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 machine, launched in June, is the first Konica Minolta-branded MGI product and uses digital ‘spot UV’ and foiling technology developed in the MGI JetVarnish 3D One. The press has been designed to offer special effects for the commercial printing, finishing and packaging industries, using the JetVarnish technology, including the AIS SmartScanner registration system. Also on the Konica Minolta stand at the NEC will be the 81ppm AccurioPress C4080, feeding print to the AccurioShine 3600.

Jon Hiscock, head of production at Konica Minolta UK, said, ‘Our centre piece will be the AccurioShine 3600 and we will take the opportunity to highlight our range of print embellishment and specialist finishing products that span SRA3, B2, B1 and web as well as our B2 cut-sheet Inkjet and workflow solutions.

‘The entry-level device enables users to add value to the print they produce and respond to market demand, because in order to survive and grow their customer base they need to expand their reach and products offered. Many are finding that it’s not enough to just offer fast turnaround, quality and low pricing. The AccurioShine 3600 is great for adding 2D and 3D gloss effects and Digital Hot Foiling tactile finishes. To take it another step forward, it also supports variable data printing, to add more impact to printed products, personalised packaging and labels.’

Konica Minolta will be based on Stand B17 at The Print Show 2022. The event will take place from 20-22 September at the NEC in Birmingham.

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‘Tests of the KernowPrint Metalik substrate with the Color-Logic process on HP sheetfed presses demonstrated a complete range of metallic colours and excellent reproduction of Color-Logic decorative effects,’ explained Color-Logic CTO and co-founder Richard Ainge. ‘A major benefit to printers is the Kernow Cobalt Coating Technology, which reduces static when feeding the sheets into the press. The combination of HP white ink, Color-Logic decorative effects, and Kernow substrate enables brands around the world to benefit from the large installed base of HP Indigo presses that use white ink.’

Color-Logic develops colour communication systems and software for a variety of metallic special effect printing applications. Its decorative effects utilise the existing workflows of printers and designers, yielding results without the use of special equipment.

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Despite the threat from online communications, print still remains one of the most effective ways of reaching out to people, whether that is through direct mail, brochures or even packaging and point of sale displays. This is partly down to the nature of the media – many people just find it easier on the eyes to read from a reflective medium like paper than a transmissive screen. But there are many ways to enhance the print experience, from using thicker, more luxurious substrates, with brighter, more vivid colours or even metallics, through to embossing or using spot varnishing to give a more tactile experience.

The trick of course is to invest in the right equipment to deliver these effects to justify higher prices, without significantly pushing up costs and affecting the bottom line. In the past, adding special effects to a job has meant using a further processing stage, either to run the sheets back through the press, or an extra post-press stage. But increasingly press vendors are designing their machines to offer a broader range of effects in a single pass, which saves both time and money on each job.

We have seen a number of digital presses introduced this year that not only add a fifth colour station but let users choose the order that the colours are laid down to achieve different effects. Most vendors now also supply a good choice of different colours, not only to increase colour gamut but also to offer particular effects such as neon. Clear toners have also proved particularly effective because they can provide a spot varnish effect that is both eye-catching and adds an extra tactile effect that neatly underlines the printed message.

The DuSense Sensory Coater is a UV spot coater that can add embossing effects to short run prints.

Order, order
Earlier this year Xerox announced a new dry toner press, the Iridesse. There are six colour channels, of which the middle four are the standard CMYK colours. But it is the other two special effects channels that make the difference. The first of these can be loaded with either gold or silver dry toner, while the last can be set up with gold, silver or clear. This way the metallic tints can be laid down first with the colours on top, or you can put the metallic tint on last. The metallic toners are said to have both a high sparkle grade and high reflectance. The clear toner can be used to add spot varnish or textured effects to the overall design. In the last few months Xerox has introduced a new white toner that can be used to add spot effects. It can be layered under or over CMYK – or both for double impact – on a wider range of media including black, transparent or metallic stocks, craft paper, and synthetics and polys.

The Iridesse press can run stocks from 52–400gsm and will take a variety of media including coated and uncoated papers, window decals, synthetic papers and polyesters. There is a stock library that contains profiles and optimises settings such as fuser temperature specifically for each media. It can print at up to 120 A4ppm, even with the special colours in use and with the heavier stocks.

MGI’s JetVarnish 3D Color+ marries s a four colour dry toner print engine with built in finishing, including varnishing, foiling and die cutting.

EFI has developed a front end specifically for it, the Fiery EX-P 6 Print Server, which has been designed to run the metallic effects (and recently accredited for use with the Color-Logic metallic effects software). It can also be used to add those effects to the design file, which means that the print service provider can offer the metallic effects to any customer, even if the customer does not have the studio capability to add the metallic effects into their designs.

Kodak offers a range of special effects options for its Nexpress range, including the Nexfinity launched earlier this year. This can produce up to 120 single-sided A4 pages per minute at a resolution of 1200dpi. It allows the colour stations to be switched around so that colours can be printed in different combinations, such as CMY plus two spot colours, which will allow packaging printers in particular to hit specific colour gamuts.

The spot colours include red, green and blue, which are used to match a wider range of Pantone colours as well as spot colours for brand logos and so on. There is also a metallic gold and a red fluorescing option as well as a light black that is said to improve overall image quality whilst reducing the amount of CMYK needed. Recently Kodak added an opaque white, which is particularly useful for applications such as packaging, signage, labels and invitations.

HP’s Indigo presses have always had the capability to print up to seven inks, with the company routinely introducing new colours. Earlier this year HP introduced a new Silver ElectroInk, which produces much better metallic effects than the previous silver, with HP claiming a colour gamut similar to Pantone 877.

HP has also recently announced Invisible Blue and Yellow, which fluoresce under UV light and can be used for brand protection and promotional labels. In addition, the company has introduced Vivid Pink and Vivid Green, meant for high end photo applications like weddings. Other colours include Fluorescent Green, Yellow and Orange for commercial applications as well as various Pantone colours. HP will also mix special colours for customers. The effects can be stunning but the additional colours also incur higher click charges and each extra colour takes longer to print as the Indigo system lays down one colour at a time.

Ricoh also supports a fifth colour station on its Pro C7200X printer, with a choice of several colours, including white, neon pink and neon yellow, as well as clear. Eef De Ridder, director of commercial printing for Ricoh Europe, says: ‘We also have the ability to print white and CMYK in a single pass which was not possible before.’ He adds, ‘We can print the white first and the CMYK on top of it in a single pass, which gives a much enhanced capability because it’s only one click. Also, having white first gives a much better grading on the colours.’ However, Ricoh has not added the fifth station to its high volume Pro C9200 as it sees the print effects market as more specialised.

MGI has long sought to blur the boundaries between print and post-press, developing a range of digital devices that include various embellishment effects. The latest of these is the AlphaJet, a B1 inkjet device that was first shown as a prototype at drupa 2016 but has only recently been officially introduced. It uses a Memjet print engine with aqueous pigment inks printing in CMYK, plus UV inks for both white and clear varnish, as well as variable embossed foil decorating. It is mainly aimed at packaging applications and can handle corrugated flute board, paper, plastic and synthetic substrates at 1800 B1 sheets per hour.

Samples from Xerox Iridesse, which can produce metallic effects in a single pass with no loss of speed

Post-press approaches
So far we have looked at presses that can offer something extra in a single pass. But there are plenty of effects that can be added post-press, notably foiling and laminating. However there are several digital finishing devices that can be used to complement variable data printing for those jobs that need a little extra something.

MGI has also used inkjet technology to develop a series of machines. This includes the JetVarnish platform of spot UV coaters, with the most recent addition being the JetVarnish 3D Evolution. This is a B1+ device that can handle prints from digital, offset or flexo presses. This offers a range of special effects, including dimensional textures and variable data embossed foil, though the hot foiling is an optional module. It can produce up to 2291 B1sph, though its default size is B2, and is fitted with MGI’s Artificial Intelligence SmartScanner technology which allows for registration on a sheet-by-sheet basis.

Scodix has also developed a range of enhancement presses that use inkjet printheads to add special effects. The system “prints” a selection of UV polymers rather than inks, with each type of polymer giving a particular effect, such as laminating or gloss varnishing, including spot varnishing effects. The polymers can be laid down in multiple layers to build effects such as embossing and even variable data braille.

The company sells a series of B2 machines, as well as the E106, which is mainly aimed at the packaging market. There’s also an inline foiling module, the Scodix Foil, designed for use with the Pro models to add a range of metallic treatments including 3D holographic effects.

Duplo sells its own inkjet enhancement device, the DuSense Sensory Coater. This is a B3 machine that prints clear UV spot varnish. It can be used for embossing effects and can handle both heavy solids and fine detail in the same pass. It can produce up to 1080 B3 sheets per hour.

Finally, it is also worth considering the substrates used. Most of the latest presses will handle heavier stocks as well as long sheets, which in themselves can help to make a printed product stand out. Sometimes a relatively simple process, such as adding a foil effect to a thicker paper, is all that is needed, but in other cases a spot varnish on a thinner stock might be more appropriate. The real trick lies in analysing the different options to understand the costs involved and how each one affects the profit margin for that job. dp

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The six-colour press, introduced in Europe last year, can print metallic gold, silver, white or clear toners in addition to the usual CMYK at its rated speed of 120ppm and supports long-sheet printing at up to 1200mm. As well as being able to offer eye-catching iridescent metallic colour effects, the Birmingham-based company is interested in the unit’s multi-pass capability to create watermarks and security features via clear toner and ‘dimensional’ printing. 

Commenting on the investment, Bakergoodchild sales director Adam Stafford stated, ‘This new production press provides us with the potential to offer enhanced digital printing in house and increase our capacity and capabilities. By being the first company to have this press in the West Midlands signifies our intent to be a pioneer mailing house in the UK.’

He continued, ‘With the increase in customer demand that we are seeing from sectors such as retail and more and more key seasonal events, this investment will allow Bakergoodchild to increase our bandwidth to not only handle the work flow but also allow us to add a touch of sparkle to client work.’

The Iridesse press at Bakergoodchild has dual high capacity feeders and bypass and inserter units, allowing up to eight different stocks to be used in one job, or a combined total capacity of 12,500 sheets. It was supplied through Xerox reseller Pinnacle Complete Office Solutions.

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Xerox’s Fiery-driven EX-P 6 Print Server, which is the controller for its Iridesse Production Press, has been certified for use with the Color-Logic system of special effects, making it easier for designers to maximise the impact of the Iridesse’s gold, silver and white toners.

The Color-Logic software tool enables a variety of special effects, giving users the ability to differentiate themselves with dramatic print, while utilising the existing workflows of printers and designers.

Richard Ainge, chief technology officer for Color-Logic, said that pairing the new Xerox server and press with Color-Logic will deliver benefits of speed and reliability to the process of producing metallics.

‘Graphic designers preparing files for use on the Xerox Iridesse can use our design tools for Adobe CC and CS and be confident that the press will produce their files exactly when using the Fiery DFE. With our design tools, creatives can produce dramatic decorative effects in just seconds, while eliminating the guesswork and trial-and-error typical of metallic file preparation.’

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Digitally-printed items produced with the UK’s first Xerox Iridesse press were part of the memorial service for Stephen Hawking held at Westminster Abbey on Friday 15 June.

Various print items including invitations, envelopes, a booklet, CD booklet, security documents and  certificates of authenticity for gifts for VIP guests, were designed by central London agency Glazier Design and printed by IPW1, the UK beta site for the recently introduced Xerox Iridesse, using the new machine’s metallic colours to achieve fast turnarounds and high quality.

Director Ben Glazier told Digital Printer, ‘For us the Iridesse has meant exceptionally high quality printed collateral, for a VIP event akin to a state funeral. Our timescales were very short, sometimes only having a day or two to design, print and deliver. All the items were turned round by IPW1 in the fastest timescales to meet the deadlines of the Westminster Abbey service. The quality was so high that we didn’t need to use any litho processes in any of the collateral, saving us days.’

Professor Hawking’s ashes are being interred near those of other famous British scientists Isaac Newton and Charles Darwin. A public ballot attracted 27,000 applications for 1000 places – of which 500 were allocated to schoolchildren – to join 1100 VIPs, including actor Benedict Cumberbatch and astronaut Major Tim Peake, and family guests.

Glazier Design has worked previously with the Stephen Hawking Foundation to design its branding, including a logo representing Hawking Radiation, one of the late physicist’s key theoretical predictions that was subsequently confirmed by cosmological measurements.

‘Over the years we have done some wonderful work, but perhaps our greatest honour has been working with his daughter Lucy to produce the collateral for his interment service at Westminster Abbey,’ added Mr Glazier. ‘Glen [Robins, director], Jeff and the team at IPW1 have been amazing and we know that the Foundation and the family have been very pleased with the results of what we designed and Glen printed.’

‘The Iridesse has created a buzz and excitement and opened up a whole new market to us,’ confirmed Mr Robins.

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The software options for the recently introduced Ricoh Pro C7200 cut-sheet press were shown at the company’s Art of the New customer event in Telford on 24 April. These include extended gamut printing using neon toners, and colour on metallised substrates.

Users who want to maximise the effectiveness of the yellow or pink neon toners that the C7200 supports in its fifth colour station can use Touch7, a suite of plug-ins for Adobe Creative Cloud applications that allow the neon colours to be integrated into continuous tone images or assigned to vector art and page elements as spot colours.

With the option to use the neon colours as replacements for their process equivalents or in addition to them, this allows vibrant colours outside the normal CYMK gamut to be printed by the C7200, with the neon pink enabling vivid oranges and the yellow bringing rich greens when mixed with the standard process colours. Ricoh has produced swatch books for these combinations, printed on the C7200, to enable printers to share the possibilities with their customers as an accurate guide to the colours that can be achieved with each of the neon toners.

A similar pair of swatch books has been produced for use with metallised substrates, via the Color-Logic software, again showing how the neon toners can be mixed with standard process colours to achieve extended gamut print. The Color-Logic software simplifies artwork creation for printing in this way, letting the user work with a “silver” spot colour thus avoiding the need to create “white ink” masks.

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Fluorescent coloured toner is the latest special effect to come to market and there is now a wide range of methods to make your print shine, says Barney Cox. 

It has never looked so bright for digital print, quite literally, with the recent advent of fluorescent toner, the latest of a growing (and in this particular case glowing) range of special effects. Until a couple of years ago it was, with the notable exceptions such as HP Indigo and Kodak Nexpress, rare for a digital colour device to offer anything beyond straight CMYK. Latterly, that has changed with machines at all levels of price and productivity gaining additional units capable of printing clear, white or metallic and now, in some cases, neon images.

Flourescent yellow samples produced by Ricoh at drupa

HP Indigo was the first digital press supplier to introduce a true fluorescent colour with its hot pink. It has been followed by Oki with the 6410 NeonColor, and soon to ship are neon yellow toners for Ricoh and Heidelberg machines, which were demonstrated at drupa. While the Indigo, Ricoh and Heidelberg machines are all SRA3 production machines costing hundreds of thousands, the A4 Oki is a very different machine suited to low volumes, and with a price tag of a couple of thousand. Its target market is not primarily graphics though, originally being developed for T-shirt transfers, with secondary applications for point of sale such as barkers, shelf edge strips and banners. In addition to A4 it can also handle banners up to 216 mm x 1,322 mm. It uses three fluorescent toners, pink, blue and yellow, which replace standard cyan, magenta and yellow. The other machines use an additional channel, and currently only offer one fluorescent colour …

Read the full feature online here

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Creating personalised print embellishments with a digital spot UV coater and in-line hot foil stamping.

Across the printing industry, companies are looking to add value to their printed output and customers are willing to pay more for premium printed products that deliver a real wow factor with the consumer. The doors to adding compelling digital embossing and hot foil stamping effects that achieve this wow factor have recently been opened by MGI – the French manufacturer that brought the Meteor digital press to the market, and that has also developed a range of digital finishing systems.

The most recent of these was the iFoil, which was launched at Ipex in 2014. Working in-line with MGI’s JETvarnish 3D digital spot UV coater (of which 500 have been installed across the world), iFoil makes truly personalised hot foil stamping on an industrial scale cost effective for the first time. There is no need for films, dies and makeready. A job can be printed offset or digitally, then a spot UV varnish applied through the JETvarnish 3D to the areas that require foiling. The sheets then pass through the iFoil unit and the foil is stamped down with a heated roller, sticking to the varnished areas. Run lengths can be one to thousands of sheets, all with variable information picked out in eye-catching high quality foil. Adding another layer of varnish on top of the foil also creates extra interesting effects.

‘Personalised hot foil stamping with iFoil is revolutionary,’ said David Evans, managing director of MGI Technology in the UK. ‘We use the varnish as the glue and because the JETvarnish is a digital machine that makes it possible to get into variable foiling – things like personalised certificates or magazine covers with sequential numbers picked out in foil. This has never been possible before on an industrial scale.’

Additional tactility can also be achieved to enhance the print further, by using the 3D capability of the JETvarnish 3D to build up layers of varnish that result in an embossed effect. The iFoil can then be applied over the top of this to combine the two styles of embellishment.

The JETvarnish 3D with iFoil

A wide range of applications lend themselves to these print enhancements: magazine covers, on demand books, greeting cards, brochures, labels, invitations and packaging can all be given a stunning twist in the shortest of runs. Single copy proofs, not just mock ups, can be cost effectively made up, giving customers a clear indication of what their job will look like.

A key point is that while there are often compromises to be made in making an analogue process digital, this is not the case with the JETvarnish 3D and iFoil combination. MGI says that the quality of foiling is just as good as traditional hot foil stamping, but the digital process actually enables even greater detail and intricacy in the foiling work. Variable data capability and the lack of makeready time and cost required before starting a job make this benefit even more compelling. A new RIP launched for the system also means that variable data jobs can be accepted, set up and processed quickly and easily, without needing to crunch through a multi-page PDF file.

Sterling Solutions in Kettering is the first UK company to have installed the JETvarnish and iFoil technology in its plant, and it has recently been followed by the online stationery printer MOO.

The JETvarnish 3D itself takes digital spot UV coating to a new dimension, with increased throughput for flat spot UV jobs and the amazing 3D raised effects produced by building up layers of varnish. MGI said it is ideal for print operations using offset and/or digital presses up to 520 x 1050 mm format.

It is an inkjet-based system that can apply flat spot UV coating to as many as 3000 B2 sheets per hour (this is faster than the iFoil’s maximum 1700 B2 sheets per hour) and is also able to put down the varnish in variable thicknesses (from eight to 200 microns) on the same document in a single pass. Digital prints can be spot UV coated without any lamination required and the integrated UV curing dries sheets on the fly (if foiling not required). Accuracy is guaranteed, even on jobs with inconsistent registration, through MGI’s Automated Camera Registration (ARC) technology, which can read printed marks and automatically corrects for changes in X and Y parts of the sheet.

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