printers feature multiple devices, which can be expensive or inefficient to have inline with their current offset or digital print processes. Specialty coatings may require additional set-up time, which is more easily done offline than inline. On the flip side, coating inline can greatly speed up the coating and finishing process, especially when running applications like gloss, matte and soft touch.

    Brooks and Webster: Most of the people we see who get an offline coater do it for these reasons:

    1. Cost. They have a conventional/water-based press and they do not want to invest in a UV curing module or a new press. Offline coaters allow them to meet their customers’ needs for a UV coating at a fraction of the cost.
    2. Ease of use. Most of the offline coaters are simple to use. Producers can turn the system on, run a few hundred sheets and go home. They are consistent, easy to use, designed to be easy to clean and, overall, they are much simpler to use than a full press set-up.
    3. Ease of trouble shooting. We cannot say how many times customers have contacted us looking for help with ink scratching off a sheet. We tell them if they have an offline coater, turn off the coating unit and run the sheet under the lamp a few times. This faux ages the sheet and easily will tell producers if they have a cure or drying issue. Of course, troubleshooting like this would not justify an offline coater, but it can be a useful troubleshooting tool.

    What segments of the printing industry have seen the most growth for offline UV coating?

    Hogge and Moskun: Definitely, digital print. There has been a plethora of offline coating products that have been used for coating protection or embellishments. The nice thing about the shorter runs is that printers and brands can experiment with different finishes and see what works best for their piece. Additionally, being able to have different finishes on the same product can help reach a broad audience, with consumers selecting the finish that most speaks to them. For example, a brand may choose a product of various prints, and then match a coating to the print (i.e., glitter, soft touch, etc.), creating a unique customer experience.

    Brooks and Webster: Commercial printing seems to be the predominant user, with the digital segment being the fastest growing. There still are some applications, though, in the packaging sector.

    PostPress would like to thank Chris Hogge and Ryan Moskun at Harris & Bruno International, and Andrew Brooks and Glenn Webster at Sun Chemical, for their assistance with this article. Learn more about Harris & Bruno at www.harris-bruno.com and Sun Chemical at www.sunchemical.com.

    Designing for Specialty UV Coatings

    By Liz Stevens, writer, PostPress

    Specialty UV coatings have grown in popularity with the increase of digital inkjet processes and conventional screen UV coatings as well. To take full advantage of the creativity offered by UV coatings, it is helpful to understand their strengths and weaknesses as dictated by the underlying press being used – traditional vs. digital. And it takes design expertise to use UV coatings for the most effective and memorable results. FSEA Executive Director Jeff Peterson spoke with a trio of printing experts who have mastered the use of UV coatings. Doug Fontana from The Fontana Group, Christine Yardley of Print Panther and Matt Greer with DMS Color shared valuable best practices, practical suggestions and design ideas for using specialty and spot UV to make print pieces sing, pop and make a lasting impression. They also showed examples of UV coating applications on some of their favorite recent projects.

    Making the most of UV coatings

    “The use of spot UV usually is to highlight something,” said Doug Fontana. “Whether it is text or a logo or a product, the aim is to make it stand out from the background. That can be done by using contrast – using a gloss UV with a matte background or using matte UV with a gloss background. A soft-touch feel, or a rough feel, can add contrast, too. Designers even can use spot UV with glitter, but the main technique that designers would use is to add contrast to really make the artwork pop.”

    The Extreme Digital Guide, created for Konica Minolta by Christine Yardley, Print Panther. The cover of this piece features diecutting, foil and varnish with the addition of a soft-touch coating for tactile appeal.

    Fontana mentioned some new spot UV coatings that are gaining notice. “We call them ‘reveal’ coatings,” he said. “There is a thermal coating that completely covers an image; when heat is applied – the heat of a finger, for instance – the image beneath the coating appears. There is lottery ticket-style reveal with a scratch-off coating.” Fontana also described a coating called a flash reveal; the hidden image can’t be seen unless the viewer takes a picture of it with a phone camera using a flash. “All of a sudden,” Fontana said, “the hidden image will show up in the phone’s picture, but on the original print the image cannot be seen with the naked eye.” There also is a hydrochromic reveal – a water-based coating concealing an image that will appear if moisture is applied, like a litmus test.

    From the Extreme Digital Guide, created for Konica Minolta by Christine Yardley, Print Panther. This interior spread illustrates what heavy varnish embellishment can do for a printed piece.

    Fontana stated that it is best to avoid using UV to highlight a white element – a logo or text, for example. “It just doesn’t work to get a pop on something that is white on a background of another color,” he said. “The background color always is going to dominate the image.” Black, however, loves UV. “If you put spot UV on black, it shows up fantastically.” Fontana also avoids using raised UV on large areas. “Raised UV is all about the sense of touch,” he said. As with the contrast between matte and gloss, raised UV works best if there are peaks and valleys in the image. “A finger, a person’s sense of touch, feels all of those differences which bring the wow factor to a piece,” he said. “I always tell a designer: Avoid big silhouettes of raised UV. Break up the pattern to get a lot more contrast out of it.”

    Brochure by The Fontana Group. For this 14 x 18 brochure cover, Doug Fontana began with a soft-touch film, then added flat gloss UV and finished with sculpted embossing for a raised effect.

    Christine Yardley, president of Print Panther, Oakville, Ontario, Canada, seconded Fontana on the use of UV coatings to highlight an element of a print design. “Whether the element is the photograph or the logo, it is about capturing interest by highlighting an element,” she said. Yardley likes to use multiple passes with UV coating over digital foil for a raised effect but, like Fontana, she stays away from using UV coatings on large areas. “I use the spot varnish, for instance, if I am doing a large foil area that could scratch or get damaged,” she said. “Putting a clear varnish on top protects my foil.” She advised using spot varnish thoughtfully. “When I work with a designer, I ask what are we trying to capture here? What is the most important thing? Brands want consistency,” she explained. A brand doesn’t want to completely change its look, but by adding a bit of varnish and capturing a bit of interest on a campaign or a print ad, it can keep its branding consistent and just add that little bling factor. It can’t always be done with foil, but with varnish it’s a pretty simple way of capturing interest that does not go off brand.” Yardley also appreciates that digital printing allows for adding spot varnish in sync with variable elements; for example, personalizing each piece with a person’s name and using spot varnish on top of the black text to make it stand out.

    This perfect bound book by The Fontana Group features foil stamping and spot UV in tight registration. The UV, applied in one pass, creates a 65-micron raised effect.

    Matt Greer, CEO/CTO of DMS Color in Pelham, Alabama, added his experience with UV coatings. “There are different ways to spin the use of coatings,” he said. “I usually preach the ‘less is more’ concept. When we look at a project, we don’t necessarily always pull an element out with gloss coating; sometimes we want to add texture, to feel the element in the hand.” For texture on an image of a lizard, for example, Greer said that it might take multiple passes of varnish to build up the reptile’s scales, but since process varnish is not inexpensive, he always designs with cost in mind. “We also are very keen on making sure we have gutters that are not on score lines and around cut marks, so that we don’t have any issues with anything cracking or potentially losing its adhesiveness,” said Greer.

    Communicating advantages and disadvantages of UV coating processes

    Fontana explained the unique qualities and benefits that traditional screen UV coating processes have to offer and that should be communicated to the end user or designer. “Our strongest advantages are in the large-run, large-sheet, large-format type of work,” said Fontana. “We usually are running 28″ x 40″ sheets. If the item is a carton, let’s say 300,000 cartons for the job, you can fit 10 of them on a half sheet or 20 on a full sheet. We can put 20 cartons on a sheet and print 15,000 sheets. The speed and sheet-size capacity are the biggest advantages.” Another advantage, said Fontana, is that using a screen for UV coatings allows for a lot of experimentation. “Anything that can fit through the screen can be run without damaging the press,” he said. Fontana pointed out that the reveal coatings he described likely are only available with traditional UV coating processes, and he stressed that with traditional screen printing, it is possible to apply coatings at a specified thickness in a single pass, unlike the multiple passes required for digital coating processes.

    The disadvantages of traditional processes, said Fontana, include the consumables and labor involved. He illustrated this by explaining that his company has an employee solely dedicated to screens. “All he does is make screens, prepare screens, clean screens and store screens.” Fontana explained that set-up and the tooling costs are disadvantages of the more traditional UV coating process. However, for longer runs, these costs can be absorbed and will help keep costs down for a large project overall. So, it is important, from a design perspective, that the designer understands what type of coating process will work best for the print job.

    How digital stacks up for specialty and spot coatings

    Sweetwater Brewing Company posters by DMS Color. Matt Greer’s company created these limited-edition commemorative posters. The posters are first printed with a layer of holographic foil, then overprinted and finished with a layer of varnish.

    Greer laid out how digital decorating coatings and foils offer advantages in their run size capabilities and turnaround times. “Digital can do the shorter runs, and it can be on demand,” he said. “We also can enter markets that typically are not available to traditional printers since they are not tooled to enter some markets like e-commerce and short-run packaging.” He noted, however, that with the right mindset, the right talent and the right tools, digital offers unique qualities and can sometimes compete with traditional processes. “We can handle variable data. We can capture different parts of the market – like smaller businesses,” he said, “and offer services that may not have been available to these companies in the past. DMS Color has done several really large mailer jobs, in the hundreds of thousands of pieces, with a person’s name emblazoned across the front of the mailer in holographic foil.” Providing samples of digitally decorated work is important for designers to be able to see what is possible.

    Greer admitted, though, that digital cannot offer specialty coatings with characteristics like reveal, thermal-sensitivity or water-solubility. And he noted that digital cannot match the level of image detail that traditional processes can offer. “Our level of detail has not reached what a screen or a foil stamp can do quite yet,” he said. “Right now, for things like fine silver inlays with intricate details or very small text, the traditional side still has the advantage. We do try to mitigate that in our design process by focusing instead on what we can offer as a design with comparable quality.”

    Yardley pointed out that designers need to be aware of what types of paper stocks are available for digital decorating processes. “We are limited with our substrates – the thickness of our substrates and the kinds of substrate that we can use,” she said. “We are getting more uncoated stocks that we are able to work with, but these are limited. I often am jealous of the fact that I can’t use some of the uncoated, really toothy stocks that I want to use.” The other thing, she said, is that digital cannot easily produce flat spot UV. “Sometimes I don’t want a raised look,” she said. “Sometimes I want a really flat look, and that is hard to achieve on my system. We can give it a very light skim coat, but it still is not like a traditional, very flat spot UV.”

    Like Greer, however, Yardley pointed to digital’s ability to handle variables, to be the answer for short runs and to easily handle multiple passes. “And,” she said, “digital is slightly more sustainable, slightly greener, because digital does not have as much cleanup and chemical use as traditional processes.”

    When it comes to embellishing with foil and spot UV coatings on a traditional press or a digital one, approaching the artwork with a designer’s sensibilities and expertise dramatically can elevate the appeal and impact of a piece. With the continued growth of digital and more traditional screen processes for spot specialty UV coatings, designers have a multitude of options to help make their printed materials stand out.

    Special Sales Gala Invitation Draws Rave Reviews

    By Jeff Peterson, executive director, FSEA

    Goya Foods, Inc., headquartered in Secaucus, New Jersey, is the largest Hispanic-owned food company in the United States and the premier source for authentic Latin cuisine. Goya provides consumers with over 2,500 food products from the Caribbean, Mexico, Spain, Central and South America. 

    Each year, a Sales Gala is included as part of Goya’s annual sales meeting. Goya has called on Wharton, New Jersey-based Sunset Printing and Brand Management Solutions to produce the gala invitation for several years. Sunset Printing is a third-generation, family-owned company providing print, finishing and brand management services. Sunset specializes in special event collateral and works with companies throughout the world. “We have printing and other specialty processes that we do in-house, including offset printing, foil stamping, raised thermography, embossing, diecutting, foil edge gilding, grommet inserting and hand finishing,” stated Sunset Printing President Rob Wainer. 

    The theme of the Goya Sales Gala this past year was “Celebrating Women.” Wainer and his team sat down with representatives from Goya to discuss ideas and decide on an invitation style. “We had previously created a pop-up-style card for the event the year before and they wanted something that would be interactive and suggest a feminine quality,” explained Wainer. “The client mentioned a fan, and my design staff suggested a multi-blade fan design with a grommet holding the blades together.” Goya loved the concept. A string attached to the back of the fanned-out invitation would limit the opening so the words and graphics would line up. The final step in the design was working with Goya to choose the color of the foils to complement the image of the woman and the butterfly.

    The decision was to use offset printing, foil stamping, clear digital UV gloss coating and glitter thermography to create the special effects. The first process was printing the graphics in 4-color process on a 5-color Heidelberg offset press. Registration marks were printed on each sheet for the post-press UV digital spot coating. After the initial printing, the sheets were foil stamped with two separate passes on a Kluge press to create the front cover of the fan design and add details on the place and time of the gala. Magenta and gold metallic foils from Kurz Transfer Products were used with copper flat stamping dies from Universal Engraving. The next step included applying a clear varnish and glitter thermography to the invitation over the printed butterflies that flew toward the graphic of the women. The last decorative step (that was not hand finished) was applying a spot UV coating perfectly registered to the image of the woman using a Duplo Raised Spot UV Coater.

    Goya InviteAfter all the different processes, the sheets then were diecut into the different fan blades. The Kluge operator had to be extremely careful to maintain the proper registration with the magenta foil border on each fan blade. After the diecutting, the fan blades were separated, and 17 diamonds were glued onto the front cover – all accomplished by hand. After applying the diamonds, each fan blade was collated into a finished set and a grommet was inserted to create the fan-out effect. Lastly, after inserting the grommet, each fan was spread out on a table and a connecting string was applied on the back of each blade by hand with hot glue to limit the opening so each printed and decorated blade would line up perfectly when the invitation was fanned out. 

    “Each sheet went through six separate presses and each step had to be in perfect registration,” added Wainer. “Trying to keep the same gripper as and side guides was a huge challenge.”

    Once the entire invitation was complete, the fan was inserted into an outer box that was foil stamped with the same design and then mailed with a response card and reply envelope. 

    The Goya Sales Gala 2020 invitation was not only well received by the customer, it caught the eye of the judges for the 28th annual FSEA Gold Leaf Awards where it won Gold for Best Use of Foil/Embossing – Announcement/Invitation (Creative).  

    “The customer was ecstatic with the finished product,” ended Wainer. “It was a fun project for all of the press operators and hand finishing staff involved.”  

    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. 

    Foil & Emboss Elevate Mandala Art

    By Lara Copeland, writer, PostPress

    A ritual symbol used in a variety of traditions dating back thousands of years, the mandala, in its most basic form, is a geometric configuration of symbols. Given their vibrant appearance and roots in meditation, it is no surprise mandalas have entered into pop culture – especially in adult coloring books, which have been touted as tools to help adults reduce stress and anxiety. “We do a fair amount of coloring books and see a lot of mandala designs on our floor,” said Patrick Choquet, president at Gravure Choquet, located in Montréal, Québec, Canada. “We have been wanting to create one for us and our customers for some time.”

    The trade finisher works with printers throughout Canada and the Northeast US. Serving a number of industries – including pharmaceuticals, cosmetics and food, clear packaging and security products, such as postage stamps, trade cards and mintage products, to name a few – the company also does application of holograms. With 24 hot stamping presses, Gravure Choquet also engraves its own stamping and embossing dies and does foiling on a variety of special substrates. “We have a prepress department that analyzes every file before going in production to maximize the stamping
    and embossing results and effect,” Choquet added. 

    One day last fall, a request on the company’s website came from a designer, Dominique Cloutier from Mandala Universe. The self-described passionate artist creates work that aims to “elevate vibrations, joy, unconditional love, tenderness, forgiveness, acceptance, compassion and creative power.” Her research helped her discover “the power of colors and mandalas on our vibrations,” and she plans “to bring happiness to the hearts of people, one mandala at a time.” Thus, Cloutier approached Gravure Choquet wanting 50 units of a mandala, but there was one issue: Producing such a low volume would be costly. 

    Yoan Robitaille, technical sales representative at Gravure Choquet, explained that its processes are expensive and become cost effective in larger quantities. The team at Gravure Choquet told Cloutier they’d like to use the
    design for a production of a much larger quantity. 

    The design for this piece was generated in October 2020. Cloutier prepared all the files in Adobe Illustrator for the production, the stamping and embossing tools, “and she did a great job,” Choquet said. 

    Starting production in December 2020 for 2,000 units, Gravure Choquet enlisted help from several companies. RL Lamination supplied the Invercote paper stock and the matte black
    soft-touch lamination that was completed on a Billhöefer laminator. The UV coating and thermochromic UV was produced by Super Lustre on its SPS coating line. MMD supplied the diecut tools (die and stripping jig) and Découpage BM used a Heidelberg cylinder machine to complete the diecutting. “Choquet did the stamping dies and stamped on the Bobst Foilmaster and embossed on our high-tonnage Sheridan press with heat and dwell,” Choquet said. Metal Magic did the multilevel embossing die, and Kurz Transfer Products supplied all the foils. 

    BestOfShowFramed
    With its vibrant appearance and roots in meditation, the mandala symbol has become a pop culture icon.

    The most challenging part of this project was keeping everything in register. When foiling started, Choquet said it was important to make sure all six foil passes – the orange, green, pink, gold, silver holographic and lavender – all were precisely in position. “We usually use the embossing die to fit everything perfectly, but the die was not ready, so we used a position film,” Choquet explained.

    Next in the process were the two UV coating runs and two stamping passes for the logos in the bottom section, done in black and clear holographic foil (the seventh and eighth foil). “One of the UVs is thermochromic, so if you press on the black UV over the lavender foil, you will notice that the UV becomes clear,” Choquet remarked. Additionally, the diecut and stripping were completed after the last UV coating pass. The last pass, the multilevel embossing, was produced on a Sheridan embossing press. 

    Gravure Choquet endeavored to complete production before Christmas, but it was finished in early January of this year. Cloutier was given 350 units for fundraising purposes, and the remaining mandalas were distributed to Gravure Choquet’s customers, prospects and suppliers. The mandala poster was extremely well received. 

    “They told us how unbelievable it is; that it’s a piece of art, mystical, and some even said it was the best piece ever produced,” Choquet shared. Honored by the recognition, Choquet said he, too, was quite pleased with the piece. 

    Gravure Choquet entered the mandala into FSEA’s 28th Annual Gold Leaf Awards in 2021 and won not only Gold in the Best Use of Foil and/or Embossing – Self Promotion category, but the judges also awarded it “Best of Show,” which is presented to the overall best entry from all the Gold winners in more than 35 categories. 

    “We are very, very proud, and it’s clear to us that the jury knows about foil and its challenges,” Choquet stated. He shared that the company is entering the mandala piece into two other contests and “we are confident to win further awards.”  

    Duplo USA’s DDC-810 Raised Spot UV Coater

    By Lara Copeland, writer, PostPress

    With intentions to fill a void in the market, Duplo USA Corporation, a Santa Ana, California, provider of innovative print finishing solutions to the graphic arts industry, introduced its DDC-810 Raised Spot UV Coater back in 2017. 

    “The available technologies at the time were expensive,” said Duplo Product Manager Anthony Gandara, “and many printers and brand owners liked what these technologies could do but could not afford to invest in them.” He said they also did not know how to justify purchasing the technology since they did not have any immediate need or demand for this type of embellishment work. “But they could see the benefit and value that this type of technology could provide,” he added. 

    Printers searching for quick, easy and affordable technology to enhance the value of their printed products will find value in the DDC-810. Using Duplo’s technology allows printers to turn their, “plain CMYK prints into an experience that their customers can actually touch and feel,” said Gandara. Printers have used this added value to differentiate themselves from competition, and he said they have been able to sell their printed products for much higher premiums, which in turn, has helped them to generate profit on jobs that they normally would not.

    Offering superior accuracy and producing high-quality raised spot UV embellishments, the DDC-810 is easy to use – only requiring the printed sheets with registration marks, a PDF of the spot layer and an operator. “The DDC-810 is the ideal solution for customers who want to increase the value and profit of their printed products,” Gandara said.  

    Together, the DDC-810 and the EFI Jobflow simplify and streamline the file preparation and submission to the printer and DDC-810. “With just one click of the mouse,” Gandara explained, “Jobflow will impose the job, apply the registration marks for the DDC-810 and add barcode or QR codes for the DDC-810 and Duplo slitter/cutter/creaser to enable automatic job set-up of variable image and job processing.” 

    Gandara said that the response to the technology has been great. In the last two years, Duplo USA has hosted the Shima Awards, a contest that recognizes a Duplo customer for its creativity and uses of embellishment. “We have seen so many great examples of applications and jobs that our customers have produced; their creativity is simply amazing,” he added.

    According to Gandara, “The DDC-810 is compact and extremely easy to use; plus, it can be installed and begin running jobs in one day.” 

    Technical details

    The DDC-810 is a completely digital process, only requiring the printed sheets and a PDF or TIF of the spot layer. The printed sheets are loaded into the feeder. The maximum loading capacity is 5.9″ and the maximum sheet size is 14.33 x 29.13″. It supports a wide range of coated papers, substrates, laminates, toner and offset printed output.

    As the sheets are fed, they are side registered and pass through the dust roller to remove any dust from the surface of the paper or substrate. Two CCD cameras read the registration marks that are printed on the sheets. The 600 x 600 dpi inkjet heads precisely and accurately apply the spot UV layer onto the printed sheets. Up to seven different thicknesses can be applied in a single pass. The polymer is instantly cured as the sheets pass under the UV lamp.  

    Elevating Magazine Covers with Embellishments

    by Katy Ibsen, managing editor
    PostPress

    First impressions mean a lot, especially for print magazines and catalogs. A cover image carries significant responsibility, capturing enough of a reader’s attention to be picked up. Iconic artwork isn’t going away, but many publications now are incorporating texture and specialty effects on covers for added impact.

    “Neurological studies show that humans gather their information through all senses, and people remember things longer and more clearly if they address more than just the eyes,” said novum Editor-in-Chief Christine Moosmann. “Consumers quite happily spend more money on packaging that is well designed and uses a paper with interesting haptics or elaborate printing.”

    novum is known for eye-catching covers that feature a variety of applications, but the magazine isn’t alone. Overwhelmingly, consumer, business to business (B2B) and catalog publishers are seeing embellishments as a critical value-add to differentiate themselves from competitors or to elevate their brand.

    PostPress explores this trend by visiting with a few magazine publishers that have found print embellishments beneficial to their brand awareness.

    Worth magazine

    WorthWorth is a global media brand connecting to an audience that embraces worth beyond wealth. “Worth informs and inspires a community of affluent, influential and aspirational individuals to be their best selves,” said Amy Petriello, art director.

    The quarterly print magazine regularly uses spot gloss for its masthead/logo and dull UV on the balance of the cover to create a matte effect.

    “We almost always feature an original illustration on the cover and have [art] submitted to us as vectors, so that the illustration can have spot UV applied on portions we’d like to highlight,” she added.

    Worth’s “Power 100” edition, recently released, features a 4-color silver metallic ink with gloss UV coating.

    “This is our 10th Annual Power 100 issue, about the most powerful people in the world of global finance, so it is a special issue that we wanted to celebrate,” she said.

    According to Petriello, postpress applications have helped to emphasize Worth’s covers, which showcase beautiful lasting artwork, intended to be kept, displayed on coffee tables and collected.

    novum – world of graphic design

    novum Magazinenovum, a cult design magazine, was founded in 1924 under the name of Gebrauchsgraphik. Published in German, English, French and Spanish, novum is read by designers all over the world.

    “Now in its 95th year, novum has certainly written design history and still has a very high standing in the design community,” said Christine Moosmann, editor-in-chief.

    As one would expect, a design magazine strives to set itself apart and novum doesn’t disappoint readers with its captivating covers, featuring many variations of specialty applications. In 2000, the brand began experimenting with fine papers and various print finishing techniques on the cover.

    “In the beginning, we just did it for fun, but we got a strong response from our readers. They loved the papers, the finishings and the inspiration they got this way,” said Moosmann “Eventually, paper manufacturers and printers realized that our covers were a great marketing tool for their products and services. So, whenever a new paper or a new printing technique came up, we got the chance to try it out on our cover – designer’s heaven!”

    While Moosmann believes specialty effects are an important element of communication today, they can be overused.

    “It is important to use papers and finishings intelligently,” she said. “A lot of ‘bling bling’ foils do not necessarily make a successful product. Sometimes, a rough paper combined with an unusual printing technique will do the trick. It is important to design with care; readers and consumers can sense that.”   

    A sampling of novum covers include foil on the entire cover, diecut stacking dolls and even a cover which featured a playground for stickers found inside the magazine. The cover of the August 2019 edition showcased a highly pigmented silver on deep black cardboard for a visual and textured effect.

    mg

    mg MagazineServing the cannabis industry is mg magazine, a B2B publication covering retail, business and branding. According to its publisher, Darren B. Roberts, the magazine’s mission was to create a reflection of who is really behind the industry, not just on a manufacturing level, but on a legal level.

    “We strive to put out an image that represents the level of professionalism, skill and education [in cannabis],” he said. That mission allowed the magazine to be more creative.

    “Most B2B publications are not spending money and exploring what can be done in print – some industries don’t require it,” he said. “I think that for B2B, service companies or products, whether they be printed products, panels or whatever it is they are putting out there, it’s important that they reflect the personality and the people of the industry. And in this particular industry, you have a mix of professionalism and creativity.”

    mg has achieved respect within the cannabis marketplace, elevating itself as a creative, yet trustworthy resource for industry leaders. In part, it has reached that designation as a result of its attractive covers.

    An edition that covered the vape sector featured a multi-layer emboss with both high and dull varnishes. The “50 Best Companies to Work for in Cannabis” featured a matte varnish, gold foil and trapped emboss. Roberts explained that mg wanted to represent all the various sectors of the industry on the cover, which was designed by The Hybrid Creative.

    “Applications really do have an impact. And it does matter,” said Roberts. “Just the coating that you use on the cover will keep somebody reading the publication longer … and it’s all on a subconscious level. It’s very fascinating.”

    Sustainability with Ecofoil®

    Crystal Ecofoil
    Crystal’s Ecofoil process allows foil to be added to the inside pages of magazines or brochures at a feasible cost.

    Mark Kempster, Managing Director of Crystal Press Ltd, has seen brands and publishers wanting more and more foil embellishments, with multiple colors and more complex foil designs. To achieve this, many have used a metallized polyester (MetPol) material and printed over the top. However, sustainability has become an serious issue for MetPol users due to it being a PET laminated stock which cannot be recycled. As a solution to this issue Crystal recently launched its range of Ecofoil boards that apply the foil without the need for the lamination process. The Ecofoil board range contains no PET or any other plastic product so it is 100% recyclable and can be branded as such.

    “In my opinion the use of MetPol is one of the single biggest issues facing the packaging industry and it seems likely that it is only a matter of time before there is a huge backlash against packaging materials that contain MetPol. However with the introduction of Ecofoil there will still be a cost-effective and practical way to produce foil-based packaging in all run lengths,” stated Kempster.

    The Ecofoil process also provides an economical way to add a metallic foil to other pages within a catalog or magazine beyond just the cover. Crystal has one customer who has used hot foil stamping on its covers for several years; however, switching to its Ecofoil process has allowed them to add foil within the inside pages of their high-end brochure at a feasible cost.

    “Ecofoil has created a massive change in our business,” concluded Kempster. “I believe it will become the biggest part of our business within the next 12 – 18 months.”

    From the Printer With Love

    Direct SupplyPrinters are equally in tune with the emerging trend of distinguishing covers. Chris Haag, director of sales at Royle Printing, spoke to the printer’s role in helping deploy embellishments to create unique catalog covers – which must stand out among other printed matter.

    “We have actually seen an uptick in interest in applying creative covers in particular to printed materials, whether that’d be in catalog form or magazine form,” he said. “Both of those segments are exploring it, and there has been a recognition that print provides a much more tactile delivery of information than electronic means.”

    Royle’s capabilities include gloss and matte UV in line on the web press; gloss, dull or satin varnish on sheet-fed press; soft touch, UV or aqueous coatings in line; strike through (such as spot gloss UV) with a dull varnish; and reticulated strike through UV.

    According to Haag, cost of applications is a factor for many publishers, suggesting that embellishments often are used for annual, anniversary or special issues.

    Diesel Forward“You’re going to see those [applications] in a higher value catalog that is displaying products that are higher dollar volume, and in particular those catalogs are meant to have a one-year shelf life. So, we see them a lot in those applications,” he said.

    Examples of catalogs printed by Royle include Direct Supply and Diesel Forward.

    In general, Haag has seen an increase in applications over what was used 10 years ago. As for the next 10? Hopefully, more of the same.

    “People are recognizing that print is really mission critical to a multichannel approach. And so, even brands that might live and start online are coming into print. And then, once they get into print, they’re looking for ways to stand out in the mailbox and raise response rates, too.”

    Working with Specialty UV Coatings on Press

    by Brittany Willes, editor, PostPress
    Specialty UV coatings, such as profile (raised) UV, add visual and tactile effects.

    A longtime manufacturer of screen and offset printing presses, Sakurai USA is well versed in the challenges operators face when utilizing specialty coating technologies. With the increased growth of specialty coatings, such as profile raised UV and glitter UV coatings, operators are working with a lot more than just simple spot UV coatings. When asked what advice he would give to print finishers and printers looking to incorporate more offline products, General Manager David Rose provided the following insights into the special challenges faced by those attempting to utilize specialized offline UV coatings.

    Offline UV coaters with spot UV, raised (profile) UV and glitter UV technology are in great demand. What should buyers consider before purchasing this type of coater? For companies looking to add offline coating to their product capabilities, the use of screen printing provides the most versatile piece of equipment for all their coating needs. The sheet-fed cylinder screen press is a single-color press. By changing the printing plate (the screen), operators are able to produce UV full-flood coats, UV spot coatings, raised profile, glitter, scratch off, glow in the dark, scratch and smell, matte and soft-touch. It is the coatings that produce this result and the screen printing process that produces the deposit and images.

    Companies should look to their equipment suppliers to provide the following information:

    • minimum and maximum sheet size of the equipment
    • speed of the screen printing process
    • thickness of material the press will handle
    • what type of dryer is needed for the ink/coating (UV, water or solvent)
    • what does it take to make the printing plate (screen)

    Given the increase in popularity of specialty UV processes, what type of applications are best served using these specialty processes?

    The use of UV clear coats was originally designed to offer a less expensive option to lamination. Some people even called it “liquid lamination” in the early days. UV clear coats offer the look of lamination at a fraction of the cost. Printers could take the clear coat, print it on a pattern or design, and suddenly they had spot coating. With a screen offline coater, more coating can be applied to the sheet than with any other method. Thus, by varying the mesh count of the printing plate, they are able to produce raised, tactile effects. Adding glitter to the clear coat then creates encapsulated glitter that won’t flake off.

    There are a myriad of products that benefit from using the finishing screen printing method. Book covers and jackets, cosmetic packaging, presentation folders and – most important – knockout areas for glue flaps are just a few products where the application of specialty processes can help companies stay competitive and profitable in today’s market.

    How is encapsulated glitter applied? What are the potential challenges associated with this type of specialty coating?

    At some time in our lives, perhaps as a small child, nearly everyone has taken Elmer’s Glue, spread it on a piece of paper and sprinkled glitter over the glue. This basic process still is done today for traditional holiday card applications – nothing says the holidays or celebration like glitter on a package or printed communication. Unfortunately, the basic process is messy and a portion of the glitter always comes off in the envelope or on the recipient’s hands.

    Today, using encapsulated glitter through a screen UV process, a very similar glitter look can be achieved without the glitter coming off on hands or other surfaces. To apply encapsulated glitter, UV coaters simply add glitter to the base UV clear coat and print the mixture through a screen. When the UV is cured, it captures the glitter particles and seals the flake in the deposit.

    UV glitter (ink/coating) is supplied pre-mixed by a number of companies. Most customers will buy the base UV and add their own glitter mixtures. It is beneficial for customers to add their own due to the variety of print engines on the market.

    As far as potential challenges or problems for the customer, it’s important to be aware that adhesion of the UV base to digital inks and offset inks is different for each type of ink used. When using pre-mixed UV glitter, companies should make sure the base UV coating adheres before adding the glitter. As most are aware, one UV clear may work well on one supplied sheet and type of ink but may work differently on another. This has become even more important to check in recent years with the growth of digital printing and the different digital inks on the market today.

    There is a little more to running glitter than just dumping glitter particles in the UV base. The challenge is with particle size, shape and color of the glitter. Not surprisingly, with a larger particle comes more twinkle effect, as well as a greater percent of glitter load by weight and greater ability of the UV base to carry and keep the particle suspended in the solution. Most importantly, the mesh opening of the screen must be large enough to allow the particle to pass through.

    What are some tips for applying raised UV coatings? Are there any special precautions that need to be taken?

    Raised UV coating presents its own unique set of challenges. The key ingredient in running it successfully is in how the screen is made and imaged. It is not only the mesh count that determines the deposit, but also the thickness of the stencil (image) on the screen. Keep in mind, the thickness of the stencil or image on the screen – along with the mesh opening – creates a “well” to pass the coating through. The flooding action of screen printing fills this well with coating; the taller or deeper the well, the more coating that is deposited. Experimenting with different thicknesses of image will allow for greater height in deposits.

    The viscosity of the coating can help or hurt the height of the deposit – the thinner the coating, the more spread or runout produced. Companies should ask their coating suppliers to provide a thicker viscosity of material.

    Press adjustment also can affect the height and sharpness of the image. Speed of the press has an effect, as do angle and type of squeegee blade as a result of filling and emptying a well, or pool, of coating. Change the print angle from 15 to 30 degrees, round the squeegee edge or change to a softer or harder material.

    Raised UV spot coating can create eye-stopping effects. Companies will be able to produce the dimensional products they’ve been looking for with the correct screen, tailored coating for the specific job and the correct press.

    Are offline coaters now available with LED UV curing capabilities? Are there advantages in using LED?

    Yes and no. LED lamp heads are available over a conveyor belt to put behind offline coating equipment. However, they still are limited by ink and coating availability. It still is a somewhat new curing process, so there are not as many types of coatings available for LED curing on the market.

    The advantages of LED are many but are limited to the application. LED can provide faster curing times, but there can be challenges with heavy ink/coating deposits by screen printing. There also have been yellowing issues with certain types of LED clear coats. Curing through LED systems will continue to grow, but it is highly recommended that companies check with their ink/coating suppliers to be sure the suppliers have a product that will fit their applications.

    PostPress would like to thank David Rose, Sakurai USA, for his assistance with this article. Having recently celebrated its 26th year as a US corporation, the Schaumburg, Illinois-based manufacturer has spent years helping its customers make use of the latest technology in order to stay competitive in today’s challenging economic environment. For more information, visit www.sakurai.com.

    Q&A: Foiling Over UV Coatings

    This Q&A exchange was extracted from the Foil & Specialty Effects Association HelpLinks forum, an online resource whereby FSEA members can ask questions about challenging projects or conduct research on machinery or supplies and receive advice from the online FSEA community.

    Question:

    We recently came across a “problem project” involving a cover of a perfect bound book. The outside was flood UV coated with “stampable” Gloss UV (this term was used by the printer’s coating supplier). The inside was flood with a “standard” Gloss UV. It was printed on a 100lb matte cover stock. We were stamping on a Brause SBL 1050SEF and the foil required was a shiny silver. After much trial and error, through varying brands and suppliers, we determined Infinity MX10 as running the best – using copper dies at 260 degrees. Foil stamping was on the outside only, but we still had issues.

    Even if we pulled very small lifts (1/2″) out of the delivery, the foil appeared to be picking onto the inside of the cover above it in the lift (just like ink would offset). The surface of the foiled image also looked like it had very fine pitting – perhaps dust on the sheet?

    I was wondering if you had any words of wisdom for foiling over UV coatings (or UV-cured inks)? Would Dyne testing pens be a good investment?

    Answers:

    1. The UV coating has to be imprintable. It must contain no silicones or certain waxes in order to attain proper adhesion.

    2. Can the foil stamping be done before the UV coating is applied? If you’re using a regular gloss or silver foil, generally the foil can be UV coated over the top of the foil. It would be difficult for anyone to identify that it has been coated over.

    3. You can use a permanent marker to test the Dyne level of the sheet surface. It is a “poor man’s” dyne pen, but it gives basically the same results. If the ink beads up you are going to have trouble. The dyne pens have a limited shelf life, but we always have permanent markers around.

    4. We only have two print customers where we will entertain foiling over press-UV. We did extensive testing with both customers to ensure a happy foiling experience for all. Even doing that, we are still cautiously dipping our toes into UV coatings. So far, we have not had an issue, but we work very closely with these folks to maintain consistency in the chemistry.

    If you would like to participate in the FSEA HelpLinks industry advisory, call the FSEA headquarters at 785.271.5816.

    Creative Choices for Distinctive Products

    by: Dianna Brodine

    The products you use to attract and retain customers must strike a balance between utility, eye-catching appeal, and efficient production. No matter what format you require – including marketing kits, POP displays, multimedia packaging, ring binders, and book covers – it can be made more distinctive with the right combination of processes and materials.

    There are many factors to consider when selecting the proper materials and decoration options for your information packaging applications. The intended audience, end use, longevity and durability requirements, and perceived value all will help determine the appearance of the end product.

    The Versatility of Turned-edge

    When you’re looking for eye-catching information packaging, turned-edge manufacturing is flexible enough to handle a wide range of products. Ring binders, book covers, slip cases, tote boxes, point-of-purchase displays, and multimedia packaging are just a few of the possibilities.

    The turned-edge process involves gluing a cover material to a board, and then turning the material over the edges of the board to create a wrap. A lining is then applied to the inside of the board to conceal the turned edges, creating an attractive piece both inside and outside.

    A key advantage of turned-edge construction is the versatility of wrap materials. From printed and laminated paper to book cloth, vinyl, and more, your turned-edge ring binders and other products can exhibit almost any appearance you imagine. Here are a few additional considerations for each of these wrap materials:

    Printed paper – Offset-, screen- and digitally-printed paper offers a colorful impact and economical production regardless of the quantity. In addition to offering outstanding appearance for image-heavy applications, digital printing can allow turned-edge products to be personalized for each user. When used as a turned-edge wrap, keep in mind that printed paper should be film laminated for ample protection.

    Synthetic paper – Some products require the look of paper, but with better strength and durability. Synthetic papers such as Tyvek, Polyart, and Yupo offer the best of both worlds, and are ideal for ring binder applications where grease and water are prevalent.

    Book cloth – Book cloth is an ideal wrap for case-bound books, ring binders, and other turned-edge products. There are dozens of book cloth varieties available in a rainbow of colors, coated and uncoated finishes, and a range of patterns.

    Heat-sealed vinyl – As a decoration, vinyl is applied around board or other support substrate and heat-sealed to encapsulate it. Vinyl can be screen-printed, foil stamped, debossed, or UV coated to make your text and images come alive.

    Custom wrap substrates – If your objective is to create a buzz with your products, an experienced information packaging solutions provider should offer you a range of custom wrap materials. These substrates include imitation leather or fur, as well as specially-manufactured materials that mimic the surface of a basketball or tennis ball. Keep in mind that these materials may be costly and require ample preparation time to maintain production schedules.

    Poly and Vinyl – There are two other major forms of ring binder and information packaging construction, which use poly (a hard plastic) and vinyl. Each of these materials have its own recommended uses and decoration possibilities:

    Polyethylene – Also known as a “cut flush” material, polyethylene is a very rigid and durable plastic that is popular for ring binders and marketing kits. Poly is typically available in thicknesses ranging from .016″ to .110″, allowing you to choose the gauge that best meets your application’s needs.

    Poly is available in a rainbow of colors, giving you plenty of creative freedom. Also, its rigidity and water-resistance lend durability for products that will be used in harsh environments.

    Vinyl – The versatility of vinyl allows it to be used for both construction and decoration purposes. As a construction material, vinyl can be used as an alternative to board in ring binders and other information packaging applications – a key consideration if your products will be handled harshly. It’s available in a wide range of colors and textures, including film vinyl, print grains, and expanded vinyl.

    Decoration Time

    Once you’ve chosen the proper cover material for your project, it is time to consider the decoration available. Making your project distinctive will help it to stand out from the competition. The processes listed below can be applied to a variety of cover materials and can be easily adapted to many projects.

    Screenprinting is a printing process using ink forced through a fine mesh (the screen) onto the substrate. The ink is then cured using UV lamps, allowing products to be handled quickly. Since this process allows for varying concentrations and layers of ink, it’s ideal for decorating vinyl and plastic ring binders, tote boxes, and pad holders, as well as additional packaging products such as slipcases, slantcases, POP displays, and more.

    From a designer’s perspective, screenprinting offers plenty of creative choices. Four-color screenprinting is possible, and ink formulas can include pearl, glitter, and other additives that make your products stand out.

    Another distinctive choice is foil stamping and embossing. Foil stamping and embossing can be used to augment intricate images or highlight book titles or other text. With an extensive range of available foils and nearly limitless die design potential, this option offers great flexibility.

    A third design option to consider is UV coating. Ultraviolet (UV) coating gives pieces a high-gloss finish that makes images “pop” off of the product surface. UV coating can be applied as either a flood or spot coating, making it useful for both highlighting particular areas of a piece and offering protection. A flexible method of decoration, UV coating is available in several tinted and textured varieties. It even can be applied in glow-in-the-dark and raised coating, giving the appearance of embossing without the use of dies.

    Turn Your Binder into a Display

    Everyone knows that ring binders and other turned-edge products are designed to hold a variety of materials. But ring binders also can be used as presentation or display pieces that enhance your company’s image. The applications for easel-style ring binders are numerous, including flip charts, promotional materials, and catalogs. Below are some of the display options available for ring binders:

    Table tents and easels – A table tent is formed by scoring and folding a single piece of turned-edge or vinyl binder cover material that spans both binder covers. When the binder is opened, the tent unfolds to allow the contents of the binder to wrap over the rings for easy display. A larger binder that holds a great deal of materials will require a sturdier easel that can support the increased weight.

    Table tent easel designs are the strongest available for ring binder applications. An alternative design involves a two-piece easel stand that is riveted to the binder. This provides the strength to hold even the largest binders and offers the versatility to display the binders in multiple orientations based on the contents.

    Break-back binder – With the break-back easel design, the binder board is split horizontally (perpendicular to the ring metal), allowing the binder to fold in half and stand up at an angle while opened. This allows users to turn pages on the rings while the binder stays upright.

    Chris Eckhart is the president of Eckhart & Company, is an Indianapolis, Indiana-based bindery specializing in mechanical binding, loose leaf manufacturing, and information packaging. Chris can be reached at (800) 443-3791 or [email protected].