acimac handbooks - edition 2015/2016

A C I M A C

HA

ND

BO

OK

2016E D I T I O N

Digital Glazing

and Decoration of ceramic tiles

A C I M A C

HA

ND

BO

OK

2016E D I T I O N

Images from the conference "Digital Glazing and Decoration of Ceramic Tiles", 2015 edition

© Copyright ACIMAC, Associazione Costruttori Italiani Macchine Attrezzature per Ceramica

Via Fossa Buracchione 84 • 41126 Baggiovara (MO) • Italy • Tel. +39 059 510 336 • www.acimac.it

Edito da S.A.L.A. srl • Via Fossa Buracchione 84 • 41126 Baggiovara (MO) • Italy • Tel. +39 059 510 108

In collaboration with:

The series of Acimac Handbooks de-voted to digital decoration technolo-gies is being expanded this year with the sicth publication which focuses on the latest technological innova-tions introduced in this specific seg-ment.

Produced in cooperation with the magazine Ceramic World Review, this edition of the handbook will be available at all the leading tra-deshows for the sector in 2016 and can also be downloaded free of char-ge from the page devoted to Acimac technical manuals on the website www.tiledizioni.it.

The aim of the Acimac handbooks is to promote knowledge of technologi-cal and process aspects of the ce-ramic industry through publications that are straightforward and easy to read but at the same time offer exhaustive and detailed coverage of key issues. The ceramic technology supplier companies have supported us in the-se efforts by making their expertise

Introduction Fabio Tarozzi

available and providing the texts.

Given the enormous interest in the theme of “Digital Decoration”, and today in the new field of Digital Gla-zing, right from the very first edition of the handbook in 2009 it was cle-ar that we would have to provide an update at least every two years. In the end, the reality of the situa-tion has prompted us to make an-nual updates. There are two main reasons for this: firstly, ceramic digital technology is evolving at a rapid pace and has se-en the emergence of new market players (machinery manufacturers, ink and service suppliers); secondly, the already large-scale use of cera-mic digital printing systems in much of the world is forcing tile producers to broaden their knowledge of availa-ble technologies and of the potential for further optimising digital cera-mic production. The enormous interest in these is-sues was much in evidence at the 7th Annual Meeting on Digital De-coration organised by Acimac on 25

November 2015, which was atten-ded by some 450 technicians and professionals from the italian cera-mic industry.

This new Acimac Handbook contains several of the contributions presen-ted at the conference as well as fresh material provided directly by sector companies operating in the fields of colour management, digital glaze and ink supply and inkjet prin-ting machine construction. We feel certain that it will make an important contribution to the knowledge of industry professionals in Italy and abroad. We are also convinced that research in this field will continue steadily and will bring further advances in the ne-ar future.

Fabio TarozziAcimac Chairman

Fabio Tarozzi

Colorobbia Digital Space: a step towards the future of ceramics ..........................page 2 Esmalglass-Itaca: developments in digitalisation of the ceramic tile production process ....page 6

Inco Quick Stain .............................................................................................. page 12 State of the art of System’s full digital process .............................................................. page 14

Ceramic tiles: a strategic sector for Durst and the state of the art.......................... page 18

Innovative line for decorating large sizes ............................................................................ page 24 On-demand digital printing: everything you need, nothing you don’t ............................. page 26 Art for creation, technology for reproduction ..................................................................... page 28

Contents

2 . Acimac handbooks - 2016 Edition

Colorobbia Digital Space: a step towards

the future of ceramics

tiles through to monoporosa and porcelain, followed more recently by the advent of digital decora-tion.Colorobbia offers its customers

Throughout its 90-year history, Gruppo Colorobbia has played a leading international role in the technological evolution of ceramic tiles: from double and single fired

integrated solutions that combi-ne outstanding aesthetics with a unique capacity to manage both materials and the industrial pro-cess.

by Angelo Onorato

theads for digital glazing;• New printers and printheads for

dry digital applications.

The result is Colorobbia Digital Spa-ce, a complete and well-balanced range made up of five different fa-milies:

• EHP (Extended Hydrophilic Proper-ties) Series - Pigmented inks and effects

• ETR (Extended Temperature Ran-ge) Series - Pigmented inks and effects

• SPS (Special Particle Size) Series - Special-effect inks with special particle sizes

• HQ (High Discharge) Series - En-

In step with the constant deve-lopment of digital technology, Co-lorobbia has developed and steadily expanded its range of products for digital decoration and glazing in col-laboration with various players in the ceramic industry. Some of the highlights of Colorob-bia’s research in recent months include:

• High-productivity printers with multiple bars;

• New types of higher performance printheads capable of achieving discharge rates of up to 200 g/sq.m and handling inks with larger particle sizes;

• New printers and valve type prin-

gobes and glazes for digital gla-zing

• DDA (Digital Dry Application) Se-ries - Materials for dry digital ap-plication.

Colorobbia’s fully integrated solu-tion includes Digital Space series products based on meticulous ae-sthetic research along with glazes, grits and all other materials that make up a tile. It devotes the utmost attention not just to individual products but to all aspects of tile production. It is the perfect combination of all these factors that brings the best aesthetic results at competitive costs.

COLOROBBIA DIGITAL SPACE

strength. In particular, the spe-cial-effect inks can produce tones, textures and surfaces with unique and exclusive effects.

The ETR and SPS series include a wide range of pigmented inks and special-effect inks that combine high stability with excellent colour

The ETR series of pigmented inks comes in a wide range of colours, in-cluding 3 different blues, a reddish brown, a yellow, a black, a beige, a

SERIE ETR E SPS: COLOURS AND EFFECTS

Acimac handbooks - 2016 Edition . 3

reddish beige, a pink and a gre-en. To meet the different needs of the market, Colorobbia recently introduced three new inks which expand the colour space that can be produced using the EHP series. These new additions are Honey,

Mango Yellow and Carbon Black.

Within the ETR and SPS series, Colorobbia has also developed an extensive array of effects that can be used either individually or in combinations to produce a gre-

at variety of innovative surfaces.This “multilayer” concept paten-ted by Colorobbia opens up a wide range of possibilities and fun-ctions, allowing tile producers to attain a high degree of customi-sation.

In addition to traditional effects (glossy, matt, white and sinking), Co-lorobbia has also developed a series of inks capable of creating highly unusual effects.One example is the Hydroactive ink which can be applied over a glaze to create a splendid relief effect based on the well-known characteristic of

water repellency. Another innovative ink that fits in very well with the “multilayer” concept is the Multifunction ink, which not only serves as a support and interphase but can also create a high-gloss sur-face and considerably increase the colour intensity of certain pigmented inks.

By applying a sequence such as “Glaze - Pigmented inks - Multifunction inks - Silver/Golden”, it is possible to crea-te a very wide range of metallic tones, from metal, silver and copper through to bronze. The current range of effects is con-stantly being expanded and developed by the Colorobbia R&D department.

A few examples of effects

ranges.During the various development steps of the “multilayer” concept, Colorobbia has used its expertise to develop a number of functional pro-posals. We can look briefly at two of these proposals in particular and discuss

One of Colorobbia’s key goals is to study all aspects of the ceramic pro-duction process in order to integrate products for digital application with conventionally applied products. This goal can be achieved by develo-ping a model that allows for complete integration of the different product

their advantages and disadvantages:

• Option A: an application line with multiple printers

• Option B: an application line with a single multi-bar printer.

» »

APPLICATION OF DIGITAL EXPERTISE: THE “MULTILAYER” CONCEPT


A) In example A, the central printer with the colours is of the same type that is currently used on the line. However, additional machines with a smaller number of bars have been installed before and after this printer.

These have been positioned at a certain distance to enable the ap-plications to dry, a precaution that can become very important in cer-tain situations.

The conventional guides used on glazing lines are insufficient to en-sure perfect alignment of a given graphic design or effect, so it is ne-cessary to install a device between the second and third printer that is capable of recognising both the

design and the incoming angle of the tile and sending information to the printer within just a few secon-ds so that the printing process can be adapted.

This enables the maximum dischar-ge capacity of the individual bars to be exploited and allows printers to be fitted with different types of printheads capable of creating spe-cific effects..

B) In example B, the multi-bar printer offers the advantage of perfect alignment, although in the case of overlapping inks care will need to be taken with the drying times of the various applications. Another potential problem with the use of a

single printer is that infrequently used bars may degrade as hot ti-les pass through.

In both option A and option B, the decision was taken to use just 4 colours in view of the tendency amongst many producers to reduce the number of colours (to 4-5 at the most) so as to free up bars and ena-ble effects to be inserted. In both situations, Colorobbia is per-forming industrial tests in real-life production scenarios so as to antici-pate potential problems and provide targeted solutions.

The multilayer concept reflects Colorobbia’s approach to digital

Examples of products created using the “multilayer” concept


used to test products with the va-rious printheads available on the market. The Colorobbia research and custo-mer support department also uses the best profiling software and analysis instruments, from a classic

technology, which involves develo-ping products that will be capable of combining effectively with glazes.In the pilot plant installed at the Colorobbia Technology Laborato-ry, plotters and industrial printers made by various manufacturers are

Eye One through to a spectral scan-ner. This enables Colorobbia to offer a highly professional service that not only studies the products to be delivered to tile manufacturers but also verifies their limitations and advantages in industrial conditions.

SUSTAINABILITY

Colorobbia has always sought to understand, control and minimi-se the environmental and health impact of its products, taking ac-count of all steps in its processes

and the ways in which its products are used in industrial conditions. This philosophy is transferred to all subsidiaries worldwide. Based on the results of the analyses and the

characteristics of the ink compo-nents, Colorobbia Digital Space products are not subject to ha-zard labelling provided the safety sheet instructions are followed.

HOW TO MANAGE THE EFFECTS

As mentioned at the beginning of this presentation, with the new higher discharge types of printhe-ads some of the effects will reach their saturation point at a low percentage while in some kinds of glazes the effect will not be visible at lower percentages.We now have a very good knowled-ge of the use of linearization and profiling systems for colour con-

trol, although these cannot be used for determining the way that these effects change on surfaces. Over the past few months Colo-robbia has been developing practi-cal solutions to a number of issues by experimenting with new tools for digital technology and testing them in industrial conditions.In recent years there has been a considerable increase in the num-

bers of graphic designers and Pho-toshop specialists working in the laboratories of ceramic tile produ-cers and glaze and colour compa-nies. Now, though, there is once again a need for ceramic experts capable of mastering textural and material effects and exploiting the creativi-ty that has always been a trade-mark of the ceramic industry.

COLOROBBIA AND THE NEW CERAMIC SCENARIO

Due to the introduction of large size tiles with surfaces that com-bine functional and aesthetic qua-lities, multiple digital applications are taking on an increasingly im-portant role. The expected rapid growth of this technology will enable ceramic companies to innovate in terms of

technology, logistics, management systems and competitiveness. Price is always a factor but must be combined with other important aspects. In particular, Colorobbia’s multila-yer concept will play an increasin-gly important role in responding to the technological and aesthetic

challenge. For this purpose, all our materials undergo constant deve-lopment to optimise the results achieved to date.

Although this is a big challenge with many unknown factors, Colo-robbia is already working on a so-lution.


Esmalglass-Itaca: New developments

in digitalisation of the ceramic tile production process

inkjet technology has brought grea-ter flexibility and improved warehou-se management, allowing producers to satisfy requests for increasingly small and differentiated batches of materials.Digital technology has grown enor-mously since 2008.It is estimated that out of approxi-

The introduction of digital inkjet technology has prompted one of the biggest changes in the history of industrial ceramic tile production, helping floor and wall tile producers create more diversified products and improve their position in the global market. In terms of the production process,

mately 9,000 glazing lines in opera-tion all over the world, the conver-sion rate from traditional to digital technology stands at about 72% (Table 1). This does not mean that all these lines operate entirely with digital technology but simply that they in-clude a digital decorating machine.

Table 1. The diffusion of digital printers worldwide

2010 2011 2012 2013 2014 2015

Digital printers installed during the year - 397 951 2,049 1,537 1,216

Total number of digital printers in operation

333 730 1,681 3,730 5,267 6,483

Conversion rate 5% 9% 21% 45% 60% 72%

Total number of glazing lines worldwide - - 8,000 8,400 8.800 9,000

Fig. 1. Decoration line conversion rate from traditional to digital in different countries

printheads, resolution, the quality of inks and machines, and so on), manu-facturers who today choose to adopt inkjet technology are in a much bet-ter position to decide which decora-ting machine and which colours are most suited to their needs. With today’s knowledge it is possi-ble to optimise all digital technology parameters to achieve maximum per-formance. It is hardly a surprise that the cera-mic tile producers who have benefited the most from digital technology are

In some countries such as Spain and Italy the conversion rate now stands at more than 90%. This trend indicates that digital technology has in effect become the dominant decoration method in the ceramic tile sector and is the technological segment benefiting from the greatest investments in terms of research and development. Compared to the early years of digital technology when there was still very limited awareness of its potential (there was a lot of discussion about

the ones that have succeeded in suc-cessfully integrating all components of the digital process (optimisation of glazes, use of colour management software, choice of correct colour configuration according to produc-tion requirements, etc.).

However, this progress in terms of technology and products prompts a new question: What can be done to further diversify finished products and make them more competitive in the global marketplace?

by Alessandro Ferrari


Esmalglass-Itaca has attempted to answer this question by using digital techniques to apply material with the ultimate goal of digitalising the entire glazing line. This fully digital process has nume-rous advantages, including improve-ments to the finished product, the production process and cost mana-gement. From an aesthetic standpoint, it is possible to obtain new finishes and textures and to synchronise graphic designs so as to achieve unique and very natural effects.

Production and management advan-tages include the possibility of:

• reducing or eliminating the defects that typically occur with conven-tional applications, which have limi-ted control over the physical pro-perties (density, viscosity, surface tension, particle size, etc.) of the materials currently in use;

• increasing the flexibility and speed of change of models;

• reducing prototype development times;

• reducing numbers of tones and consequently increasing produc-tion yields;

• reducing warehouse stock and consequently increasing the com-pany’s working capital.

After years of research and testing, Esmalglass-Itaca has developed two new families of products called Di-gital Effects and Digital Materials which create digitally applied mate-rial effects. These two families complete the Di-gital Inks range which for years has

been a point of reference in the digi-tal ceramic world.

Products in the Digital Effects se-ries are oil-based submicronic mate-rials (based on the same medium as the Digital Inks) and can be used with existing printheads. Due to their strictly controlled par-ticle size, these products maintain a very high level of stability in both the printing circuit and the printheads. This category includes materials that can be combined with conventional decoration techniques to create special effects.

Products in the Digital Materials series are micronic water-based ma-terials that can be used exclusively in new-generation printheads with high application weights (from 50 g/m2 to 800 g/m2). These products are

water-based and have a particle size of more than 3 µm. Thanks to this large particle size compared with submicronic pro-ducts, these materials create an authentic ceramic effect and can be applied digitally in the same quanti-ties as with conventional techniques such as bell applicators, flat screen printing machines, rollers and other devices. They are also significantly cheaper than submicronic materials, a criti-cal factor for industrial use with high application weights.

The Digital Materials range also includes the Digital Powders fa-mily, which consists of spray-dried powders, grits, grains, etc. with par-ticle size and flow properties suitable for application with dedicated dry in-kjet printheads.

DIGITAL EFFECTS

Table 2 shows the current range of pro-ducts, which can be used with most prin-theads on the market.

Tab. 2. Digital Effects range

White Reactive Glossy Matt Lustre Glue Metallised

8. Acimac handbooks - 2016 Edition

This means that when deciding to use Digital Effects to crea-te a product, it is important to make the right choice of glazes

The application weights that can be obtained with current printheads vary but are not normally higher than 50 g/m2.

these effects will be used with (i.e. conventional glazes or Digi-tal Materials).

GL1205 (effect used to produce hi-gh-gloss surfaces) according to the

The graph in figure 2 shows the behaviour of the digital effect Cik-

type of glaze applied to the ceramic substrate.

Fig. 2 Behaviour of the digital effect Cik-GL1205 according to the type of applied glaze

possible to duplicate the ceramic ef-fect. Correct use of materials that can be combined chemically allows for the creation of unique effects while at the same time reducing specific con-sumption of the material.

From the graph it can be seen that the Gloss level (expressed in GU) correlates closely with application weight and above all with the type of ceramic glaze that the effect comes into contact with. By using an appropriate glaze it is

This is an advantage not just in terms of consumption and aesthe-tics, but also from the standpoint of production as the printheads can operate in low stress conditions and will therefore require less mainte-nance.

Raw materials / Frits Pigment

High interaction Low interaction

High interaction Colour

Composition

Glaze

Firing


1 - White2 - Metallised3 - Lustre4 - Glue + Dry5 - Reactive

1 2

3 4

5

DIGITAL MATERIALS

the production benefits of digital technology.The Digital Materials family includes

As previously noted, Digital Mate-rials are micronic materials designed for use in new-generation printheads capable of applying large quantities of material (wet or dry).

They can be applied full-field either before or after decoration, and the design can be synchronised with the rest of the process to create effects reminiscent of those obtained with screen printing machines or rollers or to generate the kind of relief that would normally be obtained with a press mould. In short, it is possible to create any surface that can be obtained with existing methods while enjoying all

a range of options: matt, glossy whi-te, clear matt, satin matt, crystal-line, metallised and lustre.

Tab. 3 – Characteristics of Digital Materials

Dispersing

medium

Water

Water

Dry

material


6 - Crystalline7 - Clear matt8 - Application of a grit with Dry Inkjet9 - Matt

6 7

8 9

DIGITALISATION OF THE CERAMIC PROCESS

All compositions are optimised to improve technical and aesthetic cha-racteristics in keeping with today’s requirements while at the same time guaranteeing the maximum colour in-tensity of Esmalglass-Itaca pigmen-ted inks for combined use.Some examples of different setups for digitalising the glazing line are shown in figure 3 to give an idea of what can be achieved by combining

Integration of these diversified fami-lies of products (Digital Effects and Digital Materials) on the glazing line increases the potential for creating a fully digital ceramic production pro-cess. The various types of materials (mi-cro, sub-micron and powders) have been developed for application on any kind of product, including monoporo-sa, porcelain, double fired tiles, etc.

the various digital technologies.

To conclude, the Digital Solutions fa-mily from Esmalglass-Itaca not only performs digital decoration with pig-mented inks but also applies layers of material digitally, giving ceramic manufacturers and designers the opportunity to create highly differen-tiated products using a fully digital process.


Fig. 3 – Examples of digitalisation of the glazing line

Digital

powders

GLAZING LINE

DIRECTION OF TILE MOVEMENT

tile

tile

tile

tile

GLAZING LINE


GLAZING LINE


GLAZING LINE


Digital

powders

Digital

powders

12 . Acimac handbooks - 2016 edition

Inco Quick Stain

ries pigment particles are considera-bly finer and more uniform. These properties of Quick pigments result in an ink with a narrower par-ticle size distribution than a pigment deriving from a Jet Mill process. The image for Quick Yellow ICQ 10/Q110 appears to show a fused, spongy, almost sintered mass. In reality, it is an aggregation of pri-mary particles created by electro-static attraction between very fine particles, with average particle size values of around 600-700 nm.Due to their finer size and narro-wer particle size distribution, Quick technology pigments are most suited for the production of high-quality ce-ramic inks and provide the following advantages:

1) More intense colour. Narrowing the Gaussian grinding curve re-duces the quantities of the finest and coarsest particles, automa-tically increasing colour intensity.

2) Lower sedimentation and cre-aming. A more uniform particle size results in a reduction in sedi-mentation and creaming. The pro-duct remains rheologically stable for a longer period of time.

3) Greater colour stability. More uniform particles result in pro-duction batches with more con-sistent colour while maintaining

INCO Industria Colori has developed a specific range of ceramic pigments for the production of excellent quality inks in a short time and with conside-rable savings. The Quick Stain range is aimed at ceramic glaze and colour producers and ceramic tile manufacturers in-terested in starting up their own independent production of pigmented inks. The technical characteristics are a result of complete pigment reformu-lation, meticulous selection of the raw materials and a thorough review of the production process. Exploiting its more than 25 years of experience in the field of inorga-nic pigments, INCO has conducted a study aimed at developing a new series of pigments with significantly improved particle size and morpholo-gical properties compared to those produced in a conventional Jet Mill.The Quick Stain pigments have a par-ticle size distribution with an average value of 0.7-0.9 µm and a real d100 of below 3 micron measured from images made with a scanning elec-tron microscope, as well as particles of more uniform shape and size.Photos 1 and 2 compare pigments obtained with Jet Mill grinding technology (left) with Quick pigments (right). As can clearly be seen, the Quick se-

the same fire resistance. 4) Improved filterability. Quick pig-

ments have a more regular sha-pe, which is maintained even af-ter Ink Mill grinding. The particles therefore always have the same size at the filter.

5) Energy saving during grinding. Due to the very fine particle size, the narrow Gaussian curve and the controlled shape of the parti-cles, it is possible to reduce the grinding times by 30-40%.

6) Reduction in wear of the grinding media and the mill. The grinding media (spheres) and the mill lining (both of which are expensive) are used for less time.

7) Smaller plant investment. All the above-mentioned savings

lead to a reduction in investments in milling machinery as a result of the considerable increase in pro-duction capacity. This brings sa-vings of at least 30% for ink pro-ducers.

The Quick Stain range consists of 14 high-saturation pigments with a par-ticle size below 3 microns. They cover a wide gamut and enable ink manufacturers to supply a wide range of colours. Naturally, specific colours can be developed on request using Quick technology.

1 2

INCO INDUSTRIA COLORI SPAVia Montebonel lo 19/21 - 41026 Pavul lo (MO) T. +39 0536 51021 - www.incocolours. i t


State of the art of System’s full digital process

Creadigit owes its success to a ro-bust and functional initial design that has been adapted to custo-mers’ needs over the years while maintaining its unique identity. Cre-adigit has evolved with respect to the basic prototype, becoming lon-ger and wider and incorporating im-proved software and electronics. Its

The Creadigit digital decoration ma-chine produced by System now sets the standard in the ceramic digital decoration sector in terms of relia-bility, print quality and versatility. More than 300 machines were sold in 2015, bringing total sales to 600 in the 27 months since the machine was first launched.

potential has been steadily enhan-ced without sacrificing its characte-ristics of extremely high productivi-ty (in terms of both output and top quality yield), absence of banding due to clogged nozzles, and robustness of the hardware and software solu-tions. Creadigit comes in 7 different models:

by Rita Cagnoli

Creadigit

Creadigit Print width (mm): Max. number of colours Max. number of printheadsMax. speed at 400x400 dpi

(m/min.)

STD 710 6 11 40

E 710 8 11 40

XL 1161 6 18 35

XLE 1032 8 16 48

XXL 1355 8 21 25

XXL HS 1355 8 21 40

BS 1806 6 28 25

1. Optical alignment of the printhe-ads: System has a class 7 clean room where it assembles and ali-gns the print bars, allowing for ra-pid and extremely precise printhe-ad changing in the field without the need for realignment.

2. The optimised hydraulic circu-it (System patent): it has th-ree recirculation loops and ensu-res a good level of homogenisation of the ink throughout the machi-ne; the ink is kept in constant mo-vement to ensure that its che-mical and physical parameters remain unchanged. The very high efficiency of the circuit makes wa-shing the colour bars quick and easy.

3. The attention to construction de-tails ensures that the machine is easy to service.

Following investments in human re-sources, System has formed working groups with expertise in the field of inkjet technology and all components of digital machines. This ensures that Creadigit is kept at the cutting edge of technology with in-depth design of all components in-cluding mechanics, electronics, sof-tware, hydraulics, graphic design, in-ks, RIP and printheads.Creadigit is recognised by the mar-ket as an extremely high-quality ma-chine thanks to the following key cha-racteristics:

4. The fact that there are no unused nozzles minimises machine stop-pages.

5. The high degree of efficiency and professionalism of System techni-cal support.

6. Constant attention to the needs, advice and requests of custo-mers.

Creadigit’s design is evolving con-stantly, and modifications and upgra-des are always available. The result is an extremely reliable digital printer which functions with 100% of noz-zles in operation.

Creadigit’s success owes much to the longstanding use of the SG1024 printhead from Fujifilm Dimatix.The printhead is available in three dif-ferent versions according to the na-

Printheads

Printhead Model Native drop size (pL) Use

SG 1024-SC 10 Inks

SG 1024-MC 30 Inks/Materials

SG 1024-LC 80 Materials

SG 1024-SC SG 1024-MC SG 1024-LC


tive drop size. It has a resolution of 400 dpi, an in-ternal recirculation loop and a high-resistance metal plate, and can be completely reconditioned.

The SG 1024-SC type printhead with native drop size of 10 pL is de-

signed for high definition and sha-ding, and consequently exclusively for use with the colouring inks. The SG 1024-MC printhead, which has a na-tive drop size of 30 pL, is the most versatile and is widely used for ap-plying both inks and materials due to its discharge potential of up to 50g/

m2. The SG 1024-LC printhead is su-itable for materials for which the de-posit limits of the M version are in-sufficient. To achieve this, it is used with only 25% coverage of the de-sign, and in these conditions can di-scharge around 30% more than an SG 1024-MC printhead.

System has established a leadership position in the field of large size ti-le printing with the two versions XXL and BS, which have printing widths of 1355 mm and 1806 mm respecti-

vely. Demand in the large-format tile market is moving towards increasin-gly large sizes, so to be successful a printer must be designed specifically for these applications.

The two key requirements of high stability and excellent print quality have been maintained on these mo-dels of Creadigit, which are fitted with 21 and 28 inline printheads re-spectively. Digital decoration of large-format ti-les and panels is capable of creating stone-imitation effects and other kinds of designs with a maximum extension of 200 square metres, so each tile is effectively unique.

Quantities of ink/material deposited by various models of printheads

Creadigit BS

FULL DIGITAL LINES


Along with the two models of Creadi-git for large sizes, System has also developed full digital lines in which all stages in ceramic tile decoration are performed digitally, from glazing to fi-nal protection with two or more digi-tal machines. Synchronisation between the desi-gns of the different machines is cur-rently performed mechanically, but in the future System intends to launch a new high-precision centring sy-stem.To date a total of 7 lines with the

MultiCreadigit have been installed worldwide, most of them on large-format lines.System is in constant search of inno-vations and new machine functions, including the ability to discharge gre-ater quantities of material. For this purpose, it has developed:

1. a new printhead with supe-rior performance to that of the SG1024-LC,

2. a new “quantity” software fun-ction which allows printhead di-

scharge to be regulated with considerable ease directly in the machine, without having to either increase the print resolution or change the working waveform.

These are just two of the many new features that are continuously te-sted and implemented in the System laboratories. And just like Creadigit, System itself is constantly evolving with the aim of becoming more competitive, innova-tive and unique in the market.

Creadigit XLE


NOTE


Ceramic tiles: a strategic sector for Durst

and the state of the artcontributed to the success of the-se revolutionary 8-colour modular sy-stems, which in the space of just a few months have helped set new standards in the industry.

As Norbert von Aufschnaiter, Seg-ment Manager Ceramics Printing of Durst Phototechnik, pointed out at the 7th Annual Acimac Meeting held in Fiorano on 25 November, Durst Gamma XD is not just the most in-

The ceramic industry remains a stra-tegic sector for Durst, which in 2015 has strengthened its leadership role in the international digital tile deco-ration market with numerous instal-lations of new Gamma XD systems worldwide.

High image quality, sharp and well defined details, full, uniform colours and complete absence of banding are just a few of the factors that have

novative ceramic printer on the mar-ket but also the one with the highest approval ratings amongst customers the world over.

The latest-generation technology deve-loped by Durst’s R&D department and implemented on the Gamma XD seri-es sets these machines apart from all other printing systems on the market and marks a step forward compared to the company’s previous models.

by Norbert von Aufschnaiter

width, the delicate colour transi-tions and the natural, well-contra-sted details assured by the new ge-ometry of the printing modules. Furthermore, the adaptive drop po-sitioning system is able to com-pensate electronically for colour differences in patterns with solid backgrounds by creating drops of

Durst Gamma XD customers have been particularly impressed with the system’s quality. It delivers better performance than any competitor and ensures defect-free print results even with difficult designs and decorations. This is due to the maximum colour uniformity over the entire printing

different sizes directly on the noz-zle bar. Quality is also assured by the hi-gh-precision tile conveying and cen-tring system together with the new hydraulic and ink filtering system with volumetric filters that do not require continuous replacement of filters or pumps.

QUALITY

guarantee total stability of the noz-zles, even after long periods of inac-tivity. The exclusive thickness scan-ner with anticrash sensor allows

The high level of quality is matched by equally high production efficiency. The Gamma XD series printers are immediately ready for production and

for automatic printhead adaptation, avoiding line stoppages and minimi-sing the need for adjustments. This unique characteristic means

PRODUCTIVITY

Durst Gamma XD


RELIABILITY

The Gamma XD series is operated and maintained entirely by the machi-ne operator, a task that is facilitated by the minimal need for intervention during 24 hours of production. Ma-

nual intervention is not required to guarantee nozzle stability thanks to the new type of head cleaning opera-tion which is performed at long inter-vals (more than 3 hours) without ink

wastage, eliminating annoying leaka-ge of colour onto the conveyor belt. Added to this, the new and efficient ink hydraulic system does not require frequent filter and pump replacement.

the printer can operate with a ve-ry small distance between the prin-

thead assembly and the tile (1 mm), allowing it to reproduce details with

an exceptional degree of sharpness (photo 3).

Fig. 3. Durst Gamma XD Auto Thickness Scanner

PRICE/PERFORMANCE

One outstanding feature of the sy-stem is its excellent price to per-formance ratio, including extre-mely low support and maintenance costs (Total Cost of Ownership). The new self-calibrating printhe-ads have a much longer lifetime and can be replaced directly by the operator in just 11 minutes, op-timising production efficiency and minimising machine downtime. On restarting, the print quali-ty remains the same without the need for further mechanical adjustments. The new printing module geometry has also enabled the printhead selling price to be lowered significantly (photo 4).

Fig. 4. Durst Gamma XD Rapid Head Change

BEST PRACTICES


One practical example of a Gamma 98 XD printing system in operation is the one installed in Brazil on 10 April 2015. It has produced more than 2 million sq.m of tiles in just over 6 months, during which time support and main-tenance costs totalled just 483 eu-ros without the need to replace noz-zles, filters or printheads.

Fig. 5. Durst Gamma 98 XD installed at a Brazilian ceramic company

FLEXIBILITY

Durst Gamma XD is also a market le-ader in terms of flexibility thanks to the innovative DM – Digital Material Printing Technology option, which al-lows effects to be printed using spe-cial materials with a discharge of more than 100 g/m² per bar. This is an essential function for the purposes of creativity and deve-

lopment of highly innovative designs. The innovative conveyor and centring system allows for double-row prin-ting and high productivity even on very small surfaces, assuring excel-lent results on any kind of tile..

a) Right and left handed versions produce perfectly identical re-

sults in terms of both colour and definition, even when chan-ging operation on site.

The fact that the sequence of bars and the entire transport system remains unchanged guarantees very rapid inversion times without affecting prin-ting results (photos 6-7).

Fig. 6 .Durst Gamma XD Left Right hand Operation


b) Double row printing with rapid system for centring and switching from double to single row ope-ration without the need to ma-ke further settings. Double row operation allows for completely independent printing with either different or identical designs (in terms of both size and image) on both rows. This makes it possible to operate two machines in one (photos 8-9).

c) Job preparation and the print queue can be handled directly on the machine or in the laborato-ry by means of the Durst Gamma PrepStation, which is able to ma-nage one or more printers simul-taneously and perform status mo-nitoring (photo 10).

Fig. 7. Durst Gamma XD Left Right hand Installation Line2

Fig. 8/9 . Double row printing Fig. 10 . Durst Gamma PrepStation

RAPID AND COMPLETE SOFTWARE

The simple and intuitive software of-fers numerous opportunities for se-lecting operating functions quickly and without wasting time.

Examples include colour correction, multiple random functions, remote control of printing and machine pa-rameters during printing phases, ex-

trapolation of printing and stati-stical data, rapid file loading and image storage on 3 disks in a RAID array.

TOTAL SYNCHRONISATION

All Durst Gamma XD systems can be perfectly synchronised amongst themselves and with printers from

the previous Gamma series, ensu-ring maximum print quality by sepa-rating decorations and special effect

printing. Gamma XD systems are al-so equipped with software for syn-chronisation with Durst Gamma DG

(Digital Glaze) for centralised control of the entire glazing and decoration

process. This innovation revolutionises tile production by optimising the pro-

duction process, increasing efficiency and minimising waste (photos 11-12).

NOTE


Fig. 11. Durst Gamma XD Synchronization

Fig. 12. Durst Synchronization Gamma HD-Gamma XD


Innovative line for decorating large sizes

In particular, the Continua+ line of-fers exceptional opportunities for full integration between the various digi-tal decoration techniques, including those that can be performed dry pri-or to pressing and subsequent inkjet applications of inks and glazes.This simple, compact and flexible solution combines low energy con-sumption with the ability to create large sizes with outstanding techni-cal and aesthetic qualities.The Continua+ line performs the following steps in the production of

The recent introduction of Conti-nua+ marked a major step forward in the industrial production of ex-tremely large size ceramic tiles and panels and laid the foundations for new plant engineering solutions.Unveiled in a standard configura-tion at Tecnargilla 2014, numerous lines have now been installed and are giving excellent results in terms of sizes, thicknesses and textu-res, combining perfectly with the outstanding potential of Italian ce-ramic design.

fashionable large-format tiles and panels:

• use of one or more DDD (Digital Dry Decoration) machines for dry deco-ration with spray-dried powders of coloured bodies and glazes;

• tile forming by means of the PCR2000 compactor using steel belts which are either smooth or surfaced with the desired texture;

• high-definition inkjet decoration using the wide range of available DHD printers.

by Dante Biserni

.psd graphic files for each colour bar on the DDD dry decorating ma-chine;

• 360 dpi (high definition) greyscale .tif files for creating the texture on the belt by means of a patented digital resin-coating process;

• 360 dpi (high definition) RGB .psb or .psd files for the DHD inkjet de-

To achieve full integration between the graphic designs and textures, the starting point is a source ima-ge, usually acquired in high definition using various acquisition techniques. From this image, three types of files are produced:

• 100 dpi (medium definition) .tif or

corating machine.

The really new aspect here is that an initial image can be used as the starting point for all stages in deco-ration, resulting in a fully digital line.The following devices use digital graphic information on the Conti-nua+ line.

DDD

The DDD is the only digital powder deposition machine available on the market. The use of this decorating machi-ne in the large-format tile forming stage creates a uniquely rich body that enhances the sense of depth of the finished product. Each machine can apply up to 4 colours in multichannel mode.

Continua+

DDD

Depending on the degree of cove-rage of the graphic design, each bar can deposit up to 1200 g of powder, granules, flakes and/or their mixtures.The materials are suitable for a wide range of uses in terms of flow rate, particle size and moi-sture content. The maximum useful dimensions


The continuous compactor, which represents the heart of the forming process, can be fitted with smooth and textured belts with a length of 7500 mm and useful widths from 1000 to 1900 mm. The belt change operation takes just half an hour.Furthermore, the thickness of use of the compactor can be adjusted very easily between 3 mm and 20 mm.

The resultant ceramic panels have excellent quality characteristics.For situations in which a texture is required, Sacmi has patented a belt preparation system with good surface quality. In this step the greyscale design described above is used. The texture file is transferred to the belt directly without the need for a die, so it is very faithful to the original.

PCR2000

The following digital inkjet decorating machines can be used for large-for-mat panels:• DHD1408 with max. decoration

width of 1390 mm, for a fired size of width 1200 mm;

• DHD1808 with max. decoration width of 1882 mm, for a fired size of width 1600 mm;

DHD

Each model can be fitted with up to a maximum of 8 colour bars for the application of inks and/or glossy/matt glazes, complete with proprie-tary electronics. Image loading can be performed in streaming, with ra-pid print job launching and ease of integration with different printing technologies.

of the designs are a length of 200 metres and a width of 1900 mm.

DHD

Large-format tiles and panels have outstanding aesthetic and tech-nical quality and can be sold at a higher average price while opening up new markets.This aspect has revolutionised the ceramic sector. From a purely aesthetic standpoint, the combination of different dry and wet digital decoration tech-

CONCLUSIONS

niques allows for the creation of products with a very natural look and feel.This makes it possible to go beyond a purely photographic re-production and achieve greater differentiation of ceramic tiles in the market.Continua+ technology today al-lows for fully digital production

of large-format ceramic panels, making it possible to programme every aspect of the process from shaping to decoration, diversifi-cation of sizes and management of finished products.This kind of approach is likely to become increasingly widespread in the ceramic sector over the next few years.


On-demand digital printing: everything you need,

nothing you don’t

Since taking its first tentative steps in the ceramic industry, the new in-dustrial process of digital decora-tion, which has revolutionised the production system, has become a universally acclaimed and establi-shed technology among entrepre-neurs. All diffidence is now in the past, and the stage is set for a period of fer-vent research into the new possibili-ties that digital printing has opened up, both in terms of streamlining and optimising processes, and en-hancing freedom of expression and stylistic research.

Since introducing its first digital printing units in 2006, Projecta En-gineering has played an active part in this evolution, and stood out for its vision and its ability to keep de-veloping new solutions to serve the day-to-day needs of ceramic manu-facturers.It has also continuously pushed back the boundaries of what’s possible, to create what we now know as the “digital decoration chain”.

This ability to generate digital de-coration solutions integrated into a single production chain is one of Projecta’s core strengths, because the company has always had a clear focus on minimising the dispersion of resources and technologies, for the specific purpose of increasing pro-ductivity.For many years, Projecta Engine-ering has been equipping the cera-mic industry’s leading glazing lines with digital machines that synchro-nise the various stages of the de-coration process on the basis of a unique graphic project (the Syncro 3D, unveiled at Tecnargilla 2012), using commercially available printing technology (Seiko, Xaar and Toshiba heads). This makes it possible to achieve ever higher performance in the delivery of inks, textural effects and even graniglia (the Dry-Fix ma-chine for digital graniglia application

presented at Tecnargilla 2014).

The definitive uptake of these con-cepts by ceramic manufacturers has now prompted Projecta to do some more thinking. What they’ve come up with probably runs counter to current trends, but it’s highly likely to generate a new conceptual and technological leap forward: “Are we totally convinced that production lines need all the in-dividual printing solutions they have, and if so do they need them all at once?”This question and the resulting re-search has spawned G5, or Gene-razione Cinque as its manufacturer calls it. This is not only a new machine, it’s an entirely new approach to deco-ration, which marks a milestone in the development of the concept of an “integrated digital decoration chain”. G5 is the first (and at present only) fully modular system that’s genu-inely tailored to the specific needs of each user, and capable of conden-sing the entire glazing process and all the digital technologies developed to date, into a single unit measuring just a few metres in length.

The most innovative aspect of G5 is its total flexibility: this is an entirely “open” digital decoration system, which allows you to install only what you need at the time of commissio-ning, while leaving almost unlimited scope for implementing additional fe-atures according to evolving produc-tion requirements or the emergence of new technological developments, such as heads, inks, etc.This total flexibility is a huge benefit for ceramic industry entrepreneurs, because it enables them to decide what to use, when to use it and how to use it, and thus to meter their economic investments accor-ding to their real needs.The most obvious analogy is that of the painter and his palette: from

by Vincenzo Palumbo e Angelo Montalti


countless different shades, the ar-tist actually chooses only the most suitable colours for the work he’s doing. In the same way, G5 enables ceramic manufacturers to decide which technology to use at any given time and how to use it.This flexibility has two practical advantages: firstly, it enables manu-facturers to make targeted, calibra-ted investments in what they need in the here and now; and secondly, it enables them to upgrade their ma-chines over time, according to their needs, their creative inspirations or technological progress.

G5’s modularity therefore overturns the traditional concept of digital de-coration, and puts the “Project” at the centre of everything, thus ena-bling manufacturers to stand out in the marketplace by creating entirely original effects.

The design of the machine is refined, right down to the last detail, and its composition, comprising a 1900 mm printing width and a 3.5 to 5.5 metre belt, is extremely simple and intuitive. G5 can operate with different types of heads, which determine both drop size and print resolution, and its printing speed reaches over 50 m/min. It can accommodate 8, 10, 12 or 14 colours thanks to the use of a series of fully independent modu-les that can be easily removed and repositioned to match your require-ments. Each module therefore operates as a self-contained printing unit that goes into standby automatically if left unused, thereby eliminating all possibility of wear, including passive wear. G5’s only fixed module is the ma-ster module, at the base of the belt. Equipped with an integrated moni-tor, it offers a full range of functions for interacting with the individual elements, and includes a single or double-row centring guide.

Below the master module, you can fit the innovative GScanner system for laser-operated automatic textu-re recognition, which enables you to synchronise the graphic printing with the punch, thus ensuring high performance. At the end of the belt, you can add the optional GVision module for con-tinuous in-line control of print qua-lity, which is capable of detecting production defects even on unfired product. Thanks to its Intelligent Vision sy-stem, GVision doesn’t simply flag up a warning, it enters into a dialogue with the machine, which can thus run an automatic cleaning cycle and then print a test: if the problem does not recur, the machine resu-mes work with full autonomy; if it does recur, various alarm systems are triggered until operator is aler-ted.

The overall aim of Projecta’s Rese-arch & Development work is to de-velop product technologies geared towards the continuity of the ma-chines themselves; and the deve-lopment of G5 is no exception. Not only is it based on a combination of the highly successful features of the Evolve series printers, but it also brings various advantages to existing lines, which thus benefit from the improvements introduced on the G5, while integrating with it to deliver even better results. The entire Evo series can be upgra-ded with the new, higher-performan-ce user interfaces, and enhanced with the GVision and GScanner mo-dules. Alternatively, as in the case of the Hybrids, they can mount the many different models of heads of-fered by the various manufacturers.


Art for creation, technology for reproduction

petition. However, creativity must be backed up by technology in order to proceed rapidly from a prototype to an industrial model and then on to production.

Art, taste, aesthetics and experien-ce are all aspects of the creative process adopted by the Italian cera-mic industry in its efforts to keep a step ahead of the international com-

This presentation will therefore di-scuss art and technology during the various phases of a product’s lifecycle from conception through to production.

by Antonio Maccari

ART FOR CREATION CREATING FOR INNOVATION AND PRODUCTION

Natural stone, wood, metal, ge-ometric shapes… anything can be used to create new aesthetic solutions. It takes taste, imagination and a creative spirit to stand apart from low-cost competitors and to maintain high added value. But creativity must go hand in

solutions for the creative pro-cess, Macs Tech supplies simple and effective instruments to ce-ramic laboratories solely for me-asuring the production process, determining the feasibility of production and evaluating costs before producing a single physi-cal piece.

hand with technology, so the va-rious design assumptions must be measured and verified in an ef-fective and reliable way. The concept of measurement is important because measuring a phenomenon is essential for being able to control it. Without attempting to provide

TECHNOLOGY FOR REPRODUCTIONREPRODUCTION: A COMMON PROBLEM

The problem of reproduction - whe-ther at a later time, on different prin-ting platforms or following a change in operating conditions - is common to many industrial sectors, including publishing, artistic printing, textiles and consumer product packaging.Back in 1993 a group of companies in the graphics and printing industry formed the International Color Con-sortium (ICC) with the aim of crea-ting, promoting and encouraging the use of a standardised colour mana-gement system independently of the specific acquisition, display or prin-ting devices used. The first result was the definition of a profile (now ISO 15076), followed over time by a series of de facto international stan-dards which for example made it pos-sible to produce an identical copy of an original document after acquiring it with an RGB scanner and printing it on a CMYK printer. The standards cover the print substrates, the il-luminants, the observer’s position, CMYK inks and colour targets. The-se standards served as a springbo-ard for developing the hardware and software which along with real-time

they ended up offering 8 colour bars or more.

• There are no standardised sub-strates and in fact coloured gla-zes are often used to integrate the gamut of available inks.

• When using more than 4 colours and consequently more than 4 co-lour planes, the colours are not di-splayed correctly on the monitor. This makes it impossible to make visually verifiable corrections.

Added to this are the limitations of the manual or motorised target acquisition instruments. Motorised instruments are more reliable and faster, although they are only able to acquire samples up to a maximum thickness of 10 mm and maximum width of 300 mm. A solution was found thanks to the pragmatism and adaptability typical of the sector, but involved considerable time, effort and cost. The most widely used me-thod can be described as “try and try again”. The procedure involves performing a series of test runs, conducting visual checks and then modifying the graphic files according

production control are needed to maintain the necessary stability or to rapidly modify the operating para-meters if this stability is lost.

Reproduction in the ceramic industry

Although terms such as ICC, profi-les, CMYK and rendering intents have become familiar in the ceramic indu-stry in recent years, they are often used incorrectly because the princi-ples on which ICC standardisation is based do not adapt well to the cera-mic production process. The following are a few examples of the difficulties involved:• CMYK ceramic inks do not exist.

The leading glaze and colour pro-ducers offer between 8 and 10 or 12 different colours in order to obtain a reasonable gamut, which nonetheless remains very distant from the CMYK gamut on a paper medium.

• The printer manufacturers star-ted out with just 4 colour bars thinking that they would be able to use exclusively CMYK colours, but


REPRODUCTION: APPROPRIATE TECHNOLOGY IS NOW AVAILABLE

latter for the operations involved in returning products to production.

Reproduction: KeraOne®

KeraOne® was created to adapt spectral acquisition systems to the specific needs of the ceramic indust-ry and to automate the colour target reading process. KeraOne® is based on one of the most widely used colour chart reading systems in the world (i1iO with i1Pro 2 spectrophoto-meter), integrated with proprietary mechanical, vision and processing solutions. As can be seen in figure 1, KeraOne® rests directly on the tile

An awareness that the standards and tools used in other sectors can-not be applied to the ceramic indu-stry led Macs Tech to develop a set of specific tools for this sector, in-cluding high-density colour charts, spectral scanners for the acquisi-tion of originals and colour charts, instruments for scanning colour charts, and software for modelling production processes, performing virtual test runs and automatically adapting printing equipment. These systems are suitable for suitable for both the research and production de-partments, the forming for verifying the feasibility of prototypes and the

without the need to cut it and wi-thout thickness limitations. Positio-ning is guided by the vision system, which identifies the reference points and guides the operator in finding the ideal position. Thanks to the new software drivers developed by Macs Tech, KeraOne® can read standard targets, ECI 2002 and high-density proprietary colour charts. In this case the colour charts include con-trol information (barcodes) so as to automatically analyse and memorise the colour chart colorimetric data. KeraOne® is also portable and fits in a case compatible in size with hand luggage limits set by airlines.

1 - KeraOne®

2 - Tavolozze

to the graphic designers expertise. After this, new test runs are perfor-med and so on, although the outcome

is often only an approximation to the target. If the production line, printer, inks, sizes or nominal firing parame-

ters have changed, the operation will be even more complex and the final result may not even be achievable.

1

tion line with the correct tones (fig. 3). The files for the equipment (B) are read and analysed to produce a specific colour chart, called DiPS (C). The DiPS image is superimposed on one of the faces of the product to be chosen by the operator and is printed and fired on the line du-ring normal production. The DiPS therefore serves as the

Reproduction: preparing data

Data preparation is the first step in the process of automatical-ly adapting the graphic designs and involves creating conversion data. This step is in turn divided into three phases:

PHASE 1: This is performed at the moment when a given product (A) is produced on a specific produc-

“digital signature” of the produc-tion batch.

PHASE 2: the DiPS is read and measured using KeraOne®.

PHASE 3: the measured DiPS is able to convert the files for the original printing equipment into a standard representation of the product. By its nature the standard is in-

2


dependent from the production line and will be used when resuming pro-duction in order to automatically

A B

adapt the printing equipment to the new operating conditions.

When the production plan requires a new batch of products with an exi-sting code, the operations are extre-mely quick and simple:1. The mathematical model of the

proposed line is loaded2. The product standard is loaded3. Adaptation is performed.

The entire procedure is performed using a very simple user interface and results in new print files being created and saved.

Three kinds of results are produced in this phase:

1. Informative: for each face the system provides an evaluation of similarity expressed as a percen-tage of the image that can be pre-cisely reproduced by the target process and of coverage expres-sed as a percentage of use of the inks. The evaluation is expressed

Reproduction: the use of data

The standard generated in phase 3 (data preparation) is used when re-suming production to automatically adapt the print files. The mathematical model for the cur-rent process adapts the print files in accordance with the standard.Companies adopting the Macs Tech system produce a colour chart and measure it on each production line at established intervals (for example every 4 hours).

The colour chart has the following functions:

• measuring colorimetric data;• creating a database of measure-

ments that will help determine the state of progress of the process;

• maintaining a constantly updated mathematical model of the pro-duction lines.

both analogically, using colourer icons (green=ok, red= not pro-ducible, yellow=to be verified), and digitally, with an indication of the percentages of similarity and coverage. The parameters of acceptability that determine the thresholds and consequently the colour of the icons can be preset and modified by the operator.

2. Operative: binary files with the correct number of colour planes, with the correct resolution and a size that takes account of shrin-kage.

3. Control: with an additional face for the DiPS, which therefore acts as a digital signature for the outcome of adaptation.

The generated files are in TIF or PSD format depending on the number of colour planes and can be subsequen-tly processed by means of widely used graphics programs.

NOTE

Fig. 3 - Preparing data: Pahse 1

C

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