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Folding Carton Sept/Oct 2011 

If you look around the carton industry for success stories, one common theme becomes apparent.  The companies that have chosen to specialise the service they offer have come off best in the current economic downturn.  Niche markets and those supplying them have, in general, been less badly hit by falling demand and shrinking margins.  In a packaging arena where added value is often crucial in clinching an order, the manufacturers supplying special technology are much in demand.  Nick Coombes visited a British company, Foiltone Ltd, to see how the growth in demand for extra finishes has kick-started business on an international scale.

 

Founded in 2005, Foiltone is the brainchild of Roger Preston, who for many years was Operations Director at CCA, one of the UK’s leading stationery manufacturers.  It was while working at CCA that he first became aware of the value of Cold Foil as an economic alternative to Hot Foil for product enhancement.  “We had a Cold Foil unit fitted to a six-colour Heidelberg Speedmaster 102 – it was one of the first inline applications on a sheet fed offset press in the country, and made an immediate impact on sales,” he commented.  Where hot foil was perceived as a premium process, and charged for accordingly, the development of Cold Foiling opened new markets where added value was important, but production speed and unit cost were also critical.

 

Although known in the narrow web market for some years previous, where press manufacturers like Comco had developed the technique for inline flexo production of folding cartons, the concept of an inline unit for sheet fed presses was slow to take off.  It is essentially a simple process, by which an ink-based adhesive is applied (printed) with a standard litho plate onto the sheet, while the foil is fed in and adheres to the sticky area.  Usefully, it requires no additional skills from the press operator, uses standard offset equipment, and foil to ink register is identical to the normal ink to ink working.  The remaining offset units can then be used to overprint CMYK and spot colours onto the sheet over the foil, to give a full range of colour options.  There is no need to stock coloured foils, which reduces inventory costs, and allows a better price to be negotiated on standard foil.

According to Steve Matthews, who heads up the sales and marketing at Foiltone: “It’s a win-win situation.”  For the printer, once the unit is purchased and installed, the on-costs are easily justifiable with a quick ROI, while for the customer, the added value with marginal added unit cost, gives a product with a much higher in-store impact that is quickly reflected in increased sales and improved market share.  “The Brand Managers love it because it gives their product differentiation, and the printers love it because it’s simple and relatively inexpensive,” he said.

 

The major sheet fed press manufacturers have realised the potential for the process, and both Heidelberg, with the FoilStar, and manroland, with the Prindor, have developed systems of their own.  What sets Foiltone apart, is its ability to design and custom build units for any make of press, and retrofit them.  Matthews explained: “Clearly the OEMs will design and build for their own technology, and prefer to supply the unit as an ex-factory fit.  This not only limits the breadth of application to one make of press, but largely rules out retrofitting, especially to older machines.” 

 

Foiltone claims it has never built two identical units, because each installation has posed different questions, whether they be size, accessibility, make and age of press, or performance expectations, the latter being determined by the press itself.  Most of the Foiltone units installed to date have been B1 format, with the occasional B2 machine, but Matthews sees huge potential in the B3 market.  “Just think how many B3 format presses are still in operation,” he said, “and they are under real pressure from digital engines, so need to add value.”

 

What the printer likes most is the ease with which the Foiltone unit is integrated into the production programme.  Make ready is fast, because it’s simple, and there are no special tools or dies required, which means no additional training is needed.  Lead times can be as short as straight printing, because, in general, the unit runs at full press production speed, making it ideal for short run work.  “This is a way of life to most carton converters these days, and is unlikely to change,” commented Matthews, adding: “we even offer foil saving features and multi roll options, so there is no limit to the area of foil coverage available, and it’s all run off at printing speed.”

 

With high foil coverage and no limitation on the number of foils that can be used for each design, the marketing opportunities are almost endless.  The capability of printing type as small as 3-point, or reversing it out, and the option to print/foil quarter, half, and full tones, makes the process highly adaptable to a variety of applications.  “Our customers are converting cartons for industries as diverse as cosmetics, food & beverages, pharmaceuticals, and CD and DVD packaging.  But, the next market to embrace it will be luxury liquor, where we have successfully carried out tests on a whisky carton run off at 15,000 sheets an hour, ” said Matthews, explaining that in addition to lower labour costs, and the lack of need to buy and stock expensive foil boards, one of the main attractions is the in-house control that Foiltone offers its users, who no longer need to outsource foil work.

 

Not content with developing Cold Foil technology, Roger Preston turned his talents to another added value process, Cast & Cure.  This is revolutionary technology that applies an etched image into a UV coating.  The result is striking, appearing as a hologram effect on the sheet, without the use of a foil board or any metallised substrate, making it eco-friendly.  The use of UV inks and coatings also eliminates the presence of harmful VOCs.

 

Steve Matthews explained the concept: “Like the Foiltone Cold Foil system, we have designed Cast & Cure to be retrofittable to almost any sheet fed press.  It similarly requires no additional operator skills as it utilises existing technology and techniques.”  The hologram effect can be applied as a spot or a flood, and the film used is available in patterns that include high gloss, matte, and hologram effects.  Usefully, each customer can create his or her own proprietary design for authenticity, branding, and security applications.  “What is really attractive to carton converters is that the Cast & Cure film can be re-used many times through the press,” he added.

 

Unlike Cold Foiling, which has flexibility of location in the press line, Cast & Cure is the last process carried out on the press.  It uses a standard litho plate to apply a UV varnish to the sheet.  As this comes into contact with the Cast & Cure film, normally OPP or PET, the pre-etched image on the film is pressed onto the sheet where the UV varnish has been applied, and dried instantly by a UV source, leaving the hologram image on the sheet.  The film is then rewound and re-used.  Best effect is achieved if the process is carried out in a coating unit because of the volume that can be applied.  The sheet is then transferred as usual, and can be re-passed through the press to blank out any unwanted varnish areas.  “We have Cast & Cure running at 10,000 sheets an hour on a KBA 142, and the effects are sensational,” said Matthews.

 

Its production benefits are similar to those for Cold Foil: no additional tooling or skills required, litho registration, full press speed, and single pass processing.  All of which makes it ideal for short run work.  What it offers in addition to Cold Foil is the personalisation opportunity and the fact that it can be used as an anti-counterfeiting device.  “This is valuable in key product areas, like perfume and cigarettes, as well as in pharmaceuticals, where there is health risk,” explained Matthews, “but the big take-up at present is for toothpaste cartons, where the two main rivals are trying to out manoeuvre each other with striking new packaging effects,” he added.

 

One of the principle benefits of Cast & Cure over Cold Foil as a value added process is the cost advantage offered by the re-usable film.  Although initially around twice the price per square unit of foil, it becomes ever cheaper with each re-use, which can be up to 20 times.  “That makes a huge difference to the bottom line,” said Steve Matthews. 

 

The latest development has been the design and manufacture of an offline combined Cold Foil and Cast & Cure unit.  Available in formats from 50 cm to 145 cm, and with a speed of 5,000 sheets and hour, the unit features independent speed controls to allow the sheet gap to be adjusted for optimum film and foil usage.  With adjustable nip points, the unit can guarantee consistent lay down on a variety of substrates.  It has a safety chuck device for safe loading and unloading of rolls and can be supplied with an integrated UV light source.  Next on the drawing board is a table-top Cast & Cure unit, intended for the design studio or production floor.  It is seen as an ideal means of testing new concepts, and can even be used for very short run production.

 

Manufacture of Foiltone units is carried out at Stoke-on-Trent in the UK, but to add capacity, the company signed an agreement in 2010 with Sterling Toggle, a well-known international manufacturer of toggle hooks and chases, based in West Babylon, New York.  The new strategic partnership, which was the culmination of more than 18 months cooperation on machine installations, will see Sterling Toggle manufacture, install, and support Foiltone units for customers in the North American market.  One of its recent successes, in February 2011, was the sale and installation of a Foiltone Cast & Cure unit to a litho house in the mid-west, where a KBA 130 being used in premises with limited overhead clearance, required a bespoke low-level solution.

 

“We are proud of our international coverage,” said Steve Matthews.  “We use predominantly local area agents to source enquiries, and have recently appointed a new representative in India who has good market knowledge.  We see India as a huge potential market, along with the nearby Middle East, where we have recently installed a combined Cold Foil/Cast & Cure unit on a manroland press in Dubai.”

 

Elsewhere, the company has installations as far apart as Australia (Cold Foil on a Heidelberg), to the UK (Cast & Cure on a Komori), as well as the USA.  Most recently, following a successful sales tour, Foiltone clinched an order for a Cast & Cure unit from a carton house in Columbia that is using a manroland 700.  “And I’m hopeful of receiving two orders from Peru in the coming weeks, where the customer is producing high value multi-packs” he added.  Next in his sights is Brazil.

 

With the ability to retrofit its technology to almost any make and age of press, at prices between a third and a half of what the OEM’s charge for their own units, Foiltone believes it has universal appeal.  With little sign that market conditions are likely to improve for carton converters in the short term, the opportunity to add value without adding significant cost, would appear unique for this entrepreneurial operation.

 

 

Folding Carton Industry. May/June 2011

 

Continuing advances are opening the door for more innovative ways of using

holographic materials in packaging.

Glenn Wood of the International  Hologram Manufacturers Association looks at

some of the latest developments including one with eye catching appeal and another putting the seal

on effective anti-counterfeiting.

 

The Cast & Cure™ process is one of the latest innovations in holographic technology for

packaging applications, offering brand leaders another decorative option to make sure their

products stand out and catch the eye of busy consumers browsing the supermarket shelves. It

can also offer huge savings over the use of conventional holographic laminates – up to five

times more.

 

The technology, supplied by US-based Breit Technologies but originating from UK company

Foiltone Ltd, is a decorative coating process that integrates ‘casting’ and ‘curing’ techniques to form

a consistent high quality surface that can include ultra high gloss, matte and holographic

finishes on a variety of substrates. A UV curable resin is applied to the substrate

and the holographic relief pattern is pressed in to this from a reel of holographic film. The resin is cured under

UV light while in contact with the holographic film, which is then detached and rewound.

 

Cast & Cure is also environmentally friendly - using ultraviolet inks and coatings ensures there are no

undesirable and harmful VOCs and, additionally, can make packages more recyclable by eliminating the laminated

metallised films used in traditional holographic processes. The most significant benefit is this is all achieved at

a fraction of traditional costs.

Case Study: Gillette’s Holographic Effects Yields Sustainable Results

Posted: March 3, 2011, from the March 2011 issue of GCI Magazine.

When it comes to eye-catching packaging, Gillette is among the market leaders. The brand continued to reinforce its position when it worked with Diamond Packaging to achieve a metallized effect on the packaging for the launch of their premium Gillette Fusion® ProGlide™ shaving system.

Marketing Goals

Procter & Gamble, the owner of the Gillette brand, understands the role that packaging plays in it “First Moment of Truth" (FMOT) initiative, which considers in-store brand perception. The packaging for Gillette's Fusion ProGlide shaving system needed to deliver the “wow” factor but do so sustainably and without the use of metalized lamination, added costs or increased lead times

 

http://www.greenerpackage.com/database/converted_packages/diamond_packaging/gillette_fusion_proglide_shaving_system_folding_cartons

Diamond Packaging Selected as a Procter & Gamble Supplier of the Year


Rochester, NY, October 30, 2008 --(PR.com)-- Diamond Packaging was named a “Supplier of the Year” by the Procter and Gamble Company during P&G's first ever global Supplier Summit on October 15, 2008. P&G hosted the event with its 350 top global suppliers to discuss their continued collaboration for a sustainable future and to honor top performing suppliers.

"We are thrilled to have won this award," said Karla Fichter, Chief Executive Officer of Diamond Packaging. "Our partnership with Procter & Gamble is especially rewarding because of our shared commitment to innovation and sustainability."

"Suppliers of the Year" achieved this award by consistently scoring the highest in broad based quantitative and qualitative evaluations by P&G employees throughout the supply chain.

Diamond was recognized for providing superior packaging solutions for multiple products lines, including P&G's Gillette division (blades, razors), and Clinical Strength antiperspirants and deodorants. Diamond has also been instrumental in the success of several P&G product launches, including Gillette® Fusion™, Gillette® MACH3®, and Venus®.

"Our suppliers are critical partners in helping us bring innovation to life, manage our costs and improve productivity," explained P&G's Global Product Supply Officer Keith Harrison. "With the current global economic uncertainty, strong relationships with suppliers are more important than ever to achieving P&G's sustainability goals and supporting the company's growth today and going forward."

Lexicon: Tools and tricks

Barney Cox, PrintWeek, 21 December 2010

Thanks to an impressive, ever-expanding armoury of techniques and technologies, print still has the power to create a stunning product where other media fall down, says Barney Cox

Future foil
Foiling is another way of adding polish, but it’s been restricted by the speed of production and the set-up cost. For jobs where added sparkle would be nice, but the absolute and undeniable quality of hot foiling isn’t required, new options are emerging.

One example is the cover of this supplement, produced by Manroland using its Prindor inline foiling system. This and similar systems such as Heidelberg’s Foilstar and the Foiltone system use two units of an offset press to apply cold foil.

The first unit applies glue using a standard plate and the foil is transferred in the second unit. The foil can be overprinted with colours and varnishes. Applying process and special colours enables a wide range of effects and metallic colours to be produced without having to hold inventory of coloured foils.

Other options include metallic ink, or to combine a mirrored board with white ink where the white is applied in the areas that you don’t want to appear metallic.

This approach opens up metallic effects to digital print, for short runs and personalisation.

Being able to easily produce metallic work is only half the battle, the creative community needs tools that make it easy to design for, including visualisation and proofing. Color-Logic’s Process Metallic Color System delivers that regardless of how you add shine on press with plug-ins for Adobe Creative Suite and Quarkxpress.

Printers using the system provide samples/marketing materials produced using their machines, materials and working conditions. The start up cost for the software is a under a grand. The benefit of all these approaches over conventional foiling is that the results are produced during the print run, keeping down cost and time. Machines such as Epson’s Stylus Pro WT7900 and Roland DG’s Versa UV’s and metallic capable eco-solvent inkjet machines make it possible to proof too.

 

FIRST IN U.S.

TOINSTALL

FOILTONE

SYSTEM

By Jackie Schultz

 

Folding Carton Industry. March/April 2010

 

The new cast and cure system will help this award winning Folding carton plant expand its market and differentiate its products.

 

In keeping with its tradition of embracing new technologies and processes, Diamond Packaging in Rochester, New York, has added an in-line cast and cure system from Foiltone Ltd, a UK-based supplier of in-line cold oiling systems.

 

This is the first installation of its new generation of single unit, dual-purpose machines. Foiltone’s cold foiling systems were first introduced in 2007.

 

The Filmtone C2 cast and cure system is an adaptation of the company’s core technology. The new generation of machines are single tower, using one unwind and one rewind shaft. Differential shafts are supplied as an option for printers wanting to run multi webs, according to Roger Preston, Foiltone Director.

 

“The new systems are lower priced, with improved software and mechanical features, and demonstrate fully the Foiltone commitment to product development and cost-effectiveness,” he says.

 

Diamond Packaging installed the system on a seven colour 40-inch Heidelberg 102 press. The system will allow Diamond to expand existing markets, says Dave Rydell, Vice President, Corporate and Global Technical

Development. “It’s an enhancement to some processes that we’re already doing,”

 

The Process

 

Cold foil is the application of a foil in solid and/or half tone, in litho register directly to the sheet prior to printing. Cast and cure is the micro-embossing of an uncured varnish after printing and prior to curing. The cold foil system requires special foils supplied by all leading manufacturers as well as a suitable adhesive applied via an ink duct. For cast and cure, a casting film, also available from numerous sources, and a duct varnish is necessary.

 

The two processes can be run independently but not simultaneously. Typically, the cold foil system is installed on the second print unit with adhesive applied on the first. The cast and cure system is on the coater, with varnish applied by the last print tower.

 

“Filmtone brings in-line the cast and cure technology that has previously only been possible off press on expensive, stand-alone equipment,” Preston says.

 

The process is performed after all the ink has been laid down. It uses either a UV duct varnish that is applied with a standard lithographic printing plate onto the substrate, or varnish applied through a coater. The UV varnish comes into contact with the casting film and the image of the film is pressed onto the substrate. Where the UV varnish has been applied the image is transferred. The UV varnish is then dried through the film, creating a holographic effect onto the printed sheet.

 

The casting film is then rewound automatically, as it is able to be re-used several times.

 

Filmtone systems are engineered and designed for retrofit to existing offset lithographic printing presses with UV capability. The process is performed at print speed and in litho register. The process utilises standard printing plates and the printer needs no additional skills to operate the system.

 

“With Filmtone, you are able to apply a spot or flood varnish with holographic effects,” Preston says, adding that the casting film is available in a variety of stock holographic patterns including high gloss, matte and various holographic images. “You are also able to create a proprietary design for authenticity, branding and security applications.”

 

The cold foiling process and the Filmtone C2 process both use the same core web winding equipment and control systems. “The Filmtone process has the additional benefits of having all the enhancements and

additional features that have been incrementally included into the Foiltone product over several years. These include the single tower design, the touch screen controls, differential shafts for multi core processing, web saving features, and increased web roll capacity,” Preston says.

 

Product Differentiation

 

Rydell says installation of the Filmtone system affords Diamond an opportunity to gain a competitive edge in the marketplace. “We try to do a lot of innovative things to help our customers differentiate their products on

the shelf. Foiltone had a good design. We liked it because it’s inline.”

 

“The company ethos of supplying in-line solutions for one-pass processing as a retrofit on all sizes of litho presses from the major manufacturers remains,” Preston says. “Orders are now being manufactured

for a KBA 142, a Roland 700, and both 74 and 102 Heidelbergs.” The units are also being fitted for cast and cure work.

“The rewinding system is accurate enough to allow up to a dozen uses of the same roll of film. This particular application is attracting great attention from printers and print buyers alike,” Preston says. “In the past

this has been an off-line operation, requiring additional equipment and labour, now it’s possible in-line at normal press speeds.”

 

Foiltone currently has more than 20 cold foiling systems in production worldwide.

 

 

Sunday, February 24, 2008

World-first in large-format cold foiling © Graphic Repro On-line, 18 February 2008

OFT Foiltone, the British manufacturer of the Foiltone litho cold foil application system, claims a world first with a system fitted to a six-colour KBA Rapida 162 press in Italy.

Said John Hopkinson, Sales Director, 'There were significant technical challenges which had to be overcome to produce a system which would operate at normal press speeds with a foil width of over 1600mm. We are now the only company in the world who can offer systems on all sizes of press, irrespective of the manufacture.

"We have now retrofitted several makes of lithographic presses with the Foiltone system, including KBA, Komori, Mitsubishi, Heidelberg and MAN Roland, and has its systems operating successfully in Europe, the USA and Japan.

Hopkinson further reported, 'Since introducing litho cold foil application to the market several years ago there have been significant developments in foils, adhesives, inks, including UV inks and coatings as the manufacturers of those products have seen their market opportunities multiply. This in turn has lead to significant advances to cold foil application techniques which have now become of interest to print sectors not previously associated with foil stamping. Our principle growth area is in the commercial print market where previously foil had been rarely used.'

Further developments include systems to allow several rolls of foil to be run across the width of the press and 'Foilstop' which only allows foil to run when the foil pressing section of the press is in impression. Both of these systems save significant amounts of foil over other applications.

Friday, January 05, 2007

Cold Foil Technology: Opening New Markets

Inside Finishing Technology Focus
November-December 2006

The cold foil process is no newcomer to the industry of glitz and shine; in fact, it’s been around in the rotary, narrow-web industry for quite some time. However, like most technologies, the process has become more stable as the technical know-how, equipment, and materials utilized have become more sophisticated. Advancements in consistency, adhesion, substrate compatibility, and speed have opened doors to a broader range of foil applications across a variety of markets – markets that otherwise may never have considered foil a viable option.

The growth and technological advancement of the cold foil process, particularly with recent developments in the sheet-fed lithography arena, have left many wondering how the process works, for what applications is it best suited, and in what markets is it penetrating?

Flexography Present day, primarily label converters with rotary web-fed flexographic UV technology use the cold foil process. “They tend to be more focused on the prime label market,” states VP of Sales and Marketing Bob Witte, API Foils. “These labels usually contain high-end designs for health and beauty aid products that often use foil stamping as a quality enhancement.”

In the early days of cold foiling, cationic UV adhesives were used in the process (and before that, water- and solvent-based adhesives). This required a UV dryer to activate the adhesive and make it tacky just prior to the introduction of the foil. “This method proved inconsistent since the level of tackiness achieved varied to such a degree that the foil print quality was erratic,” explains Witte. “It was not until the introduction of free radical UV adhesives, along with the technique of activating the adhesive through the foil after it has been nipped, that the process became more robust and accepted as a bona fide production method.”

Today, rotary web-fed cold foiling requires only one unit and is very versatile in nature, with the ability to be applied before the printing, after the printing, and in any design configuration desired. The cold foiling process has several advantages over hot in the web-fed format. The primary benefit is speed. In most cases, cold foiling runs twice as fast as hot foiling. This is because the UV-activated adhesive allows the foil to adhere much faster than a heat-activated foil. “We (API) have several customers that do both hot and cold rotary foiling and are achieving speeds of 400 feet per minute with cold as opposed to only 200 feet per minute with hot,” states Witte. “Although many people feel that hot foil gives a higher quality and sharper appearance, cold foiling has established itself as an excellent medium for overprintable and high volume label applications.”

Progressing beyond the cold foil retrofit units, flexographic machine manufacturers such as Mark Andy/Comco, Nilpeter, and Gallus have integrated the cold foil process directly into their flexo printing presses. “Some systems, such as the Mark Andy XP5000, come equipped with a cold foil unit that can be slid into any print station, thereby offering even greater flexibility,” states Michael Rivera, vice president of sales – cold foil division with AMAGIC Foils.

Lithography Beyond the flexographic arena, recent innovations in utilizing the cold foil process with sheet-fed lithography are entering the market as an alternative to metallized board. This offset technology utilizes a tacky adhesive that is applied in the first printing head. The foil is then nipped to the adhesive and the carrier stripped away leaving the foil covering the board where required. “Specially formulated foils have been designed to work with this system,” Witte explains. “These foils also must be overprintable, since the subsequent printing heads apply the ink on top of the foil all in one system.” Heidelberg and MAN Roland have developed cold foil equipment for this process, which are specific to their own presses, while OFT Technology has developed the Foiltone™ cold foil system (distributed in the U.S. and Canada by American International Machinery) that retrofits to most printing presses.
The ROLAND InlineFoiler Prindor, winner of the PIA/GATF 2006 InterTech Award, can be installed on any recent vintage ROLAND 700 press – MAN Roland’s 41-inch model. Heidelberg’s FoilStar™ modular cold foil technology is utilized with the Speedmaster® CD74 and Speedmaster® CD102 printing presses. And as previously mentioned, OFT Technology’s Foiltone™ system will retrofit to most printing presses and can utilize both conventional and UV-curable adhesives. As with all cold foil technology, no stamping dies are required and makeready times are greatly reduced compared to conventional hot foil stamping processes.

All three systems are installed in the first and second printing units of the press, and can be used for regular offset printing when the cold foil units are not engaged. In the first printing unit, the areas of the substrate where foil is to be applied are printed with a special adhesive ink via the inking roller system using a conventional printing plate. In the second printing unit, the blanket cylinder presses the foil onto the areas of the sheet covered with the adhesive ink. The unused foil remains on the carrier layer, which is rewound by the rewinding station, typically mounted above the third printing unit. In this printing unit and subsequent ones, the areas of the sheet not covered with foil can be printed with absorption-drying inks. Lithographic printing blankets are manufactured with differing degrees of hardness (compression) and the choice of blanket will have an effect on the finished foil look. “If a textured material is being used, it would be normal to choose a blanket with a lower compression than one which may be chosen to foil onto a hard surface, such as plastics or a cast coated board,” explains Sales Director John Hopkinson, OFT Technology Ltd. “The half tone effect of foil also is partly determined by blanket compression in conjunction with the smoothness of the substrate.”

Cold Foil – Attributes and Limitations The application of cold foil on the lithographic sheet-fed press should be viewed as an extension of the use of foil to embellish the printed surface. Applications exist that will always be hot foil, a middle area which could be either hot or cold, and a new area which is most definitely cold foil. The main difference between the two processes from a technical point of view is that hot foil is stamped into a surface while cold foil is laid onto a surface. “This principal difference does lead to a different look, the beauty of which is in the eye of the beholder, or more factually, in the eye of the designer – as this process puts another tool at the designer’s disposal,” states Hopkinson.

The look that is attainable with hot foil is very well established and recognized. The look that is attainable with the litho application of cold foil is less understood; however, many of the same printing effects can be achieved with the cold foil process as with ink.

The ability to produce large, solid areas of foil with no gassing issues; small, reversed out areas of type as thin as .05mm in thickness; and the ability to produce foiled half tones are definite attributes of the cold foil process. Furthermore, textured substrates (such as a linen stock) retain their texture after foiling, thereby offering further design opportunities. Printing multiple colors of foil at the same time, decreasing registration issues, and allowing for the use of substrates not suitable for hot stamping are additional advantages.

“More and more (flexo) packaging applications are requiring thinner films that tend to be heat sensitive. Applying heat to these substrates through the hot stamping process can cause the material to distort,” Witte explains. “The cold foiling method not only allows thin films to be foil stamped but also, forms a basis that will let the foil actually shrink or expand to a small degree without cracking.”

Additionally, running speeds, stamping die costs, and makeready times are all decreased or eliminated with the cold foil process. “Cost is a key factor,” states Witte. “Since adhesive is applied with an inexpensive polymer plate, the cost to changeover to multiple print formats is minimal. The opposite is true with hot foil. The cost of rotary tooling is relatively very expensive and can be prohibitive.”

On the other side of the coin, cold foiling on sheet-fed presses has its limitations and is not suitable for many applications where hot foil stamping would excel. First of all, foil usage is one-to-one with the substrate. In other words, the foil pull must run the same length of the substrate and cannot be indexed as with the hot foil process. This would not be an issue if the image(s) to be foiled, for example, either occupied most of the sheet or at least a large, solid portion of it. However, if the foiled image(s) is positioned only at the top or bottom of the sheet, or perhaps both, the hot foil stamping process would be a much better option and more cost effective.

Second, the cold foil process is more suitable for coated stocks than dry, porous stocks. And although foil companies continue to make improvements to the cold foil construction so that the technology will work on a wide variety of substrates, including porous paper stocks, the hot stamping process far excels on these types of substrates. Third, the cold foil process is a flat application only and cannot be utilized with combination stamping and embossing.

Finally, the brilliance achieved through the hot foil stamping process is like none other. For many high-end applications, this may be an important factor. However the key point to be made about the cold foil process is that it is not replacing the hot foil process but instead, is being utilized to penetrate markets where previously, foil was not a viable option. “Yes, there can be a difference in brilliance,” explains Rivera. “But when you’re foiling thousands of labels for shampoo bottles, people don’t know the difference. All they know is they now have the ability to apply foil to their product in a cost effective manner.”

Foil Growth – A Win/Win Situation The cold foil process also has made its way into digital technology with manufacturers such as Omega and Rotoflex, where cold foiling can be added in the converting end of the press. However, as Rivera points out, “These processes are limited in the types of stock which can be utilized (namely film stocks and not laser stocks), as well as the size of the runs (under 10,000 labels). Anything greater would not be cost effective.”

A look at the cold foil movement today shows the greatest concentration in the narrow web flexo label market. “Tomorrow, add narrow web flexo small cartons,” predicts John Thoma, Kurz Transfer Products. “Down the road, we will start to see more and more sheet-fed operations for greeting cards and folding cartons. Eventually, it will even make it onto in-line hi-speed rotogravure printing, such as gift wrap or cigarette cartons.”

So, what does this mean for the foil stamping industry at large? “Greater exposure!” exclaims Jeff Peterson, executive director of the Foil Stamping and Embossing Association (FSEA). “An increase in foiled product in the marketplace equates to greater visibility overall. And if one product has foil, why can’t another?” Once hooked on the eye-catching draw of foil, it is hard to go back.

Witte concurs, “As a foil manufacturer selling to both the hot and cold foil markets, I have not sold cold foil to one customer for an application that otherwise would have been hot foil stamped. The cold foil process should not be viewed as a replacement to the hot foil process but more accurately, as an opportunity to expand the use of foil into markets otherwise untouchable by foil.”

Education starts in the marketplace. If designers see foiled product on the shelf, they become curious and start to ask questions. Eventually, they become more familiar with the process and in turn, become more comfortable with designing with foil. “So whether utilizing the cold or hot foil process, the news is good for the industry as a whole,” concludes Peterson. “It’s a win/win situation for all.”

 
Monday, January 29, 2007

Product of the week

PRINTWEEK
18th January 2007.

OFT Foiltone - Product of the Week

OFT Foiltone has made die-less foiling more convenient and cheaper for sheet fed Printers .

By Karen Charlesworth

Even in the 21st century, when value-added processes have become a desperately sought means of protecting margins, and holograms, embossing, die-stamping, personalised print and lenticular images have become almost commonplace, good old foil is still capable of lifting a piece of print into the premium bracket. But foiling isn’t a cheap means of adding value. It is not the cost of the consumables – these aren’t cheap, but they do show a good return on investment – it is the process that adds the pounds.

To foil a sheet means investing in a foil-stamping platen or rotary cylinder and finding space for it on the factory floor (both of which demand a certain throughput to justify the investment). And for each job, foiling means adding extra turnaround time, a few extra sheets for spoilage, plus extra manpower to handle the pallets before and after. There is also an expensive investment to be made in the dies that stamp the foil on to the sheet.

Well, that’s what it used to mean. But not any longer, because sheetfed printers who want to foil can now invest in a unit for their press that can handle the entire process inline. OFT  Foiltone is a clever device that takes up two press units (or a unit plus the coater, depending where you put it) to give die-less cold foiling at the speed of the press. In a single stroke, this eliminates the need for floor space, extra handling time and the cost of dies.

Rapturous reception

Foiltone is the brainchild of Bruce Podmore, owner of greetings card printer Windles Group, who was looking for a way to cut the costs of the offline added-value processes that Windles was adding to its range.

Podmore set up OFT (Offset Foil Technology) in 2005 to market his invention to other printers, and the reception since its launch in January 2006 has been rapturous. As OFT sales and marketing director John Hopkinson says, unsurprisingly, “it seems that Windles is not the only sheetfed printer looking to radically reduce the cost of its foiling”.

While the concept of Foiltone is simple, the machine itself is not. Some extremely clever engineering has gone into its design, coupled with a good few years’ testing. It works by using the first unit of the two it occupies to print a pattern in adhesive, and the second unit to nip the foil on to the adhesive. It is a standard cold-foiling process, as opposed to hot-foiling, which uses heat to activate the adhesive coated on to the back of a reel of foil. The cold-foil process uses a separate glue, which is still tacky when the foil is pressed on to it, using pressure but no heat.

An image is printed in glue on the first unit, using a standard offset plate imaged in a normal way – this is how the process avoids using dies. After being printed with glue, the sheet passes out of the first unit and into the second. Standing over the second unit is a foil unwind that uses a direct-drive servo to feed foil down into the unit, around the blanket cylinder and exit it at the back, where it is rewound on to another axle mounted over the unit.

No mechanical connection

The way that Foiltone controls the foil’s speed and tension is simple but clever. There is no mechanical connection between the press and the foil, but the foil matches the press’s speed automatically. On its journey into the unit, the foil web runs around a swing-arm – essentially a roller that is allowed to move through an arc. The shaft on which the swing-arm is mounted holds a digital encoder that senses the foil web’s movement and starts up the servo motor controlling the unwind. When the press reaches a constant speed, the swing-arm returns to a ‘datum’ or reference position, and the encoder sets itself to a speed to match the press. The beauty of this is twofold: first, the unit doesn’t slow the press down at all, but simply mirrors its speed; second, it is not connected to the press, meaning that when it is not in use, it is extremely fast and simple to disconnect (the foil gets wound back on to the unwind, and the adhesive in unit one’s ducts is washed up).

OFT has worked with German adhesive manufacturer Henkel to develop a glue suitable for printing offset. Hopkinson explains the characteristics of the glue: “First, we wanted the facility to print halftones in foil, so we were looking for a glue that had very little dot gain. We also wanted it to stay open for long periods, and to be cleanable by standard offset cleaning fluids. Basically, we wanted it to behave as much like an offset ink or varnish as possible.” There is also a UV glue available that makes use of a curing lamp mounted interdeck after the second unit to cure the glue behind the foil.

The foil has also been developed by OFT, in conjunction with German manufacturer Kurtz. It consists of a Mylar backing, a release coating and a top layer of aluminium. The release coat has a ‘shear factor’ that has been judged so that the tack of the adhesive shears the foil precisely, and the remaining foil remains on the Mylar backing. Both foil and glue are about 10% more expensive than standard cold-foil equivalents, but Hopkinson is confident that costs will come down when more users come on stream.

One of the drawbacks of Foiltone is that, at present, there is no way of indexing the foil to the substrate. In other words, for the length of a sheet going through the unit, the same amount of foil is pulled – so if only a small area is being foiled, a large amount of waste gets rewound. “If you have just got a small area of foil every sheet, you are better off keeping the job off-press on a platen or cylinder,” says Hopkinson. However, the Foiltone unit does come with two unwinds and two rewinds, so two webs of foil can be run, and up to four can be fitted on a single Foiltone device.

Skill required

If the printer is printing on a wide variety of substrates, a small degree of skill is needed to judge the set-up of the Foiltone unit. Hopkinson explains: “If you are printing plastic with a smooth surface, you would choose a hard blanket with little compression. If you are foiling a textured board, where the surface has pits and lumps, you would choose a blanket with some compression to allow the foil to be pushed down onto the surface and conform to it.” But in general, the make ready is simple, with foil being threaded through the roller train in inching mode and then mounted, and the air pressure driving the swing-arm being set. It takes about 20 minutes in total, according to Hopkinson.

Foiltone can be fitted to any standard offset press – OFT has installed them on Heidelberg, Komori, KBA and MAN presses – and units have so far been made for B1 and B2 presses. The device is most usually fitted to the first two units of the press, because laying the foil down first gives the printer the unheard of opportunity to single-pass print over the top of the foil, giving a range of metallic colours. The process is reminiscent of MetalFX’s eponymous process, but Hopkinson says “ours is much better, vibrant and resilient because we are using proper foil, not a metallic silver ink”.

Such is the attraction of the on-press foiling concept that within a year of Foiltone becoming commercially available, Heidelberg and MAN Roland launched their own versions. Of the three remaining, OFT operates an original equipment manufacturer agreement with KBA, supplies units to Komori, and is in negotiations with Mitsubishi. “It is an idea that has caught everyone’s imagination,” says Hopkinson. “It is a great-looking result, adds superb value and is quick and easy. What more could you want?


Specification

Max size of sheet to be foiled 1,020x740mm

Max substrate thickness as for the press

Max speed as for the press