IDC predicts that ink sales through 2021 will increase most for UV , followed by latex , and then dye sublimation .
Future developments for textiles will likely include more support for ‘ disperse dye ’ type inks , where the pigment adheres to the fabric
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aqueous inkjet ( 2015-2020 compound annual growth rates of 32 % and 26 %, respectively ). Other areas of wide format predicted to see measurable growth are UV- and latex-based technologies .
Similarly , an industry report earlier this year from the International Data Corporation ( IDC ), a global provider of market intelligence for the technology and communications industries , predicts that ink sales through 2021 will increase most for UV , followed by latex , and then dye sublimation . Aqueous and eco-solvent will be flat , or decrease slightly .
IDC predicts that ink sales through 2021 will increase most for UV , followed by latex , and then dye sublimation .
Solvents Solvent ink-based wide format inkjet printers are very popular – they offer durable inks that can be applied to the greatest variety of substrates . These inks use pigments suspended in solvents , and as a result are ‘ hazardous ’, and require facilities with proper ventilation . However , they can successfully be applied to lower cost substrates , and therefore offer an economical approach .
Suppliers continue to develop more eco-friendly solventbased inks , for example Epson ’ s UltraChrome GSX solvent inks were designed for use in their 64-inch solvent inkjet printers . They offer a larger colour gamut , including the use of white and silver for additional effects , and do not contain nickel or fluorine compounds . Epson claims they are ‘ virtually ’ odorless .
Dye Sublimation Dye-sublimation for wide format is growing in popularity due to its ability to image textiles , which is gaining popularity with applications for ‘ soft ’ signage , interior décor , and clothing . These can be produced using either transfer dye-sublimation , direct-to-fabric dye-sublimation .
Dye Sublimation works by transferring the image to a special carrier ( paper ), the solid colour particles are then changed into a gas ( sublimation ), using heat and pressure , and the colour then embeds into the fabric ( synthetic textiles such as polyester tend to work best ).
Newer developments offer a direct-to-fabric printing approach , bypassing the transfer paper . Mimaki recently released their new TX300P-1800B direct to textile printer , a 74 ” wide format printer . They have also developed a new series of propriety inks , both dye sublimation as well as pigment based , designed to enable a larger gamut , on a wider variety of textiles ( natural and synthetic ). Costs start at US $ 99 , 995 . As well , Dupont released their Artistri PK2600 Digital Textile Pigment Ink last year , aimed at the direct to textile market .
Future developments for textiles will likely include more support for ‘ disperse dye ’ type inks , where the pigment adheres to the fabric , as they can be more economical and require fewer steps in production .
Aqueous Aqueous-based wide format devices are popular choices for both the large format AEC ( architecture / engineering / construction ) and CAD ( computer assisted design ) as well as sign and display markets . Generally more expensive than solvent based systems , these devices offer high quality resolution and speeds , and are relatively easy to use and maintain . The water-based ink dries primarily by absorption into the substrate . Both dye-based and pigment-based inks exist , with pigment-based ones being more durable . Laminations , however , can be applied to extend end uses and longevity .
As Peter Dulis outlined in a Graphic Arts drupa recap , both Canon and Epson highlighted new aqueous based systems at drupa 2016 , ranging in sizes from 24 ” through 60 ”. Focused on the photo , signage , and display markets , these economical devices range in price from CDN $ 5,000 up to $ 10 , 500 .
Ultraviolet ( UV ) UV-based inks offer many benefits for different end uses in wide format markets . Once imaged onto a substrate , the ink is exposed to UV light that immediately dries it , to form a durable polymer film . This allows the inks to be applied to both flexible and rigid materials , at higher speeds than other options . The inks are generally less expensive than aqueous , and the resulting prints can be used outdoors without lamination or coating .
Many UV systems are set up for flatbed printing , and can therefore print on a wider variety of substrates with different thicknesses , curves and textures ( think ceramic , glass , metal , wood ….) UV can also be used to add textured finish effects to prints .
Future developments for textiles will likely include more support for ‘ disperse dye ’ type inks , where the pigment adheres to the fabric
The prices for these devices have been coming down for the past two years , and new devices , such as Roland ’ s VersaUV LEF series offer full colour , plus white and gloss with sizes from 12 ” to 64 ”, and prices ranging from US $ 18 , 000 to $ 90 , 000 .
UV LED Conventional UV inkjet printers use metal vapour ( metal halide ) lighting to cure the inks . As an alternative , Mimaki introduced the use of LEDs , starting in 2008 , and today many different UV LED printers are now available . These systems use less power , emit less heat , and generally last longer . The tradeoff is that
14 | November 2017 | GRAPHIC ARTS MAGAZINE graphicartsmag . com