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Understanding screen printing inks

Screen printing caters for a very wide range of applications, from graphics to textiles and industrial uses, and this is reflected in the choice of inks available.

This includes solvent and water-based inks as well as LED UV-curing inks. Some of these are better suited than others to particular substrates and applications.

One of the great advantages of screen printing is that you can adjust the ink to suit your requirements. As a general rule, most solvent inks are not ready to use and require thinners or retarders to be added. UV inks are generally ready to use from the tin but you might still mix in further additives for special requirements, such as an anti-slip surface or a resistance to sticky tape or a hardener for a tougher finish or even just to work with finer mesh.

When it comes to display and graphics applications, most printers appear to be predominantly using UV curable inks. However, UV curing requires a bigger investment in drying systems so many smaller companies may stick with their existing solvent screen print set-up, and some of these may also have moved more into industrial markets. But UV curing is more attractive to the larger players because it offers a smaller footprint, faster throughput and easier control of the process.

That said, solvent-based inks still have an edge in dealing with difficult substrates and can also offer greater opacity. Solvent-based inks are still widely used in the industrial markets, mainly because there may be particular performance requirements.

Robin McMillan, marketing manager for Sun Chemical, explains: “In graphics the ink is usually chosen just for its graphic qualities. But in the industrial space there may be more functional reasons such as resistance to whatever’s in a plastic container, like bleach.”

But for general graphics work, the UV inks seem to win out.

James Whitehead, wide format marketing manager for Fujifilm Speciality Ink Systems, points out that solvent inks used on a flatbed screen with a wide area will lead to a significant amount of the ink volume evaporating off as the ink dries. He adds: “The other issue with an evaporative process is that there will be a tendency for the ink to try and dry whilst it’s still in the screen.”

So, not surprisingly, Fujifilm only offers UV inks. Whitehead says: “UV helps you to print with finer mesh screens and finer detail and it’s more cost effective.” Whitehead says that screen print inks can give very vibrant colours, noting: “I think that for pure Pantone colours then a colour matched ink is still going to give you a better result then a digital system will.”

Dave Duffy, technical services representative for Nazdar in Europe, says that Nazdar has seen some interest in its water-based inks, mainly because they are seen as being more environmentally-friendly. Water-based inks can be more difficult to work with as the ink is prone to evaporating off. Nazdar sells the 2700 Series for use with paper board, vinyl type applications.

Duffy notes that it’s relatively easy to switch from solvent to water-based inks because they use the same dryers. Switching to UV inks on the other hand requires an investment in UV dryers and a different mindset in handling the inks.

LED curing

Duffy also says that one of the major trends now is for LED UV curing. There are a number of advantages to LED curing. Firstly, there’s very little heat so no need for cooling, which can be useful for some substrates such as polycarbonates. Also the lamps last considerably longer – 10-30,000 hours as opposed to 1,000 to 1500 hours with a mercury vapour lamp. But the inks are more expensive and the technology is only in its infancy.

However, McMillan says that although there is a lot of talk about LED UV curing, there are not many installations in the graphics sector. He says: “They tend to be fairly wide and could be over two metres so the economics don’t stack up as well as for industrial uses that might use a narrower format.”


As we’ve noted, there’s a wide range of substrates that can be printed via screen printing, which means that most ink vendors tend to carry a wide range of different inks to cope with types of material.

However, the reclassification of some chemicals under the REACH initiative – and in particular NVC – has led many ink vendors to have to reformulate their inks. Thus Fujifilm, for example, has developed a multi-purpose ink, UVXtra VW, which is available in both a gloss and satin finish. It’s suitable for a range of materials from PVC to Correx boards. Whitehead explains: “Historically we would have had three or four different inks for these materials but now we have just the two, which has advantages in carrying lower stock inventory.”

Screen v digital

The wide format graphics market has been under a sustained assault from digital printing and this is one reason why many ink manufacturers do look to the industrial market requirements. But McMillan says that digital printing is having less effect now: “Ten years ago there were significant inroads in screen printing because of digital but I would say that has largely levelled off today.” Instead he says that most of the large service providers have a mix of technology, including screen printing.

He points out that screen print inks have a much longer outdoor life span, with no need to laminate them and also says that screen printing inks can be mixed for additional requirements such as resistance to solvent cleaning products. He adds: “The other advantage of screen is its ability to print spot colours accurately. You can have metallics and fluorescents and also opaque whites are much easier. So you can get much more accurate Pantone matches.”

But he also says that it’s not a case of one technology displacing another as many printers will use screen to add an opaque white backing to a digital backlit print or a large area of a solid tint, because the colours are better or more opaque, or simply cheaper to use.

ICC Color Management: Take you to have an all-round view of ICC

What is icc profile?
In color management, an ICC profile is a set of data that characterizes a color input or output device, or a color space, according to standards promulgated by the International Color Consortium (ICC). Profiles describe the color attributes of a particular device or viewing requirement by defining a mapping between the device source or target color space and a profile connection space (PCS). This PCS is either CIELAB (L*a*b*) or CIEXYZ. Mappings may be specified using tables, to which interpolation is applied, or through a series of parameters for transformations.

Every device that captures or displays color can be profiled. Some manufacturers provide profiles for their products, and there are several products[1] that allow an end-user to generate his or her own color profiles, typically through the use of a tristimulus colorimeter or preferably a spectrophotometer.

The ICC defines the format precisely but does not define algorithms or processing details. This means there is room for variation between different applications and systems that work with ICC profiles. Since late 2010, the current version of the specification is 4.3

To see how this works in practice, suppose we have a particular RGB and CMYK color space, and want to convert from this RGB to that CMYK. The first step is to obtain the two ICC profiles concerned. To perform the conversion, each RGB triplet is first converted to the Profile connection space (PCS) using the RGB profile. If necessary the PCS is converted between CIELAB and CIEXYZ, a well defined transformation. Then the PCS is converted to the four values of C,M,Y,K required using the second profile.

So a profile is essentially a mapping from a color space to the PCS, and from the PCS to the color space. The profile might do this using tables of color values to be interpolated (separate tables will be needed for the conversion in each direction), or using a series of mathematical formulae.

A profile might define several mappings, according to rendering intent. These mappings allow a choice between closest possible color matching, and remapping the entire color range to allow for different gamuts.

The reference illuminant of the Profile connection space (PCS) is a 16-bit fractional approximation of D50;[3] its white point is XYZ=(0.9642, 1.000, 0.8249). Different source/destination white points are adapted using the Bradford transform.

Another kind of profile is the device link profile. Instead of mapping between a device color space and a PCS, it maps between two specific device spaces. While this is less flexible, it allows for a more accurate or purposeful conversion of color between devices. For example, a conversion between two CMYK devices could ensure that colors using only black ink convert to target colors using only black ink.

Guide to Color Management

The advantage of using ICC
Before advent of the ICC file, If you want to create an import and out equipment file to use the color management system to start a color program, you must follow the manufactory provision.Although it have a great effect in this way, But also have endless works for color correction of different import and out equipments .If you use the X, Y, Z coordinates of color as the reference standard,although you can reach the DIG (DeviceIndependentColor) purposes, but because there is no uniform format,you can not be applied in different color devices.

ICC to establish a characteristic Profile Connection Space and require ouput, input devices use Unified device profile format, can achieve color correction and color unity.

With the ICC format, Images can transmission at different brands equipment of each other,At different meida it have a good color reproduction performance. Because the perfect effect,ISO hase been put the ICC into the Color standard.

How to print 3D effect with a UV flatbed printer

The original photopolymer UV inks cured so quickly that they didn’t have time to spread out and form a thin film, so the image areas stood proud of the media. Coarser halftones looked and felt like sandpaper.

Over the years the ink formulations have been refined and techniques such as pinning have reduced this effect to the point that the smarter curing systems can be used to vary the smoothness level between high gloss and matt within the same image.

However, those sandpaper images can be a definite advantage if you exaggerate them. Because UV ink can be cured instantly after printing, it’s relatively easy to print on the same spot to build up layer on layer, giving a raised image that’s obvious to both the eye and to the fingers.

“The raised nature of a UV print – be it clear or process – has allowed tactile signage, or packaging proofs that require a Braille element or any decorative 3D effect to be created by simply printing multiple layers of ink in register,”said Duncan Jefferies, marketing manager for Mimaki’s UK agent Hybrid Services.

Rather like metallic effects, this raised imaging adds perceived value to the print, as the embossed appearance is associated with quality. As we also pointed out, combining metallics with raised ink simulates foil blocking, again a high value effect.

“Raised imaging gives a new effect,”pointed out Nick Decock, commercial marketing manager of Mutoh Europe in Ostend. “The luxury finish is certainly something printers are looking for, as it lets them charge a lot more than for regular work like posters and banners. It can be used for special effects, trophies, prototype packs and cartons – there are lots of possibilities.”

In theory any UV inkjet with a scanning head can do this, providing the Rip and controller are built that way. However, Roland DG was the first to make a big marketing point with this ability in 2008, when it introduced its first VersaUV printer-cutter, the 30 inch roll-fed LEC-300. This was replaced by the faster LEC-330 and the even faster and wider 54 inch LEC-540. It can build up layers of clear ink to form a pattern embossed effect, or it can create textures by using a greyscale image in the artwork file, where dark is “low (ie fewer layers) and white is high (more layers).

The raised layers are set up and controlled by the Rip, in this case Roland’s own VersaRIP which is bundled with all of its printers. Setting up is similar to creating a cutting path for the printer-cutters – a specially named layer is created in the original image file (which is most likely a PDF), which is then detected by the Rip and assigned to the clear ink.

BrotherJet shows off different texture effects using black UV cured ink

According to Jefferies, BrotherJet has been able to produced raised images singe the mid-2000s, although it has never made such a big thing of it as Roland did in 2008. The process is exactly the same as Roland’s building up multiple layers of ink by curing each layer.

The BrotherJet ArtisRIP software enables up to nine layers to be printed automatically to create the raised effect. It claims this requires minimal operator intervention or indeed file setup. By using a greyscale ‘height map’ for the clear layers, variable textures and domed effects can be created. BrotherJet’s UV printers range from the small BR-U1800 and U4880 flatbed models, to the big BR-7880 and BR-9880 flatbeds. these are the new small A3 flatbed BR-U1800 printer.

Mimaki produced this sample of Braille on signage, building up multiple layers of black UV-cured ink

This idea has sometimes been extended into the creative sphere, with raised imaging used for illustrations in Braille books as well as museum and gallery signage and descriptive labels. Using a digital print technology makes this possible for one-offs, temporary signage or short runs at low cost, compared to using metal dies to emboss the images.

Although most people will think of print as a planographic process, meaning its images are flat, metal dies have been used for centuries to add a 3D element to the surface.

Digital printing can now emulate that in ways that would be technically impossible, or too expensive for traditional dies, with the added benefit that there are almost no preparation costs, no special presses, and every copy can be different. The creative potential of raised print is on the up and up.

clear ink to form a pattern embossed effect, or it can create textures by using a greyscale image in the artwork file, where dark is “low (ie fewer layers) and white is high (more layers).

How does Direct to Garment Printing Work

Direct to garment printing, also known as DTG printing, digital direct to garment printing, digital apparel printing, and inkjet to garment printing, is a process of printing on textiles and garments using specialized or modified inkjet technology. The two key requirements of a DTG printer are a transport mechanism for the garment and specialty inks (inkjet textile inks) that are applied to the textile directly and are absorbed by the fibers.

Brotherjet Direct to garmant printers can printed on any garment t-shirts, caps, siws shirt, Sweatshirt, Fashion collection, Paradigm Shirt, Personalized footwear, Jeans, Non-woven bags and more.

The Brotherjet Dtg printers used water based garment inks who are 100% non-hazardous, toxin-free and adhere to the strictest human health and environmental standards. and have excellent color fastness, high elasticity and non-cracking attributes. Britherjet Dtg printer much convenience for printing, garment loading, and easy ink system maintenance. With 8 ink channels of CMYK+WWWW, it’s good at white ink printing, and can directly print delicate pictures on all colors of t-shirts. The brotherjet new dtg white Rip software support the White and color inks outputs simultaneously in one pass.

This versatile printing process can be used for both textiles and non-textiles. When applied to non-textiles a pre-treatment must be added to the product before the printing, as this allows the ink to correctly attach itself to the substrate. Next is the printing process, which is much cheaper than sublimation. The last step is the curing of the ink, which can be expedited by adding a special aerosol. This will give the product the protective finish.

DTG was primarily designed to work with textiles, to embellish them. It is largely replacing traditional printing because ink costs are low, it’s versatile, and the printing process itself is straightforward.

Enhancing the Ink

Direct to garment printing is a new technology, and like all new technologies, it has its flaws. The biggest challenge in the past has been with the quality of the ink. Fortunately, improvements in ink chemistry are allowing this problem to be overcome. A number of contemporary printer brands are about to reveal some upgrades to the traditional DTG, and there will be enhancements in a number of areas, including automated pre-treatment, palette sizes and ink quality.

A new generation of white inks will be introduced which are performing at much higher levels than older formulations. One of the biggest challenges for direct to garment printing technology has been printing brightly coloured images on darker apparel. The problem is that colours often pop off the darker shirt when the underbase is laid down by the printer. Printing bright images on a dark shirt requires the apparel to be pre-treated, a chemical to be added and then a heat press must be applied, after which a layer of white is added. Printers continue to make improvements to both the DTG ink and the printing process itself.

Catsun graphics opens direct to t-shirt print centre

In a step ahead in promoting digital technologies for textile printing, Catsun graphics has opened a demo centre in Dubai, targeted at garment exporters and decorators, in order to showcase direct to t-shirt printing technologies.

The facility, which is equipped with Brotherjet direct to garment printing machine, GCC plotters, Chemica heat transfer medias and Sefa heat presses, aims to educate and inspire customers, including brands, agencies and print buyers about new approaches to digital print for textiles, said NAJIM, managing director of Catsun graphics

He said, “The centre will enable us to demonstrate latest printing technologies for textiles to existing and prospective customers. The customers can bring their samples and get it tested and printed at the demo center.”

dubai direct garment print demo center

“The interactive and innovative sessions will help the customers understand the products better and discover various business opportunities,” he added.

Brotherjet is a digital flatbed printer with Epson printheads and a patented closed-loop ink delivery system, which can print a multicolored t-shirt in 48 seconds. GCC has wide range of plotters having different cutting forces for different applications.

Start a direct to t-shirt printing for your bussiness

black t shirt dtg printer

How to Utilize T-shirt Printer  for Printing?
One variation of the heat press obliges a heat exchange or something to that affect, which is stacked into one 50% of the press. The fabric to be printed on is then stacked into the other a large portion of the press. The exchange is then held set up on the fabric by the weight of the press, which seals the heat touchy ink to the filaments. The direct to T-shirt Printer  various bits of fabric or pieces of clothing, utilizing a solitary heat exchange. The mechanical heat press runs the fabric under the platen the obliged number of times until all the exchanges are finished.

For Various Kinds of Needs
Heat press printing is ordinarily utilized within the making of shirts, logo articles of clothing and promoting pennants. It is sensibly practical and can deliver a high volume of printed things amid a solitary session. Heat exchange printing of the kind alluded to above, however, makes a much bigger potential volume of waste than sublimation printing utilizing a computerized printer, as it obliges the exchange themselves to be made, which get to be rejected once an occupation is finished. The sublimation printer has no such run-off along these lines is normally seen as all the more earth inviting.

This dtg printer is likewise utilized within the second piece of the sublimation printing procedure. For this situation, the heat is utilized to seal the colour inside the fabric – after it has been infused by the sublimation printer. The heat press guarantees that the ink, which has been implanted into the filaments of the fabric being printed, is steady and won’t run when the article of clothing or thing is washed. With a scope of sizes and configurations, there’s a heat press machine suitable for each size and style of printing business. The mollusc otherwise called swing press is regularly utilized for T-shirt Printer  shirts or for doing vinyl lettering. Bigger presses with a flatbed setup are utilized for greater occupations – normally sportswear and bigger vinyl lettering applications.

Schedule machines are utilized to perform huge volume sublimation printing and are suitable for each kind of sublimation application. The schedule machine is intended to encourage different prints, rapidly and successfully, and utilizes a drum to guarantee a nonstop moving on and off of the fabric to be printed. With a width that might be to the extent that three and a half meters, the schedule T-shirt Printer  is suitable for standards and banners and apparel, sportswear and vinyl lettering among numerous different applications. Mass sublimation printing wrapped up a machine fills in as typical, by putting away the print occupations in documents that could be rung at whatever point needed.

Flatbed printing with UV curable white ink

Flatbed printing is the term used for digital printers that image directly to a large variety of substrates using UV curable ink. Materials are placed on a vacuum bed and imaged from above. UV curable ink is very versatile and cures by a chemical process when exposed to UV light. Flatbed printing offers stunning resolution and UV resistance for non-fade longevity. This technology allows us to print directly to standard substrates up to 25mm thick, such as Corflute, foam PVC, polystyrene, cardboard and paper in quantities from one unit to hundreds with competitive pricing.

Printing with white ink produces vibrant prints onto dark substrates. By laying down a white layer of the elements in your logo, text or image underneath the colour, you get the full vibrancy of the colours unaffected by the substrate. Alternatively, we can back up the elements with white for reverse applications such as glass.

baby iron  plywood

A machine configured with white ink can print onto a range of substrates unacheivable with standard printing systems. If you have a coloured paper or substrate and do not print a base layer of white, the colour of the substrate will show through. On a black surface the image would be near invisible. On clear sufaces the image would look transparent. We eliminate these issues using white ink.

White is set to print over the entire substrate before the image is printed. Areas with no image will be white and not show the original substrate colour.

White is set to print over the entire substrate after the image is printed in reverse. This is done on transparent substrates so the image can be viewed from the other side, through the substrate. Areas with no image will appear white.

Layer Masks
White is set to print either underlayer or overprint. Any areas can be masked out so the original substrate shows through. Images can also be masked so no white prints on or under them for effect.


Transparency Effects
White can be set to print at various densities. We can control exactly how the white is placed. It can be placed as a solid percentage like 20% (similar to 80% black on a white substrate) allowing the substrate to show through it. We can also print it as a gradient from one percentage to another, like on photographic images controlling what areas get white ink.
White Only

White can be used on its own without the coloured inks at all. If you have a dark substrate we can print a greyscale image using white ink instead of black. Logos can be imaged onto dark or textured surfaces.

The samples to the left show how the different layers are printed in order of colour vs white ink, on the right is how the finished product will look.

Which fool-level small uv flatbed printer is best for your business?

Alexa Cart explores the wide choice of fool-level small uv direct to substrate printers, with kinds of printhead, quality and varied prices.

Some direct printer used kinds of printheads most popular is epson Micro Piezo printhead, Konica printhead and Richo printhead, Micro Piezo is the brand name of the proprietary piezoelectric inkjet print head technology developed by Japanese imaging company Epson. In the past Epson printheads were used by Roland, Mimaki, aritsJet and Epson itself.

Epson heads are used by thousands of printshops around the world but are considered entry-level compared to industrial level of the other Japanese brands. Although claimed to be “permanent” in fact Epson heads wear out, especially because many of these heads have to be constantly purged (which uses a lot of their expensive ink as well). But the print quality is quite good (during the moments there is no banding from clogged Epson nozzles!). The DX5 Printhead has 8 channel color, one machine only used on printhead so it has low cost for machine production. The printhead is cost 800usd/pcs.

Konica Minolta printheads
The Konica Minolta team from Japan are recognized worldwide and provide knowledge and expertise. In the last six years the market share of Konica Minolta has risen, especially in mid-level printers. But the print quality is not good for small flatbed printing. and on machine need to used five printheads. The printhead is cost 1100usd/pcs.

Ricoh printheads
The use of Ricoh heads is quietly but surely taking more market share. Whereas Xaar, Konica Minolta and Spectra teams are readily visible (often with their own booth), there is almost never any Ricoh printhead booth. The print quality is quite good, but  on machine need to used five printheads. The printhead is cost 3400usd/pcs.

Becaue print head cost, Prices vary hugely at this level, from $9000 to $50,000, as does productivity. That said, few of these machines are really fast enough to compete on price against the flatbeds so the ability to handle a wide range of different substrates is important.

Alexa Cart, marketing manager for Brotherjet, advises: “If you want to make money you have to go for quality rather than speed. If you have good quality then you can charge a higher margin and that makes a viable business”

What’s available?

ArtisJet 3000U a3 desktop uv printer have break through in technology in terms of sizes, cost and durability, more and more ordinaries can own it to bloom their business. BrotherJet launched the smallest A3 desktop UV LED printer with the advanced DTS-U2 pigment uv led curing inks which is refillable with CISS ink systems in lowest production cost. Utilizing the artisJet RIP and optional ArtisRIP, you can print the dark world by opaque white ink and vibrant, full color images. Omnipotent UV led ink offers unlimited printing possibilities of varietal materials covering from:Metal, wood, plastic, acrylic, ABS, bamboo, aluminum, ceramic tiles, glass and to more and more.  Equipped with EPSON printer head DX5 ,the BR UV direct printing system realize the real photo printing quality with 2880*1440DPI.

It has the highest resolution and most exquisite performance. Nothing less than Mimaki-UJF-3042 or Roland LEF-12. 220ml ciss, The ink cost around 80usd echo litre. The machine only cost around 9000$.

The new A3+ small format UV LED flatbed printer

Brotherjet show at FESPA Amsterdam 2016 1



Mimaki has launched a very compact flatbed, UJF-3042 Desktop Size UV LED Flatbed Printer, which is used Richo GEN5 Printhead, It can produce up to 10sqm/hr, Resolution ranges from 360 to 1440dpi. It uses LED curing, and there’s a choice between a hard and a more flexible ink set, with both offering CMYK plus white and clear inks.  220 ml cartridge / 600 ml ink pack, The ink from japan, ink cost around 300usd echo litre. The machine cost around 40000$.

VersaUV LEF-12 is Roland’s first flatbed UV-LED printer capable of printing on the surfaces of two- and three-dimensional objects up to 100mm thick. LEF-12 prints on objects up to 12” x 11” x 3.94” in size. Resolution ranges from 360 to 1440dpi, Equipped with long-life LED UV-curing lamps, the LEF-12 requires no warm-up time, making it efficient to use and cool to the touch. Because the integrated UV-LED lamps instantly cure ink during printing, it can print directly onto materials such as PET, ABS, PVC, polycarbonate, PS and other plastics, as well as leather, papers and card stocks. 6 colors (Cyan, Magenta, Yellow, Black, White and Clear),  220 ml cartridge, The ink from japan, ink cost around 400usd echo litre. The machine cost around 35000$.


So you see, there’s a huge choice available and we’ve just scratched the surface.

Beneeits of UV LED for wood coating application

UV curing is a polymerisation process that uses UV energy to change a liquid to a solid. Upon absorption of the UV energy, the photoinitiator(PI) produces free radicals, which initiate cross-linking with binders(monomers and oligomers) in a polymerisation reaction to cure or solidify the ink, coating or adhesives such as stabilisers, wetting agents, adhesion promoters, defoamers and pigments to provide desirable characteristics or colour of the cured material.

UV LED curing technology has advanced significantly in the past few years and is now readily available for a variety of applications, especially in the area of wood coatings. There are many benefits driving companies to move toward acceptance of UV LED technology, such as higher productivity and a more environmentally friendly solution, which more and more end customers are demanding. As manufacturers are developing uv led curing systems, konwing how the key sub-components work together, will help in creating the optimum system and thereby reducing the overall environmental impact of the process and, at the same time, maintaining or improving productivity and product performance.

The benefits of UV LED are numerous and significant for wood caoting oprations. UV LEDS are more environmentally friendly because they do not generate ozone and contain no mercury. The electrical to optical conversion efficiency of UV LEDs is higher, plus the instant on/off and no warm-up time results in a combined saving of 60% on electricity. They are a coll source, largely due to no output in the infrared range. This reduced heat eliminates complicated cooling mechanisms such as cooling air(quieter opration) and external shutters, and enables applications on heat sensitive wood substrates such as glued veneers and resinous woods.

Wavelength output comparison
A UV LED generates UV energy in and entirely different way. As an electric current or electrons, move through a semiconductor device called a diode, it emits energy in the form of photons. The specific materials in the diode detemine the wavelengths of these photons and, in the case of UV LEDs, the ouput is typically in a very narrow band+-10nm. The wavelength is dependent on the band gap between excited state and the ground state of the semiconductor material

Chat 1 compares the output of a 395nm UV LED lamp with a typical mercury arc lamp. It is important to note te difference in intensity and wavelength of the ouput, both are key to understanding a UV curing process.
Given latest advancements made in availability of UV LED optimised materials that give users the same benefits of increased throughput, yield, scratch resistance and durable curing; UV LED sources have become a very attractive option for many applications.

Not only is UV LED curing for wood coatings possible today, UV LED lamp technology has progressed to the point where air-cooled lamps have the performance needed for these demanding applications. The combination of continuous high irradiance with uniform output and flexible scaling, now allows users to implement air-cooled LED curing into environments for wood coatings applications that were previously only attainable with water-cooled solutions.
Industrial processes require products that can work in tough, sometimes harsh environments. UV LEDS are solid state devices and there high reliability and low energy consumption are ideal for wood coatings applications. In addition, automated precesses can take advantage of the LED’s ability to be instantly turned on or off or controlled remotely for varying intensity.

UV LED curing technology is ideally suited for the wood coatings industy for applications such as edge coating, roller coating and digital printing. UV LED technology drastically reduces energy consumption and significantly reduces workpiece surface temperature. Edge coating lines utilise UV LED to ensure consistent, high-quality reults. Machines can be made more compact due to small form factor; speed can be increased due to consistent UV ouput; and the diffuse nature of UV LED light can be used to more effectively cure shaped surfaces, which previously required multiple mercury lamps at various angles.
UV LED is a perfect match for roller coating lines, both for gelling and full-cure staions. The benefits include:better factory floor utilistaion due to shorter, more efficient lines; increased uptime with no degradation in UV ouput, cheaper input stock due to lack of infrared heat; and reduced operating cots by more efficient electricity use and no need for costly air ducting systems.
While technically not a wood application, creating a wood-grain look on diverse materials is made possible with UV LED and flatbed inkjet printing. By using a combination of printing and full-cure lamps, realisic look and more importantly feel is enabled by creating texture to mimic the grains of natural wood. This is especially valuable in decorative and accent applications.

Light-emitting diodes for ultraviolet curing applications, UV LEDs, have been commercially avaliable for a decade now. However, their unique output characteristics work best with newly formulated UV material chemistries that take advantage of UV LEDs’ many benefits. Initially UV LEDs were used in applications such as inkjet printing but with increasing energy outputs and lower initial costs, wood coating and other high performance applications became commercially viable.

The Application of UV flatbed printers in the construction industry

The uv printing techonolgoy is applied in most fields in the world, The uv flatbed printer can print out beautiful photo on family decoration, for example: Cabinet design, sprung roof in bathroom etc.. Most customer start to used flatbed printer in the work, The green eco UV inks causes a big effect, which is UV-protection and strong illumination protection. These advantages make UV flatbed printers are widely used in the construction industry.

Now the UV flatbed printer has become a hot topic in the construction industry. There has Many decorative materials Whether wall papers or ceramic tile, UV priner can printed perfect image on every materials, it will to be help the people to increase the value added of the product.

UV printing technology has an high precision and the color of the performance is also the most abundant. The uv ink With a high saturation and high fidelity, The uv printing result effect is incomparable with that normal printers. UV flatbed printer with fast production speed so it appropriate for large batch Personalized production.

UV flatbed printer can print on dark appropriate with a special white ink. With the varnish ink technology it can print uv varnish on materials.

The materials can printed include: decorative panel, wood panel, acrylic, ceramic tile, wall-paper, glass, aluminium alastic board etc.. So that we can ensure product quality to meet customer demand. be of construction decorative industry refreshing with the advent of uv printer. In the print craft the uv printer has a great advantages. The uv ink can printed on any materials, no need the cost of the printing plate.

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