What’s now called embellishment or special effects used to be a group of purely post-press operations. These included lamination, spot or flood varnishing and foiling (hot or cold). Other eye-catching things have always had to be done in or on the press – if you wanted metallic colours you had to use a special ink or print on a metallised substrate; the same applied for fluorescent or other special colours.

Digital print has blurred those boundaries, bringing a number of ways of achieving the same or ‘close enough’ effects, combined with the flexibility and minimal set-up requirements characteristic of digital print. These also split into in-press effects and subsequently-applied effects.

Before looking at these in detail, it’s also worth noting that a sustainability argument is emerging for digital embellishment as an alternative to more conventional processes. This comes from Scodix, which makes stand-alone ‘embellishment presses’ (distributed in the UK by Friedheim) that can apply a wide range of decorative effects to printed sheets, with full digital flexibility in each.

Scodix carried out a lifecycle assessment of its digital foiling options which found that compared to conventional hot stamp foiling, its version reduces CO2e (CO2 equivalent) by 85%, fossil fuel usage by nearly 85%, and water consumption by 80% per B1 sheet. The study, carried out by EcamRicert, and Mérieux NutriSciences Companies, compared the enhancement of a single B1 sheet through to 100,000 B1 sheets using Scodix foil (175g) versus traditional foiling methods.

That’s only one of the options that Scodix offers and there’s no indication given that any of the other supported techniques offer comparable advantages. However, like any other form of digital printing, it seems likely that overall wastage of materials and energy is likely to be lower simply through the ability to only print or finish the number required.

The main argument in favour of these types of effects though is that they add impact to printed products and therefore margin to your work. Some you can only do if you bought the right press, though they could also be a factor in choosing a new one. There’s an increasing number of toner presses that offer additional colours which may include clear ‘varnish’, white, fluorescent and metallic colours, though usually only one or sometimes two at a time.

Plus-one – or more

Machines that offer a fifth colour include Xerox’s iGen line and Ricoh’s Pro C7200, also sold by Heidelberg as the Versafire EV (and about to be replaced by the Pro C7500, though we’ve not seen any specification for this yet). Kodak’s Nexpress and Nexfinity models could do this too, with options over where in the laydown sequence the fifth colour went, though both are now discontinued. Moving up to six colours brings in the popular Xerox Iridesse, and the more recent Fujifilm Revoria, while most HP Indigos can handle up to seven colours, though of course click charges go up in proportion with all extra colour presses. Xerox also offers a conversion kit for two-pass printing on its entry-level PrimeLink C9065/C9070, which potentially allows the use of up to eight colours, albeit with a complete change of toner cartridges between passes.

The exact choice of extra colours varies by manufacturer, but in addition to white – for use on coloured or transparent substrates – and clear – used to create flood or spot varnish effects – fluorescent or ‘neon’ colours are offered, particularly pink and sometimes yellow. These can replace or be mixed with their standard CMYK equivalents to expand the colour gamut for more eye-catching effects. A few offer metallic toners too, which again can be printed solid or mixed to provide novel colours and finishes.

After the event

Post-press options are more about foiling, spot varnish and various creative lamination processes, often in combination. A good entry-level choice here is foil-over-toner, a two-pass method that uses ‘real’ foil in a laminator like Vivid’s Matrix models or those from Caslon, Foliant (sold via IFS), Komfi (from Friedheim) or Autobond. Similar options also come from GMP and Intec, now part of the Plockmatic group.

An entry-level option for foil-over-toner is Vivid’s Matrix, seen here at a trade show

In these, the initial colour print is first laminated with a clear film, then printed again with the foil pattern in black toner on top of the film, before a second pass through the laminator transfers the foil to the partially melted black toner. It’s a more labour-intensive process but it works with a very wide range of foil types and doesn’t require special consumables.

Then there are the fully ‘digital’ embellishment devices that offer spot UV and/or foiling in a single operation. This category includes devices like Duplo’s B2 DuSense 8000, which is offered in various configurations providing spot UV, digital foiling or both, including a pre-treatment option for expanding the types of print that can be handled. It’s also possible to build up textured ‘3D’ effects with multiple passes, which the smaller B3 DuSense 810 also supports. An alternative is the B3+ Konica Minolta AccurioShine 3600, which uses technology from MGI, in which Konica Minolta holds a significant stake. It too can produce ‘dimensional’ effects.

At the top end of the digital embellishment market are the ranges from Konica Minolta/MGI and Scodix. These are dedicated industrial production devices that offer UV varnish and foiling, with Scodix offering a particularly wide range of foils and finished effects, while MGI’s line goes up to B1 sheet size in the form of the print-and-embellish AlphaJet that was formally launched in October 2022. Kurz is another player at the industrial end of the scale, having bought Steinemann, whose inkjet varnish and foiling systems it was already marketing as Digital Metal. These include the sheet-fed B2 DM-Smartliner for 2D flat varnishing and foiling and the DM-Maxliner for raised and textured effects.

Whether you’re just ready to dip a toe into digital embellishment and cautious with the investment, or know that you’ve got a ready market for it but need to be sure it’s good enough and fast enough to meet your customers’ needs, there should be something to suit and help your work shine.

Preparing files for embellishment

All digital embellishment processes require ‘artwork’ to control where the effects are applied. Usually this means creating additional layers in the originating applications and/or print PDFs, though some vendors offer DFE-based tools to create embellishment guides or colour substitutions from standard PDFs on-the-fly.

Andrew Bailes-Collins of Ultimate Technographics, which makes imposition, nesting and ganging software, has written a handy guide to preparing generic PDFs that should process correctly through most embellishment vendors’ DFEs and thus avoid some of the common pitfalls that require manual reworking in the prepress studio.

Called PDF Creation for Digital Embellishment, it covers the use of spot colours, layers, knock-out and overprint and choice of correct versions of PDF for hand-off. It’s available free from Ultimate Technographics’ website.

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The Pro C7500 is compatible with the extended toner range of its predecessor, which was launched in 2018. These include white, clear, invisible red, gold and silver toners. The new press features new built-in neon colour profiles that can automatically add neon yellow and neon pink to the standard CMYK set in order expand the colour gamut.

The press employs an elastic intermediate transfer belt that enhances printing on rough or uneven textured media. It can handle a wide range of weights from 40 to 470gsm (compared to the maximum recommended weight of 360gsm for the C7200/x) and has been strengthened to support duplex-printed long sheets up to 1030mm, allowing for additional applications such as light packaging, greeting cards and wedding stationery.

It is also equipped with the brand-new Ricoh Graphic Communications Operating System (GC OS). The newly developed engine controller is said to bring efficiencies in device use, plus ‘intuitive and simple’ operation of machine settings. Remote access, via a web browser from a PC or tablet, supports streamlined operation in environments where print operators are required to perform numerous tasks. New functions can be added via software updates.

New too is a DFE developed in collaboration with Fiery, claimed to drive operational effectiveness. Additional printing efficiencies and labour-saving functions have also been introduced to reduce time spent on maintenance and to support real-time troubleshooting; these include quick and simple changeover of complete units for special colours and improved operator-replaceable units to speed routine maintenance.

Simon Isaacs, national director, Ricoh UK Graphic Communications Group, said, ‘The launch of the new Ricoh Pro C7500 is a testament to the innovation our teams continue to deliver within the print industry. Through a robust development phase, we have been able to evolve our existing proven technologies to tackle some of the key print industry challenges. This next-generation press will unlock new creative and versatile print production capabilities and will empower our clients to optimise their business efficiency and enhance their return on investment.’

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The move is said to underscore Image Data’s commitment to innovation, automation and customer satisfaction. In addition to the Iridesse’s productivity features such as 120ppm print speed, the additional colour options allow imageData to offer an array of additional colours including white, clear, silver, gold, and fluorescent pink, all of which can be mixed with the regular CMYK, to bring increased vibrance and depth to printed work, as well as opening doors to more creative possibilities for its clients.

Jason Vivian, Image Data’s operations director, commented, ‘Our investment in the Xerox Iridesse not only signifies our dedication to remaining at the forefront of print technology, but also our commitment to adding value to our clients’ projects.

‘By delivering a broader spectrum of colours and enhanced automation, we are poised to expand our market presence and offer our clients a truly unparalleled printing experience. Image Data’s new venture with the Xerox Iridesse marks an exciting chapter for the company and further cements our status as an industry leader.’

Nick Bridge, general manager, Xerox Production, added, ‘Image Data’s true investment is not only in the press but in the wider Xerox ecosystem, which includes support, training and business development. The Xerox Iridesse is a revolutionary digital printing technology that offers an expanded colour range and is driven by highly advanced automation features, setting a new standard for print quality and efficiency in the modern era.’

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The company serves a range of clients, from councils and other local government bodies to businesses and charities, producing items from business cards to 500,000-run colour leaflets and magazine work but there was felt to be a need to offer something different and to create extra capacity.

‘The timing was right for a change in press. The print industry is changing, and we are always looking to give our customers the best print options. By adding a five-colour digital press to our fleet, we believe we are doing this, and are very excited to see what products we can create,’ said Gareth Rylands, print manager at H&H Reeds.

‘I expect productivity to remain constant to start with,’ he noted, ‘then begin to grow as we start to offer more products. The addition of the extra colour means that we now have a great set of options to offer to our customers.

‘We are very proud of our long-standing relationship with Heidelberg, which gives us industry-best tools that allow us to produce the highest quality print products for our customers. This is why we continue to invest in their quality machinery and technology.’

The Versafire EV’s CMYK capability is complemented by a choice of fifth colour, which can be white, clear varnish, Neon Yellow, Neon Pink, Invisible Red, gold or silver. The press runs at up to 95 A4 pages per minute, and handles stock up to 360gsm. It can print duplex banners up to 700mm as much as 1260 mm simplex.

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The guides cover each of the two fluorescent colours in each of two supported printing modes: source colour removal, in which a standard process colour is replaced by its neon equivalent, and overprint, in which the neon is added to CMYK mixes. The former yields a ‘cleaner and lighter’ range of neon hues, while the latter increases saturation of process colour mixes. The colour formulas specified in the guides can used to recreate the printed samples on the Pro C7200; more extensive creative options are available via the Touch7 software, as detailed in the July/August 2021 issue of Digital Printer.

Richard Ainge, founder and chief technology officer of Touch7, stated, ‘Every colour in these world-first digital neon colour guides uses a neon toner to produce bright, vibrant, punchy, results and extend the gamut of the Ricoh press. They range from deep saturated red colours, violets, and blues to subtle pastel shades. Their creation as a fifth colour file is simple and logical.’

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The 21-year-old company produces a range of work for clients in engineering, finance and the NHS, as well as publishers, conference and training providers, though the latter have been much less active during the pandemic. Its seven-year-old Xerox 1000 press was starting to show limitations in terms of colour quality, media weight and the ability to handle long-sheet work.

Managing director Rob Barker told Digital Printer that previous versions of gold and silver toner had been less than successful but that the versions used in the Iridesse are ‘completely changed’ and that the fluorescent pink is ‘wonderful – we can now hit oranges we couldn’t before. We have some clients with Pantone 021 in their logos and it helps with that’.

Mr Barker also adds that the 120ppm Iridesse brings better reproduction of photographic images as well as being faster, able to handle stock up to 400gsm and long sheets to 1200mm, and he says the front-to-back registration is ‘superb’. As well as marketing the fluorescent pink capability to clients over the coming weeks – one designer of wedding stationery is ‘very excited’ about this already – he is planning to add the silver toner to use as a spot colour for regular short-run business card work, which will also be foiled via a Vivid foil-over-toner laminator. The finishing department also includes a Duplo 646 cutter/slitter/creaser, a Watkiss Powersquare binder and Morgana Digifold and Power Master units.

Reduced business during the pandemic meant that two third of the company’s workforce was lost, but Mr Barker is confident that ‘we will come back, we will grow again,’ and that the new capabilities of the Iridesse will be part of that recovery.

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Part of what Xerox is calling a ‘Beyond CMYK’ strategy, the Adaptive Kit for the Versant provides three options: the Vivid Kit, which adds gold, silver, white and clear toners; the Fluorescent Kit, which adds fluorescent versions of magenta, yellow and cyan; and the combination of both. Unlike the Iridesse press which can print up to six colours in a single pass, the use of more than four toners on a job in the supported Versant models will require additional passes through the press.

Xerox is keen to stress the added value of using extra colours, citing market research suggesting that profit margins can be increased by between 50 and 400% via the addition of these embellishments:

‘The Versant CMYK+ Adaptive Kit delivers what print providers need – the ability to provide higher value offerings without major investment,’ says Marybeth Gilbert, vice president and general manager, Production Business, Xerox. ‘The Versant kit further expands Xerox’s market leading Beyond CMYK portfolio, providing our customers opportunity for digital print enhancements from large volume print shop to light production and into the office space.’

The kits are available immediately in EMEA and the additional colours are supported in the EFI Fiery digital front ends of the Versant 180 with or without the Performance Package.

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