Drying After Digital Printing

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BEYOND THE SILK ROAD Book #02

THE TEXTILE INDUSTRY IN THE DIGITAL PRINTING ERA

Drying after digital printing

A PROJECT BY Beyond the Silk Road BOOK #02

ThE TExTIlE INdusTry IN ThE dIGITal PrINTING Era Drying after digital printing

November 2016 © Epson Italia – For.Tex – 4IT Group

all the content in this publication is the shared property of Epson Italia spa, For.Tex srl and 4IT Group srl and is protected by the laws on the subject of intellectual and/or industrial property. The information, the data, the charts and the graphics in the document may be used only subject to written authorisation from Epson Italia, For.Tex and 4IT Group, and the source must be clearly quoted.

ACKNOWLEDGEMENTS Thanks to Fulvio alvisi, Enrico Barboglio, Paola Bonfanti, Gianluca Brenna, Marco Brenna, luigi Corti, Paolo Crespi, dario Garnero, Michela Garnero, angelo Marelli, Pietro roncoroni, ugo Zaroli who have contributed to the creation of this book.

ENDORSEMENT FEsPa Italia associazione

Conception: Textile solution Center advisory Board Editorial project and release: 4IT Group srl Editorial coordination: Paola Bonfanti – 4IT Group srl Graphic design and layout: Studio Grafico Dante Cavallaro Translation: academy sas

The book “Drying after digital printing” is available on www.textilesolutioncenter.com foreword

n this book – the second in the series “Beyond the Silk Road. The Textile Indus- I try in the Digital Printing Era” – we are getting down to the current technological conditions in digital textile printing. The book’s subject is exquisitely technical: “Drying after digital printing”. The decision to focus on this topic was made in order to contribute to answering the requests we have gathered from the main players in the productive sector, who are facing the critical issues in a stage of the printing process: the drying of just printed fabrics. Although this is a common operation in the traditional process, in digital substantial differences have to be considered right in the process itself. So far, for drying in digital printing there are no standard practices and established procedures to refer to that might be adapted to every type of printer and ink. The development of drying units that function fully with the increase in print speeds is currently under way. For this reason, we wanted, as well as to illustrate the state of the art of drying in the digital process – also through the experiences of some professionals in the sector – to offer a scientific examination of the problem. In the second part of the book, we submit the results of experiments done at the Laboratorio di Analisi Chimiche (LAC – Chemical Analysis Laboratory) of Politecnico di Milano. That analysis highlights the reactions of ink during drying and the interaction with all the variables involved. It may be a useful consultation tool for those companies who have taken on the challenge of digital textile and want to pursue the optimisation of the mass production processes

Pietro Roncoroni President Advisory Board Textile Solution Center

Book 02 – Drying after digital printing 3 the collection

The books of the collection “Beyond the Silk Road. The Textile Industry in the Digital Printing Era” market scenario: TRENDS AND KEY PLAYERS drying after digital printing digital printing systems for the textile industry

Textile printing: eco-sustainability of digital printing

Evalutation CRITERIA FOR textile printing quality pre-treatment in Digital printing fabric washing procedures after the textile printing

4 Beyond the Silk RoaD – The Textile Industry in the Digital Printing Era Beyond the Silk Road BOOK #02

The Textile Industry in the Digital Printing Era Drying after the digital printing

chapter 1 the process of digital printing on fabric

1.1 – The value of drying ...... 6 chapter 2 the drying stage and its impact

2.1 – The parameters and variables involved ...... 9 chapter 3 Voices from the industry textile printers

3.1 – Drying under the microscope: the textile companies’ point of view ...... 13 textile designers

3.2 – In the digital printing era, creativity is for all ...... 17 chapter 4 a scientific approach to drying

4.1 – Optimisation of drying conditions in digital textile printing ...... 19 chapter 5 the consequences of poor drying

5.1 – Colour migrations: esample of defectiveness ...... 30

Glossary ...... 32

TSC Advisory Board ...... 34

Book 02 – Drying after digital printing 5 The process of digital printing 1. on fabric

1.1 The value of drying

n general, during the textile printing process, implementation methods for the drying process. Ithe fabric undergoes various drying operations. At the same time the need also became clear for The subject of this book is, in specific, the drying having drying units specifically developed for that follows the printing stage. It isn’t essentially the digital process that were able to support the about two separate steps: once the fabric has been production speeds put into practice. printed it has to be dried immediately in order to be able to move on to the following processing AT THE HEART OF THE PROCESS stages. The final qualitative result depends, to a Essentially the drying process consists of the large extent, on the success of the drying and its removal of the just printed fabric’s liquid com- impact is significant from the point of view of ponent. During the printing stage, the ink is ap- the production process’ economic sustainability. plied to the fabric, which, before moving on to The question of drying and the critical aspects the steaming stage – in which the fixation of the that characterize its process management is cur- dye takes place – must be adequately dried so rently at the centre of the technological debate that it feels ‘dry to the touch’ (this is a technical in digital printing. The drying phase is common term that indicates reaching a state in the fabric to the two phases of textile printing – tradition- where there is only physiological dampness and al and digital. The textile people therefore bor- so when it is touched there is only the feeling rowed the practices of the traditional processes of dryness). The drying of the fabric can take in the initial approach to digital drying by us- place through two mechanisms – absorption and ing – faced with the low volumes required in evaporation – according to the technology used: the early years – a limited range of equipment. the systems currently employed use evaporation Nevertheless, with the adoption of increasingly brought about by heating through infrared rays high-performance print technologies and the in- or hot air. dustrial sector starting to use digital production, The impact of the drying reflects on the entire the operating conditions and needs of the drying textile printing process: when it isn’t performed process changed and it was necessary to alter the correctly it can compromise the quality of the

6 Beyond the Silk RoaD – The Textile Industry in the Digital Printing Era printed fabric and have significant economic implications. As a result, it’s important to fine-tune all the variables that operate during the process so that the optimum drying level is achieved: a fabric that is not sufficiently dried risks getting stained or dirty during the steaming while with excessive drying there might be consequences in terms of colour yield or yellowing of the fabric. One of the elements that most affects the drying process is the ink. Unlike the printing pastes used in the traditional processes, digital inks have a different composition and contain peculiar substances that cause – during drying – certain critical management issues. As well as this, the ink powerfully interacts with the fabric. There are two variables that determine the fabric’s behaviour during drying: the type of textile fibre – where every fibre has specific drying characteristics – and the weight of the article – as each fibre requires a specific drying strategy depending on the weight of the fabric itself. Drying was emphasised as a critical factor in the light of the increase in the production capacities of the digital printing machines and the rise in the volumes to be printed. However, since it’s a rela- problem rather than resolving it in its core, com- tively new technology, so far there are no standard mitting considerable time and resources to it. The practices to refer to. In fact, the current situation optimisation of the drying process – accompanied sees everyone working in digital textile tackling by the tailored development of drying units for the problem within their own company, employ- digital printing – is the next goal to achieve for ing solutions intended to set a temporary balance many of the main players in the digital textile in production, or in other words to contain the printing sector.

Book 02 – Drying after digital printing 7 DIGITAL TEXTILE PRINTING PROCESS

Application PRE-TREATMENT OF THE FABRIC of the ink on the fabric

PRINTING

Drying after the digital STEAMING printing

WASHING

FINISHING

8 Beyond the Silk RoaD – The Textile Industry in the Digital Printing Era The drying stage 2. and its impact

2.1 The parameters and variables involved

rying is one of the most critical and deli- in line with what is required by the demand, Dcate stages in the process of digital textile must be optimal – but also on the efficiency of printing. Correct drying of the just printed fabric the printing process itself. To achieve that, the is, indeed, a basic requirement in determining right balance must be established between fre- the quality of the final result. On the other hand, quently conflicting needs such as productivity, poor drying may definitively compromise the reduction in processing times and containment print’s quality production. of energy waste. There are different factors and When the fabric leaves the printing the ink ap- variables in play: apart from the technological plied on its surface has still not been fixed; the features of the dryers, whose development the drying preceded the fixation of the dye stage. machine builders are concentrating on, there The consequences of an unsuitable drying of the are the inks – whose components affect the ef- printed fabric can be various. The most common fectiveness of the drying – and the parameters is the local staining phenomenon, in other words of the process (time, temperature, ventilation, when a not sufficiently dried portion of printed humidity) that must be fine-tuned from time to fabric – in technical terms it doesn’t feel satis- time. And we mustn’t forget fibres and fabrics factorily ‘dry to the touch’ – transfers part of the (whether or not they are pre-treated), each of ink onto other areas of the fabric which it might which requires a specific procedure. come into contact during the process causing stains or smears of the dye. By contrast, the risks connected to excessive drying of the fabric con- THE STATE OF THE ART OF THE TECHNOLOGY cern the rise of critical issues in the fixation of the colour and, as a result, in their colour yield The progress made in the digital technologies for as well as the phenomenon of background yel- textile printing and the gradual increase in the lowing. systems’ productive capacities – which now boast The impact of the drying stage is not reflected industrial dimensions – have caused a shift in the exclusively in the quality of the results – which, attention to the step following immediately after:

Book 02 – Drying after digital printing 9 an efficient drying process capable of keeping up THE CRITICAL ISSUES IN THE process with the print’s production rhythms has become Whether we are dealing with traditional textile a necessary priority. printing or digital textile printing, the objectives With the first generation of inkjet digital printing and functions of drying are the same. The print- machines – which operated with limited speeds ed fabric must be adequately dried before the – the inks applied to the fabric dried at room dye fixation process, through IR lamps or hot temperature. But with the latest generation of air or resistance drying units, according to the digital printing systems – which are more com- cases, needs and technological choices of each plex and capable of reaching very high speeds textile firm. – the drying stage has started to require the use The determining factor between the two differ- of specifically designed and higher-performance ent drying processes is, first of all, what is being equipment. The first dryers used in the digital dried. Unlike the printing pastes used in tradi- textile printing processes were the infrared sys- tional processes (largely made up of dye solu- tems. They were equipped with IR lamps com- tions or dispersions, thickening substances and bined with ventilation systems to remove the chemical products) the inks used for inkjet print- humid air. These drying systems, from a simpler ing contain – as well as water base and dyeing concept, allow a more rapid drying out of the substances – quantities of high boiling substanc- inks but can lead to very high energy consump- es. The latter – defined in jargon as ‘humectants’ tion, especially when there is an increase in the – tend not to evaporate and require very high volumes of fabric to be dried. At a later stage temperatures for drying. This leads to a series hot air drying units were introduced, similar to of critical issues in the process, in which it be- those used in traditional textile printing. These comes necessary from time to time to alter the ovens – or drying chambers – have chambers parameters depending on the interaction with the with moving hot air and run on electricity, gas or type of fabric and the fastness of the required steam. Some latest generation dryers have both colour. drying technologies, with IR heating and with In specific, there are four parameters that- reg circulating hot air, to allow greater operational ulate the drying process: time; temperature; air flexibility. humidity; ventilation. There isn’t one parameter From the ecological point of view, the post-dig- predominant over the others, in that each con- ital printing drying process doesn’t have a sig- tributes equally to achieving a suitable, uniform nificant environmental impact. On the contra- drying of the printed fabric. In general, time and ry, most of the dryers today are equipped with temperature are the most easily regulated param- large-sized extractor systems that take the air eters and, as a result, are continually altered on towards the outside: this allows the dispersal the basis of the fabric’s characteristics – as well of any micro-pollutants to be restricted and as any presence of pre-treatment – and those of prevents the creation of micro-climatic imbal- the inks used. The experimentation presented in ances in the working environment, which, as a Chapter 4 of this book is based on the analysis result is healthier. The economic sustainabili- of the two variables of time and temperature; it ty is a different matter and is one of the most provides a series of case studies in which the in- critical issues in the drying stage: the drying dicators are altered on the features of the ink and units have always led to very high manage- the support. ment costs, connected mainly with the great For a good outcome in the drying process it’s just energy waste. as important to monitor the environmental condi-

10 Beyond the Silk RoaD – The Textile Industry in the Digital Printing Era tions in which it is carried out and to guarantee the substances present in the pre-treatment com- the maintenance of the most suitable state by pound. regulating the air humidity level and the venti- Glancing at the most widely used fabrics with lation. In particular, it is vital to preserve a de- weight and structure being equal, there are fi- termined level of air humidity without which bres that are more easily dryable and fibres that the inks could dry out and, as a result, liquefy require longer, more difficult to manage drying and spread out over the fabric unevenly. This processes. Fabrics of vegetable origin, such as is achieved through controlling the ventilation, cotton, linen, hemp along with silk and vis- which contributes to guaranteeing the efficiency cose, belong to the first category. The behaviour of the process especially when continuous pro- changes with wool and polyester which, for dif- ductivity is required. ferent reasons, are less suited to drying. Wool, in particular, is an insulating material that holds a lot of air and, as a result, requires more time and THE FABRICS question heat in drying. Polyester dries at very high tem- In analysing digital textile printing we have to peratures, which makes the quest for a balance look at the question of fabrics and fibres too. in the drying parameters more complicated. The Each fabric has specific physical properties that other important parameter that influences the affect the drying methods and parameters: in drying process is the article’s weight. The fibre other words, it is necessary for each to establish being equal, the heavier fabrics are generally a specific balance between time, temperature, more difficult to dry. Added to this is the very humidity and ventilation considering the type strong interaction between textile, fibre and ink. of fibre and its thermal conductivity, as well as This interaction depends, to a large extent, also

Book 02 – Drying after digital printing 11 on the pre-treatment the fabric goes through: the quality results required by the market but also in chemical products and the thickening substances getting to the point of fully exploiting the poten- applied to the fabric in print preparation substantial of the latest generation high-productivity print tially alter the evaporation conditions, impacting machines, whose performance would be frustrat- both the printing and drying processes. This ed by inadequate drying units. means that a good choice of products contained Another essential aspect in this phase of drying in the fabric’s pre-treatment recipe and of the evolution is the question of cost management, quantity applied contributes to the optimisation which has so far been one of the most critical of the process from the point of view of the qual- aspects in the drying process. ity of the results. In making drying ready, the textile printing firms must employ a series of tricks to find the right balance between conditions where there is dry- THE valUE OF drying optimisation ing out and the maintenance of maximum op- The post-digital drying technology is relative- erational efficiency, with the aim of minimising ly new and its development is still in progress. consumption – of energy in particular – to the That’s why there aren’t any universal practices benefit of a more general sustainable -manage or procedures that regulate the process. Nev- ment. The optimisation of the drying process ertheless, it already seems clear that a virtu- from the point of view of economic sustaina- ous management of this stage functions in the bility – by developing tailored technological achievement of the optimisation of the entire solutions – is the aim in the present and the near digital textile production chain; indeed, this con- future for those working in the digital textile cerns a fundamental step not just in obtaining the printing sector.

12 Beyond the Silk RoaD – The Textile Industry in the Digital Printing Era

3. Voices from the industry

3.1 Drying under the microscope: the textile companies’ point of view

rying after digital printing is one of the same time interest has also grown in the stage Dquestions of greatest interest in the current that immediately follows, i.e. the drying of the technological debate in the digital textile sector. just printed fabric whose impact affects the en- Indeed, the fabric professionals, committed to the tire production process. “Drying stood out as progressive expansion of their stock of digital ma- the first critical issue when digital printing made chines, also have to face the need of adequately headway in industrial technology”, states Gianlu- implementing the drying process in order to take ca Brenna of Stamperia di Lipomo. “With the full advantage of the productivity of the new gen- growth in production volumes, the need to dry at eration of printing equipment. In addition, since the same speed became a priority. All the same, this is a recent technology there still aren’t estab- right at that moment a technological void was lished practices to refer to and many of the critical obvious: there weren’t either specifically devel- issues that have emerged and the improvements oped solutions or good standard practices to that have been brought about are the result of shar- follow. As a result, every company found them- ing experiences in the digital textile printers’ field. selves making use of a series of tricks to tackle And it’s precisely some of these experiences that the problem”. we’ve wanted to draw on in order to illustrate the The emergence of the problems tied to drying drying phase also from its users’ point of view, posed a series of challenges to the textile pro- gathering some ‘pearls of wisdom’ from those fessionals. First and foremost was that of the who are experiencing this process on a daily basis. quality, as Dario Garnero of Stamperia Ser- ica Italiana explains: “The consequences of poor drying are devastating from the point of THE IMPACT OF DIGITAL DRYING view of the quality of the final result. When the Digital printing has been acquiring an increasing printed fabric is not suitably dried, problems predominant role in textile production on the wave of local staining can arise in the next stages, of technological progress in recent years, revolu- like steaming and rolling. When the drying is tionising the sector players’ way of working. At the excessive, what’s compromised is the dye yield

Book 02 – Drying after digital printing 13 Voices from the industry and the fibre, which could suffer background weight – and the pre-treatment applied – as well yellowing. In both cases you run the risk of dirt- as the interaction between the textile fibre and ying the fabric, making it unusable.” the ink, it is necessary to identify the most suit- Luigi Corti of Stamperia Achille Pinto says able procedure. For the companies that have dif- the impact of drying on the digital textile process ferent jobs every day – as happens, for example, also affects the logistics and operations manage- with the companies working in the Como textile ment. “Coming from traditional textile printing, district – this implies a notable effort in study- we were used to having to deal with large-sized ing the characteristics of every single order and machines. With digital printing the amount of adapting the drying conditions each time. “To space for the equipment has been reduced sig- build a drying profile we start with the type of nificantly so it would be necessary to adapt the textile fibre and its weight. So ink plays a crucial drying units too – making them smaller and more role: digital inks have humectant components in productive. Up until now the solutions on the their formulation which, not knowing their na- market have been implemented from the point of ture precisely, makes it difficult to predict their view of speed, increasing the drying areas and, behaviour during the process and this creates consequently, the sizes too: the result is that certain difficulties”, explains Corti. “The design some of the dryers are bigger than the printing and intensity of the shades also affect the dry- machines and they lead to higher costs and much ing: the more intense the shades are, the more higher energy consumption”. ink we’re forced to load and the more critical Directly connected to the development of dig- the drying becomes: in fact, when that isn’t done ital drying technologies is also the subject of the well any defect becomes more visible”. sustainability of the working environment. “The Michela Garnero of Stamperia Serica Italia- expansion of the digital printing departments re- na points out that the many technical aspects and quires the installation of drying units. The dryers – technological and logistical implications which both in the case of infrared systems and in the case influence the success of the digital printing and of ovens – emit hot air in a conditioned environ- drying process force the textile printers to inde- ment, causing heat dispersion and making the use pendently develop specific solutions: “From the of air-conditioning or humidification necessary to paper used to avoid staining to the double ses- reset the temperature required for the digital print- sion in the dryer of the flatbed machine or the ing machines. It’s obvious that this non-optimi- screen table – and not in that for inkjet printing sation of the process significantly hits production – right up to the use, in the preparation stage, costs and energy consumption, at the expense of of substances that prevent the formation of con- the process’ economic sustainability”, states Dar- densation or staining and to resorting to alter- io Garnero. “This is how things are at the pres- nating rods in the steaming… these are all tricks ent. Clearly we’re at the start of a journey and, of that every company uses within its own produc- course, there’s lots of room for improvement”. tion cycle to meet client needs. All this implies huge efforts and excessive costs and, above all, it doesn’t solve the essence of the problem”. HOW THE PROCESS WORKS This is how the textile professionals are building In preparing the drying, the textile printers have their own ‘digital know how’. “Anyway, there to deal with a series of variables that make the never is a perfect solution and that’s exactly why process management more complicated and in digital printing at the moment there aren’t any structured: according to the fabric’s type and standard practices or procedures to refer to. In

14 Beyond the Silk RoaD – The Textile Industry in the Digital Printing Era textile printers

taking part in the forum

Gianluca Brenna Dario Garnero Managing Director of Chairman and Managing Stamperia di Lipomo, a Director of Stamperia Como firm specialising Serica Italiana. With in textile printing and a typically silk-based finishing for third parties background, the company operates as a contractor and addresses the high quality clothing sectors

Luigi Corti Michela Garnero Production Director of Head of the inkjet Stamperia Achille Pinto. division of Stamperia A vertically integrated Serica Italiana firm, it addresses the high quality clothing and accessories sectors, and designs and produces its own collections

the same way, there isn’t one method that’s better BenefiTS and prospects than another: a solution become optimal in re- Textile professionals share the opinion that be- lation to the specific combination of the type of ing able to deal with the drying problem at its work, operating environment, work cycle and the root would lead to great benefits in terms of opti- printer’s skill set”, adds Dario Garnero. mising the efficiency of the process, work times, The lack of a single approach to drying makes energy consumption and printing quality: in one up one of the most widely heard questions from word, competitiveness. “The approach we’ve sector professionals in that the adopted measures adopted since we set out on the adventure of – even though they work in the short term – have digital printing has been to get together around a negative impact in the long term, when they a table, look at the various problems and open lead to a reduction in the printing process’ pro- up a discussion with the technology suppliers. duction capacity and excessive wastes of energy. I’m convinced that in dealing with the question “The critical issues connected with drying in the of drying too the way to go is that of promoting digital printing process were initially underval- a synergetic collaboration between the drying ued. Today we’re used to living with the prob- system constructors, the ink producers and our- lem and, since we have to bring to market the selves the users”, says Dario Garnero. quality requested in the times requested anyway, This is a particularity of the Como textile dis- we’ve managed to find ways round, which have trict, which has been the engine house of the implications though in terms of time and costs to digital transformation of textile printing. “We bear, at the expense of competitiveness”, Brenna mustn’t forget that the Como textile district’s emphasises. technological leadership emerged from the di-

Book 02 – Drying after digital printing 15 Voices from the industry rect experiences of the printers in the area and “Behind it all, this is exactly what we’re refer- the will of the technology suppliers to follow the ring to when we talk about Digital Textile Valley inputs: this collaboration has enabled the cre- referring to the Como textile district. The big ation of a stable and economically sustainable digital printing multi-nationals have noticed the system,” states Brenna. “The question we’re potential of the area and, in particular, the pos- asking ourselves today is: what do we have to do sibility of tapping in to the know-how and ap- to keep our technological leadership? And that’s plying it to the technology. And, where techno- the context for the question of drying. If we man- logical development doesn’t stop, the prospects age to overcome today’s critical issues then we’ll in front of us are wide: the experience of the be able to maintain our top level of competitive- district’s textile companies and the features of ness in the coming years too. After all, this is an area where the biggest players in the world where we can play on our competitiveness”. of fashion operate can enable us to generate The conclusion comes from Dario Garnero: added value continuously”.

16 Beyond the Silk RoaD – The Textile Industry in the Digital Printing Era TEXTILE designerS

3.2 In the digital printing era, creativity is for all

he meeting of digital printing technology Tand the web has transformed the world of creativity. Designers and stylists, crafters and creatives can today give shape to their designs and produce their own collections – personalised and in small volumes – independently and with affordable investments. One of the first web-to-fabric platforms that opened the doors of textile production to the end consumer comes from the Como textile district: Twiggify (twiggify.com), which was launched in 2013 and is built on the concept of on-demand printing on fabric. Initially it was focused on the fashion world – its name is inspired by Twiggy, the 60s British model – but now it ranges over the different textile contexts while still maintaining its focus on product quality. Working alongside users in the creative act is an developers to improve performances in this in- expression of the company’s authentic DNA. We novative technology. spoke with Giuseppe Guarisco, Andrea Lan- And when the development levels had been di and Laura Ostinelli – Twiggify’s heart and reached to make it effective not just for sampling mind – about the ‘democratic’ evolution of tex- but also for genuine production runs, we spotted tile creativity brought about by the adoption of the connected opportunities and decided to grab digital technology in production. them. The project took shape with the launch – in 2013 – of Twiggify, the first Italian web-to-fabric, or the first business model built on the concept of What was the path that led you to the fabric on demand and dedicated to crafters. creation of Twiggify? We come from a significant background in the What are the project’s peculiarities? traditional silk textiles world – Guarisco Indus- With Twiggify we’ve chosen to completely tria Tessile was one of the main producers in the change our target. We’ve moved away from the Como area and reported to three printing houses. very traditional textile client – largely made up When digital printing came into the textile in- of fashion brand owners and converters – to aim dustry world, we actively worked on its develop- directly at end consumers. Basically, we tried to ment. We were one of the first companies in the take advantage of the potential of digital textile sector to work in close synergy with the inkjet printing and the web to bridge a gap in the mar- printing systems constructors and the software ket and give space to those figures working in

Book 02 – Drying after digital printing 17 Voices from the industry the creative sphere – textile designers, stylists, ar- users the technical know how of textile printing tisans, crafters – who are interested in producing that not everybody has. limited quantities of personalised textile items. As for the printing itself we rely on outsourcing. The textile world – unlike other application set- This is the essence of our strategy: we totally tings – requires major equipment and specific set our sights on creativity and service, at the know how (in preparing files, in textile print- same time exploiting the advantages that come ing and in the finishing stages) – and for a long from the possibility of diversifying production time this is what has prevented opening up op- through using different printing types. portunities for creation to consumers as well. Twiggify enables – just from an idea or a sketch A picture of your users? – the planning and production of collections, as Finding out about the world of creativity has been well as their promotion, with a minimal invest- surprising. Not just professional young designers ment and an immediate workflow management and creatives who want to start up their own busi- without needing any intermediaries. nesses but also artisans and crafters who have immediately seized the chance of accessing a tool How has digital technology redefined that can transform ideas into finished products. textile creativity? It’s significant that Amazon has introduced a new What’s changing are the approach to creativity marketplace dedicated to crafters: in textiles it’s and the production processes’ usability, which digital printing – with the internet – that has been are no longer in the hands of just the few. The the tool to pave the way to craft 2.0. general simplification brought by inkjet - tech nology improves the situation for all the players downstream in the textile sector – meaning the consumers, the new artists and designers of our time. And the essential value of digital textile printing really lies in having made possible this path to the ‘democratisation of creativity’. Any- one with talent and ideas today can shape those ideas and produce their own lines of personalised products, get them out there and get them known.

Do you feel more like designers or printers? Even though we’re from the production world, THE twiggify.com TEAM with this project we’ve decisively focused on Andrea Landi (left) is a management engineer with the creative aspect. Our work isn’t limited to re- expertise in SMEs and start-ups in Italy and overseas. ceiving the file and sending it into production. Laura Ostinelli has worked in fashion for 13 years as a Quite the opposite in fact we work alongside the product manager. She is a specialist in communication people we’re dealing with throughout the plan- & style and develops co-ordinated image. ning stage. Once we’ve received the design we Giuseppe Guarisco is an entrepreneur with over 30 process it and – based on what the creative tells years of experience in the textile sector and specialises in traditional and digital printing of fabrics for us – fine tune it both in file optimisation and tex- accessories and clothing. tile choice. During this stage we share with the

18 Beyond the Silk RoaD – The Textile Industry in the Digital Printing Era A scientific approach 4. to drying

4.1 Optimisation of drying conditions in digital textile printing

fter describing the drying phase and high- heating of three different types of Genesta inks Alighting its impact on the digital textile for digital printing – acid (AC), reactive (RE) and printing process, it is worth sharing the results disperse (DS) – that are shown in pictures 1, 6 of the examination realised by Textile Solution and 7 was analyzed. Center and aimed at giving a scientific basis to the analysis of drying. The examination was carried out on Genesta® digital textile printing inks from printing to drying – designed and formulated by For.Tex and Schematically, in the series of events Epson – at Laboratorio di Analisi Chimiche following the impact of a drop of ink on (LAC – Chemical Analysis Laboratory) of Po- the fabric surface it is possible to identify litecnico di Milano. three different phases: One of the main issues related to the drying phase 1. Interaction with the pre-treatment: in the in the digital textile printing process refers to the instants immediately following the impact parameters of the drying, which must be opti- with the fabric, the ink reacts with the pre- mised in order to find the right balance between treatment already on the textile surface. Due to the presence of thickening substances in the three conflicting requirements: process effective- pre-treatment, they are dissolved in the ink by ness, processing time and energy consumption. changing its viscosity and consequently slowing The examination focuses on the parameters of down the diffusion speed of ink on the fabric time and temperature – which are replicable in surface. laboratory. Useful information to optimise them 2. Absorption by the substrate: the ink diffusion can be derived from the analysis of thermogravi- in the textile fiber is a process slower than the metric curves of the inks, which make it possible previous, but in any time on ‘ready to print’ fabrics it occurs in no more than 2 – 3 seconds. to evaluate the influence of these two parameters 3. Ink drying: downstream of the previous two on the evaporation of the ink components, consid- processes, this step requires variable time which ering the loss in weight of the sample analysed. In is function of the set drying conditions. this perspective, the weight loss for progressive

Book 02 – Drying after digital printing 19 ABOUT THE TEMPERATURE of being subjected to a temperature ramp, it is Generally speaking, the trends of the thermo- possible to see how in fact there is a quite rap- gravimetric curves are relatively complex and id weight loss up to about 60% of the original this is mainly due to the presence in the inks weight (that is substantially attributable to wa- along with water and colouring substances – of ter), which then comes to plateau, maintaining significant quantities of high boiling substances, a gradient of further weight loss negligible for such as polyols or polyethers (which are called industrial purposes. ‘humectants’ below). This substances are added As can be seen by comparing the two curves in to the ink in order to prevent its drying on the the figure, the increase of the isotherm tempera- printhead’s surface, and a number of other addi- ture causes a more rapid achievement of the pla- tives which, however, it is reasonable to believe teau. The differences – very small in the initial not so relevant for the purposes of the drying phase – become more prominent when the con- process. centration of humectant becomes higher because As an example, from the examination of the of the loss of water. About the plateau value, thermogravimetric analysis of the Genesta Black there isn’t a relevant difference between 100 and AC-N sample (Figure 1.A) we can observe that: 110 °C, temperatures for which the overall loss • about 60% of the sample weight is lost while in weight is comparable. It would not seem to heating up to 112 °C and this loss is substan- be, in this sense, any advantage in operating at tially coincident with the evaporation of the temperatures above 100 °C. water (only a very small amount of humec- Similar considerations can be made by analys- tant, less then 1%, is included in the compo- ing the respective curves for the ink of the same sition of the vapour phase); series Genesta Cyan AC (Figure 1.B and 2.B). • the subsequent heating up to about 257 °C The thermogravimetric analysis shows similar causes a further weight loss of 25%. Al- behaviour to a Genesta Black AC-N, although though the endothermic peak is less sharp with slightly different values of losses in weight than in the previous case, it is reasonable to (respectively 62% and 27%), both in the tem- assume that such weight loss is essentially peratures of the corresponding endothermic due to the evaporation of high-boiling sub- peaks. stances which constitute the predominant Taking into consideration the isothermal curves, part of the vapour phase in this temperature the behaviour is perfectly the same as in the range; previous case, both with regard to the speed of • at higher temperatures, phenomena of deg- achievement of the plateau and to the overall radation of the ink residues start, and this is loss. visible as different exothermic peaks.

THE INTERACTION BETWEEN INK One of the most relevant outcomes from the AND FABRIC analysis is that the evaporation capacity of humectants seems to be extremely reduced at tem- For a correct analysis of thermogravimetric data perature used in normal drying processes, i.e. it is necessary to take into account that the ink, in around 100 °C. reality, is not applied on an inert substrate for the From the analysis of the weight loss on the same purpose of drying, but usually there is a strong sample, Genesta Black AC-N, while maintained interaction between ink and the substrate textile at a constant temperature (Figure 2.A) instead fibre. This interaction substantially modifies the

20 Beyond the Silk RoaD – The Textile Industry in the Digital Printing Era 100 0.1

80 505.04°C 0.0 60.11% (11.71mg)

-0.1 f erence (°C/mg ) ight (%) e W 40

112.37°C

25.18% emperature Di f (4.904mg) T -0.2 20 82.78°C 6.543% (1.274mg) 257.60°C 3.454% Residue: (0.6726mg) 2.308% 462.68°C (0.4495mg) 0 -0.3 0 200 400 600 800 1000 Temperature (°C) FIGURE 1.A – Thermogravimetric analysis of the ink Genesta Black AC-N

FIGURE 1.B – Thermogravimetric analysis of the ink Genesta Cyan AC

100 0.1 453.96°C

62.23% (52.92mg) 0.0

60 f erence (°C/mg ) ight (%) e W 40

141.16°C -0.1 emperature Di f T 27.38% (23.28mg) 20 6.321% (5.375mg) Residue: 2.405% 107.10°C (2.045mg) 245.85°C 461.53°C 0 -0.2 0 200 400 600 800 1000 Temperature (°C)

Book 02 – Drying after digital printing 21 100

60 100 °C ight (%) e W 40 110 °C

0 0 10 20 30 40 50 60 Time (min) FIGURE 2.A – Isothermal gravimetric analysis of the ink Genesta Black AC-N - T = 100 and 110 °C

FIGURE 2.B – Isothermal gravimetric analysis of the ink Genesta Cyan AC - T = 100 and 110 °C

100

60 100 °C ight (%) e W 40 110 °C

0 0 10 20 30 40 50 60 Time (min)

22 Beyond the Silk RoaD – The Textile Industry in the Digital Printing Era evaporation conditions, especially because the tion (humectant) on a 75 g/m2 silk fabric after ap- fabric to be printed is typically prepared for the plying 720x720 dpi2 25 pl ink drops is equal to digital inkjet printing process by the application about 8% of the total weight of the fabric, we can of specific chemical products. deduce that the total removal of the water from As an example, in figures 3 and 4 it is possible the fibre involves the replacement of the water to compare gravimetric curves of a silk fabric as naturally included in the amorphous zones of it is and the same prepared for digital printing. the fibre itself with the humectant. Since the fact The analysis of the silk not treated reveals the such a water quantity did not give any feeling of presence of water, in quantity of about 6% (this damp when the fabric is touched, it follows that value may be underestimated because of the op- also the fabric so printed and dried feels dry to the erating procedures) while for temperatures high- touch even without having completely removed er than 160 °C it is possible to observe the begin the solvent fraction, which has instead replaced of fibre degradation phenomena. In the case of – entirely or in part – that fraction of moisture as silk prepared for digital printing (Figure 3.B), it described earlier as recovery humidity. should be noted, after the phenomenon of evap- The situation is comparable when we consid- oration of water, the urea decomposition phe- er the trends of the curves from the other ana- nomenon that becomes relevant at temperatures lysed ink types, Genesta reactive and Genesta higher than 135 °C. disperse inks. The relevant thermogravimetric Observing the change in weight of the whole paths are shown in figures 6 and 7. For both, fabric + acid ink (Figure 5) maintained at 100 and for the different colours, two distinct loss- °C, it can be noted that the total weight loss at es in weight in sequence are clearly observable, plateau is around 23%, and this value is not far similar to those observed in the thermogravi- from that which is obtained by calculation of the metric analysis of the two types of acid inks. weight loss due to evaporation of water only in Downstream to these losses in weight, degrada- the two components. The track shows two dif- tion phenomenon of the substances contained in ferent slopes, and in particular, the first phase the inks is observed, but these steps take place at appears extremely pendant, indicating an even temperatures much higher than in the industrial easier evaporation in the initial phase when the drying processes. ink is deposited on the fabric. Even according to For the two types and for the different colours it this test, in conclusion, the elimination of water is possible to observe small variations in the re- carries with it only a very small quantity of hu- spective values of the first fraction weight loss- mectants, which for the most part remain on the es, which are however comprised between 55% fabric. and 59%. A bit more pronounced differences are In the textile fibres, and in particular in their noticed about the second fraction, which is 23- amorphous zones, and under normal conditions, 24% for the reactive ink and closer to 30% for it is always contained a certain percentage of wa- the disperse inks, whose optimal formulation ter, that is said fibre recovery humidity. It varies provides for a greater percentage amounts of hu- depending on the temperature and environmen- mectants. tal humidity, and the value reported in the litera- As a further application example, in figure 8 the ture for silk is approximately 11% if the material TGA analysis and in figure 9 the 100 °C isother- is kept in an environment having a temperature mal analysis of a polyester fabric and the relative of 20 °C and a relative humidity of 65%. evaporation profile for the system fabric + Ink Considering that the residual higher boiling frac- (Genesta Black DS) are shown. In figure 8 we

Book 02 – Drying after digital printing 23 5.443% 100 (0.2795mg)

164.30°C

80 45.85% (2.355mg)

60 ight (%) e 382.21°C W 40

37.25% (1.913mg)

4.457% Residue: (0.2289mg) 6.054% 569.18°C (0.3109mg)

0 0 200 400 600 800 1000 Temperature (°C) FIGURE 3 – Thermogravimetric analysis of a silk fabric

FIGURE 4 – Thermogravimetric analysis of a silk fabric prepared for inkjet digital printing with acid inks

1.758% 100 (0.1588mg) 5.406% (0.4882mg) 135°C 226°C 80

37.42% (3.379mg)

366°C ight (%) e W 40 36.83% (3.325mg)

9.382% 549°C (0.8472mg) Residue: 4.112% (0.3713mg)

0 0 200 400 600 800 1000 Temperature (°C)

24 Beyond the Silk RoaD – The Textile Industry in the Digital Printing Era 100

90 22.88% (1.218mg) ight (%) e W 85

80 Residue: 77.09% (4.104mg)

75 0 10 20 30 40 50 60 70 Time (min) FIGURE 5 – 100 °C Isothermal gravimetric analysis of a silk fabric printed with Genesta Black AC-N

FIGURE 6.a – Thermogravimetric analysis of the ink Genesta Black RE

100 0.0

55.08% (9.031mg) -0.1

60 f erence (°C/mg ) ight (%) e W 40 98.27°C 24.20% -0.2 (3.967mg) emperature Di f T

20 12.56% (2.059mg) 303.87°C Residue: 4.408% (0.7228mg)

0 -0.3 0 200 400 600 800 1000 Temperature (°C)

Book 02 – Drying after digital printing 25 100 0.05

506.94°C

80 58.86% 0.00 (25.04mg)

60 -0.05 f erence (°C/mg ) ight (%) e W 40 -0.10 107.10°C 22.85% (9.721mg) emperature Di f T

20 -0.15

12.58% 186.56°C (5.353mg) Residue: 2.512% (1.069mg) 91.97°C 0 523.33°C -0.20 0 200 400 600 800 1000 Temperature (°C) FIGURE 6.b – Thermogravimetric analysis of the ink Genesta Cyan RE

FIGURE 7.A – Thermogravimetric analysis of the ink Genesta Black DS

100 0.05

506.94°C

80 58.86% 0.00 (25.04mg)

60 -0.05 f erence (°C/mg ) ight (%) e W 40 -0.10 107.10°C 22.85% (9.721mg) emperature Di f T

20 -0.15

12.58% 186.56°C (5.353mg) Residue: 2.512% (1.069mg) 91.97°C 0 523.33°C -0.20 0 200 400 600 800 1000 Temperature (°C)

26 Beyond the Silk RoaD – The Textile Industry in the Digital Printing Era 100 0.1

506.39°C 80 57.28% (19.14mg) 0.0

217.93°C

-0.1 f erence (°C/mg ) ight (%) e W 40 125.14°C

30.58% emperature Di f

(10.22mg) T -0.2 20 90.18°C 4.649% (1.553mg) Residue: 259.68°C 5.721% 1.468% (1.911mg) 417.59°C (0.4905mg) 0 -0.3 0 200 400 600 800 1000 Temperature (°C) FIGURE 7.b – Thermogravimetric analysis of the ink Genesta Black DS

FIGURE 8 – Thermogravimetric analysis of a polyester fabric

100

60 91.75% (6.967mg) ight (%) e W 40

Residue: 7.014% 439.69°C 0.2279% (0.5326mg) (0.01731mg) 0 0 200 400 600 800 1000 Temperature (°C)

Book 02 – Drying after digital printing 27 100

15.18% (0.8849mg)

90 ight (%) e W

Residue: 84.82% (4.945mg) 85

80 0 10 20 30 40 50 60 70 Time (min) FIGURE 9 – 100 °C Isothermal gravimetric analysis of a polyester fabric printed with Genesta Black DS note that, unlike the previous case, there seems no 1. The ideal temperature for drying significant degradation phenomena at tempera- The first is the understanding that a significant tures lower than 200 °C, while the trend showed part of the humectant included in the ink will in figure 9 is similar to the case of silk in the first remain on the fabric, and that drying tempera- part only, while the slope of the final part remains ture and time changes within reasonable inter- relevant and without reaching a true plateau. The vals, compatible with the substrate, may have reason for this difference is probably related to poor overall effectiveness. This means that the the lack of strong interactions between fibre and ideal temperature for drying all fibres, to be ad- humectant, and this absence allows its evapora- justed as function of the time available for its tion, that it is in any case slow because of the high execution, or the speed of the printing process, boiling of the humectant, but this evaporation is is between 50 °C and 110 °C. An exception is faster compared to the previous case of hydro- the drying process on polyester: when the dry- philic fibres such as silk. ing temperature is raised up to 140-150 °C, it is possible to remove significant amounts of humectants. CONCLUSIONS A further indication that comes from the analysis Even with the precautions usually considered in is about the upper limit of drying temperature the translation of analytical results to industrial for this process. In the case of silk, for exam- processes, the tests give us some useful informa- ple, because of the thermal stability of the sub- tion about the optimisation of the drying process stances contained in the pre-treatment solution, after an inkjet digital printing process. drying at temperatures above 110 °C is likely to

28 Beyond the Silk RoaD – The Textile Industry in the Digital Printing Era make significant loss of urea due to its thermal to allow the colour fixation, if applied in proper decomposition and jeopardize the correct fixa- amounts, is able to absorb all or part of the hu- tion of the dye in the next steaming step. This mectant – due to its hydrophilic nature – helping limitation is valid in all cases where it is required us in reducing the problem of the contact staining. the presence of urea during the phase of colour Furthermore, if the printing process is carried out fixation, or in fact for all fibres printed with acid on pretreated fabrics with formulations contain- or reactive inks. ing thickeners, usually cellulose derivatives or About the choice of the best temperatures below polymers with an acrylic main chain, urea and this threshold, it is however to be noted that the salts, since the fact all these substances are able ink is in fact a mixture, and from the beginning to absorb the humectant, this increases the ab- it will exceed the boiling temperature of 100 sorption capacity of the fabric prepared for dig- °C and which increase progressively when the ital printing. Therefore, the absorption capacity fraction of high-boiling becomes more relevant. of the substrate – before the appearance of the Increasing the drying temperature from 100 to moist feeling touch – can be increased with a 110 °C causes a higher speed of water evapora- proper choice of preparation chemicals, as well tion, even when the high boiling begins to be- as applied quantity. It is important to remember come predominant, but if the total weight loss that the substances used in the preparation must to plateau is considered, there are no substantial be adequately adherent to the fibre so as to avoid differences. phenomena of rupture of the film with consequent spread of dirty particles of preparation and ink, 2. Speed and temperature especially when the fabric is printed and dried. The balance between speed and temperature may be specific for each fabric, in consideration of the type of fibre, the thermal conductivity of highlight the fabric and of the substances included in the pre-treatment compound. In fact, by considering the specific case of polyester, unlike the previous 1. The ideal drying temperature for all types of case about silk, and especially about to the resid- fibres is between 50 °C and 110 °C. Polyester is an ual gradient in the isothermal test drying, drying exception, as a drying temperature up to 140-150 could be carried out even at 140-150 °C, thus °C makes it possible to remove significant amounts increasing the humectant evaporation process. of humectants Doing so, with proper ventilation, it is possible to obtain acceptable results even within a couple 2. Balance between speed and temperature is of minutes. specific for each fabric, based on such variables as type of fibre, thermal conductivity of the fabric, substances included in the pre-treatment 3. The process of the preparation compound, as well as the weight of the fabric of fabrics is key The inability to remove from most of fabrics, un- 3. The preparation of the fabrics is a key factor and der reasonable conditions, a significant amount of affects the digital textile printing process. Besides humectant, however, justifies the attention direct- time and temperature, ventilation and humidity, the ed toward the process of preparation of the fab- pre-treatment of the fabric contributes to enhance colour yield, as well as to reduce some problems, rics to the inkjet digital printing. The preparation, such as contact staining in addition to improving printing sharpness and

Book 02 – Drying after digital printing 29 The consequences 5. of poor drying

5.1 Colour migrations: examples of defectiveness

hat are the consequences of poor dry- Wing? When the just printed fabric isn’t dried adequately in all its parts, the final quality may be so compromised that it is unusable. The defectiveness basically comes from the incorrect fixation of the dye on the fibre, in both the back side and the printed motifs: any rubbing of the fabric – against the fabric itself or against the paper used in some processes in the stage of rolling the fabric – can cause the random release of the dye and, as a result, problems arising of dirtying and local staining, which changes depending on the process, the fibre and the design. In some cases, the defectiveness is not immediately visible after the printing and drying but comes out only after the steaming stage.

Apart from direct staining, some of the more fre- quent defects include the colour migration of the fabric and of the paper, as well as the dustiness generated by an excess of dye or by the non-fixation of the ink. The use of excessive temperatures in the drying stage may lead though to problems of yellowing the background of the material and compromising the colour yield.

30 Beyond the Silk RoaD – The Textile Industry in the Digital Printing Era some example of defectiveness

Colour migration FABRIC Modal DEFECTIVENESS Black Colour migration and smudge of the motif’s shape

Staining on lycra

FABRIC Lycra DEFECTIVENESS Dustiness, the dirtying of the fabric by the ink which, not correctly dried and therefore fragile on its surface, is taken away as if it was dusty creating reproduction problems

Dustiness on clear background

FABRIC Jersey DEFECTIVENESS Dustiness on clear background. The red dot shows that quality control has taken place

Book 02 – Drying after digital printing 31 GLOSSARY

technology, to measure in real time at every point of the fabric the humidity present with C contactless technologies. In addition, considering the composition of the inks, there is colour migration not necessarily a correspondence between Defectiveness that leads to the in correct re- the statement ‘dry’, meaning the simple reproduction of the motif on the fabric. moval of only water up to a value equal to or less than the nominal amount held by the fibre, and the statement ‘dry to the touch’, relating to the sensation of dryness felt by touching the fabric, which could nevertheless be influenced by substances other than D water.

DRYER Machinery used to dry the fabric immediately DYE after the printing stage. The dryers currently Chemical substance that, when it is fixed on in use in the digital printing process may be the fabric, gives it a determined colouring. infrared, i.e. equipped with IR lamps com- bined with air recirculating circuits, or hot air, i.e. equipped with chambers of moving hot air dustiness and running on electricity, gas or steam. Defectiveness caused by the ink which, if not In traditional printing, it is typical to use a type properly dry, turns out to be fragile on its sur- of hot air hanging-loop dryer. face and, as a result, is exported in a dusty form.

DRYing The drying process that follows the printing stage and that consists in removing the liquid component from the fabric. H

DRY HUMECTANTS The term ‘dry’ referring to the fabric indicates Chemical substances – contained in the for- reaching the state in which there is not even mulation of the ink – that facilitate the contact physiological humidity present. and the fixation of the dye on the fabric. Hu- mectants prevent the complete drying of the ink, in other words they keep it damp all the dry to the touch time, which enables the printer heads to be The term ‘dry to the touch’ indicates reaching preserved from the risk of the ink drying out the state in which there is only physiological at the nozzles. humidity present in the fabric and so, when The humectant substances are used in both of it is touched, the sensation of dryness is felt. the textile printing processes, traditional and In the digital printing context this term is digital. preferred to ‘dry’ in an absolute sense since it is not possible, with the current state of the

32 Beyond the Silk RoaD – The Textile Industry in the Digital Printing Era GLOSSARY

ance between these parameters based on the characteristics of each individual fabric, such as I fibre type, weight and thermal conductivity as well as substances present in the pre-treatment INK compound. Liquid mix that enables transportation of the dye to the fabric. Ink is used in digital textile printing. PRE-TREATMENT Before being printed with digital technology the fabric is treated with specific prepara- tions whose formulation changes according to the characteristics of the fibre and the pro- L duction needs. The pre-treatment guaran- tees the dye yield and the definition of lines and borders. local staining Defectiveness that arises when the fabric is not PRINTING PASTE correctly dried in all of its parts and, as a result, Mixture that enables transport of the dye to the the ink is not fixed on the fabric in a proper way fabric, used in traditional textile printing. this causing the random release of the dye.

S P STEAMING PARAMETERS OF THE DRYING PROCESS Stage in the process that follows the fabric’s There are four parameters that regulate the printing and drying. Steaming is a steam treat- drying process: time; temperature; ventilation; ment that allows a series of chemical reactions humidity. In order to obtain the result of drying between fibre and dye, making the latter resis- it is necessary to achieve the most suitable bal- tant to the successive washing stages.

Book 02 – Drying after digital printing 33 TSC Advisory Board

The Textile Solution Center Advisory Board is a panel of experts that meets within TSC and sets itself the objective of promoting awareness of digital textile printing through targeted initiatives.

The mission of the TSC Advisory Board is to identify and put forward activities and initiatives aimed at: • Analysing market trends in high quality textile and fashion printing; • Promoting the understanding, awareness, and spread of high quality digital textile printing; • Promoting the development of skills and research in the field of high quality digital textile printing.

With these aims, the TSC Advisory Board intends to work both through the promotion of events and initiatives in line with its mission and through the organisation of themed events such as exhibitions, conferences and round tables. These involve all the key players in the textile industry, from schools in the industry to designers, from the key industry players to brand owners, to textile retailers and to the sector press. There is a particular focus on analysis of the critical aspects and the environmental impact in the digital printing sector.

The members of the TSC Advisory Board

Fulvio Alvisi Angelo Marelli Associazione Italiana Disegnatori Tessili - AIDT For.Tex Salvatore Amura Roberto Peverelli Accademia di Belle Arti Aldo Galli – IED Como ISIS Paolo Carcano Como Gianluca Brenna Massimo Pizzocri Unindustria Como Epson Italia Alberto Cigada Annie Ratti Politecnico di Milano Fondazione Antonio Ratti Luigi Corti Riccardo Robustelli Stamperia Achille Pinto F.lli Robustelli Dario Garnero Pietro Roncoroni Sistema Moda Italia – SMI For.Tex Daniela Guerci Epson Italia

All the activities promoted by the TSC Advisory Board are described on the Centre’s website www.textilesolutioncenter.com

34 Beyond the Silk RoaD – The Textile Industry in the Digital Printing Era the paRtneRS of the pRoject

Textile Solution Center is a hub dedicated to research, assistance, training and promotion of industrial textile digital printing. Founded as a joint venture between Epson and For.Tex, it combines the former’s inkjet technology and the latter’s experience in textile printing. Based on Epson’s inkjet printing solutions, TsC can support each step of the textile digital printing process, from pre-treatment to print to post-treatment. The Textile solution Center advisory Board actively promotes initiatives designed to inform and educate on the textile digital printing process. among those initiatives is the series “Beyond the silk road. The Textile Industry in the Digital Printing Era”, first published in November 2015.

EpSON is a global innovation leader dedicated to exceeding expectations with solutions for markets as diverse as the office, home, commerce, industry and textile printing production. Epson’s lineup ranges from inkjet printers, printing systems and 3lCd projectors to industrial robots, smart glasses and sensing systems and is based on original compact, energy-sav- ing, and high-precision technologies. led by the Japan-based seiko Epson Corporation, the Epson Group com- prises more than 72,000 employees in 94 companies around the world, and is proud of its ongoing contributions to the global environment and the communities in which it operates.

For.Tex was founded in 1986 and in June 2015 became part of Epson Italia. since its foundation, the company has been able to establish itself as a re- liable supplier for dyes, thickeners and printing specialties on the Italian market and has gradually strengthened its expansion into foreign markets by constantly widening its product range. For.Tex is currently operating in 16 countries through an efficient sales and distribution network. In 2000, For.Tex was selected by seiko Epson Corporation and Italian textile machinery producer F.lli robustelli – which was acquired by Epson in July 2016 – as an official partner for the project Monna Lisa® and Genesta®, that led to the creation of the first digital printer for textiles.

FESpA Italia is an Italian association grouping together those companies working in the screen and specialist printing, as well as in the digital and textile printing. FEsPa Italia provides its members with the resources they need to keep up with the evolution of the market and nurture their national and international competitiveness. The association focuses on building up expertise networks and on promoting an efficient use of the technology and of the processes for the creation, personalisation, production and use of special printed products. FEsPa Italia is a member of FEsPa, an international federation that in- cludes 37 associations in as many nations in the world. Founded in 1962, FEsPa provides its members with the opportunity of being part of a worldwide network of experts and sharing their successful experiences of this international platform. Textile Solution Center Via Livescia 11 – 22073 Fino Mornasco (CO) Ph. +39 031 927988 – Fax +39 031 929688 www.textilesolutioncenter.com