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GRAVURE, FLEXO AND SCREEN PRINTING IMAGE CARRIER PREPARATION
UNIT - II – IMAGE CARRIER PREPARATION
2.1. FLEXOGRAPHIC IMAGE CARRIER PREPARATION

Flexographic Plate
The first plates developed for flexographic printing were made of natural or, more
commonly, synthetic rubber, and were manufactured much like letterpress plates. Although
photopolymer plates are now widely used in flexographic platemaking, rubber still has its
adherents, primarly because of its economy, its simplicity, and its compatibility with ink solvents
that cannot be used with photopolymer plates.
Structure of Flexographic Plate
Figure - Structure (physical parts) of the flexographic printing plate
The terminology used to describe the plate is detailed in the above figure. The face is
the image that prints. It must be smooth and have sharp edges. The shoulders will be as
straight as possible where they meet the face. Ideally they will angle out from the face to provide
support to fine lines and small halftone dots. The floor is the nonimage area. The distance
between floor and face is relief depth and is critical to the relief principle. Contrary to standard
practice, large relief depths are unnecessary as proven by the newspaper printers and leaders
in narrow-web printing, both of whom print with relief depths of as little as 0.015 inch.
The back or base of the plate, in the case of photopolymers, is a polyester sheet and
provides dimensional stability. It may also be metal as with many newspaper plates and plates
mounted to cylinders magnetically. Rubber plates, with limited exceptions, have no stable
backing.
The total plate thickness is determined by the space between the cylinder and the
pitch line of the gear where the transfer of image to substrate is achieved. Thin plates are
between 0.025 inch and 0.045 inch, and are found most commonly in news and narrow-web
label applications. Others are slowly moving in this direction.
Plates between 0.067 in. and 0.125 in. are very common in most industry segments, with
the exception of corrugated. There it is still common to find plates between 0.150 in. and 0.250
37 Compiled by AP, P.Tech., AGPC, Sivakasi

in. Trends in almost all flexographic applications are to thinner plates, which are found to hold
better resolution and print with less gain.
There are several kinds of image carrier used in flexography
1. The traditional rubber plate
2. Photopolymer plates
3. Laser-engraved rubber plates or rubber rollers.
Flexographic plate composition must match to some extent the type of ink to be used
and to the substrate to be printed. Both rubber and photopolymer plates are used.
2.1.1. RUBBER FLEXOGRAPHIC PLATES PREPARATION (IN BRIEF)
Natural and synthetic rubber plates were the first type of flexo plates developed, and
they are still used for some applications. The process of producing a rubber plate is not far
different from the process used to produce photoengravings used in the hot type letterpress
process (figure).
a. Exposure through negative
b. Unhardened emulsion washed away
c. Etching lowers nonimage areas
d. Matrix presses into metal alloy to form mold
e. Rubber plate presses into matrix
f. Finished plate
Figure: Steps in producing a rubber plate

i. Preparation of Original Plate
A sheet of metal alloy coated with a light-sensitive emulsion is first placed in a specially
designed vacuum frame. The emulsion is not only light-sensitive, it is also an acid resist.
A negative is placed over the emulsion and light is passed through the negative. The
acid resist hardens where light strikes the emulsion (image areas).
During processing, the unhardened resist in the non-image areas is washed away,
leaving hardened resist only on the image areas. The metal alloy is then etched, which lowers
the non-image areas and leaves the image areas raised. The remaining resist is washed off.
ii. Preparation of Mold or Matrix
The completed engraving is then moved to a molding press where a matrix (mold) of the
engraving is made by pressing matrix material against the engraving with controlled heat and
pressure. The matrix material sinks into the metal engraving to form the mold.
iii. Preparation of Rubber Plate
The rubber plate is made from the matrix by pressing a rubber sheet into the matrix,
again under controlled heat and pressure.
Preformed sheets for rubber plates are available in a variety of thick nesses. The
thickness depends on the job to be printed and the press to be used.
The major disadvantage of rubber plates is that they are more costly to make than
photopolymer plates. Also, because they are made from an engraving, any plate problems
identified during proofing must be corrected by remaking the engraving, which further increases
the expense of the process.
2.1.2. PHOTOPOLYMER FLEXOGRAPHIC PLATES
Photopolymer plates are made from light-sensitive polymers (plastics). When they are
exposed to ulta violet light, they undergo polymerization, or the chemical conversion of many
small molecules into long-chain molecules. The result is that they will be harder and more
insoluble in exposed areas and softer in unexposed areas. Photopolymer plates eliminate
many of the disadvantages of rubber plates. There are two basic types of photopolymer plates
used in flexographic platemaking - Sheet photopolymer plates & Liquid photopolymer plates.
2.1.2.a. SHEET PHOTOPOLYMER FLEXOGRAPHIC PLATES PREPARATOPN (IN BRIEF)
Sheet photopolymer plates are supplied in a variety of thicknesses for specific
applications. These plates are cut to the required size and placed in an ultraviolet light exposure
unit (figure). One side of the plate is completely exposed to ultraviolet light to harden or cure the
base of the plate.

The plate is then turned over, a negative of the job is mounted over the uncured side,
and the plate is again exposed to ultraviolet light. This hardens the plate in the image areas.
The plate is then processed to remove the unhardened photopolymer from the nonimage
areas, which lowers the plate surface in these nonimage areas.
After processing, the plate is dried and given a postexposure dose of ultraviolet light to
cure the whole plate.
Base
hardened
by exposure
a. Exposure of base side
Image area Negative
b. Exposure through negative
Raised image areas
c. Processing to remove
unhardened photopolymer
d. Postexposure to cure plate

Figure: Steps in producing a sheet photopolymer plate
2.1.2.b. LIQUID PHOTOPOLYMER FLEXOGRAPHIC PLATES (IN BRIEF)

Liquid photopolymer plates are made in a special ultraviolet light exposure unit. In this
process, a clear plastic protective cover film is mounted over a negative transparency which is
placed emulsion side up on the exposure unit (figure a).

A layer of liquid photopolymer is then deposited by a motorized carriage over the
transparency and cover film. The carriage deposits the liquid evenly over the cover film and
controls the thickness of the deposit. While the carriage deposits the liquid, it also places a
substrate sheet over the liquid (figure b).
The substrate sheet is specially coated on one side to bond with the liquid photopolymer
and to serve as the back of the plate after exposure.
Exposure is made first on the substrate side of plate. This exposure hardens a thin base
layer of the liquid photopolymer and causes it to adhere to the plate substrate. A second
exposure through the negative forms the image on the plate (figure c). As with sheet materials,
the image areas are hardened by this exposure. The non-image areas, however, remain liquid.
Processing removes unwanted liquid in the non-image areas to leave raised image
areas. A post-exposure is then made to cure the whole plate (figure d).
a. Mounting the negative
b. Depositing the liquid photopolymer
c. Plate exposure
d. Plate after development and postexposure
Figure: Steps in producing a liquid photopolymer plate

2.1.3. LASER ENGRAVING
Rubber suitable for flexographic printing can be engraved by laser techniques. The
equipment will handle black and white positive copy for line work, and screened negatives or
positives for halftone work. Screen rulings of 47 lines/cm (120 lines/in) are possible, and is
expected to improve to 60 lines/cm. Engraving by this method can be done on either separate
pieces of rubber, or rubber rollers. The ability to engrave rollers is unique, and an advantage in
the printing of continuous designs. Because flexographic printing is done from an image in relief
it is essential that the shank of the image has a steep angle and is smooth. A suitable depth in
the non-image area is also essential.
2.1.1. RUBBER PLATES PREPARATION (in detail)
Expose Develop / etch Mold Matrix Mold rubber Inspect / Grind
Photosensitive relief from pattern plate from plate if
pattern plate pattern plate plate matrix necessary
Steps in Rubber Plates preparation
Rubber plates are made by a series of steps starting with a negative, specially sized and
distorted for the specific rubber being used. Since the rubber molding process includes two
steps where heat is involved, the changes in size caused by heating and cooling materials must
be compensated.
i. Preparation of Original pattern plate
The negative is exposed onto the light-sensitive coating of the metal or photopolymer
pattern plate. A variety of materials including magnesium, lead type, copper, and hard
photopolymer are imaged to make the original pattern plate. Magnesium is the most commonly
used pattern plate material. Hard photopolymer is gaining in use because of its preferred
interaction with the environment and the workplace.
The pattern plate is processed into a hard, letterpress-type relief plate. This becomes the
“original” relief plate that will be duplicated in rubber for use in flexographic printing. Metal
pattern plates are developed after exposure to remove the acid-resistant coating. The plate is
etched with acid to the desired depth. This determines the relief depth of the final rubber plate.
Then the plate is inspected and flaws are removed to prepare it for making the matrix, a mold.

a. Exposure through negative
b. Unhardened emulsion washed away
c. Etching lowers nonimage areas
d. Matrix presses into metal alloy to form mold
e. Rubber plate presses into matrix
f. Finished plate
Figure: Steps in producing a rubber plate
ii. Preparation of Matrix / Mold

The rest of the rubber platemaking process takes place using a precision vulcanizer, or
molding press. Figure below shows a vulcanizer and a diagram of its key parts.
Figure: A Volcanizer (top) and a diagram of its key parts (bottom)
Matrix board, sometimes called bakelite, is cut to size, brushed to be sure it is free of
foreign particles, and inserted face up into the molding press. The pattern plate is placed on top,
image side down, and pressed under heat and pressure into the matrix board. Thickness control
bearers are placed along both sides of the molding surface, called the serving tray, to control
the thickness of the matrix. The matrix is a thermal plastic resin and cellulose material. The
resin provides a smooth hard surface for molding the rubber plate. The matrix is molded to a
specified floor thickness, the thickness between the face of the image and the back of the matrix
board. Figure below shows the assembly of pattern plate, matrix, cover sheet, and the thickness
control bearers.
Figure: The assembly of pattern plate, matrix, and cover sheet

and the thickness of control bearers
iii. Preparation of rubber plate

After checking the floor thickness and uniformity of the matrix it is placed back into the
molding press, image side up, for molding the duplicate rubber plate. It is a duplicate because it
is a copy of the pattern plate. In fact it is a third-generation plate, the first and second
generations being the pattern plate and the matrix. The gum, which becomes rubber when
vulcanized, is placed over the matrix. A cover sheet is placed on top of the gum to protect the
upper platen of the molding press from any buildup of material. The exact total thickness of
bearers is positioned at the left and right of the serving tray and the entire assembly is inserted
into the heated plate molder. The bearers are calculated exactly to determine the thickness of
the plate. The heat and pressure from the molding press soften the gum while hydraulic
pressure pushes it into every part of the matrix. The assembly of matrix and gum is held for a
specific time at 307°F until it is completely vulcanized, changed to rubber.
Quality checks often reveal slight irregularities in total plate thickness and uniformity.
Small amounts of unevenness in rubber plates are often corrected by a grinding procedure.

2.1.2.a. SHEET PHOTOPOLYMER PLATES PREPARATION (in detail)
The Plate is back-exposed to create

the floor, and-exposed through the
negative to produce the image.
The Plate is washed out in a

processor, removing the unexposed
photopolymer
The Plate is inspected for relief and

imaging quality
The Plate is thoroughly dried
The Plate is post-exposed and light

finished
Figure: Production flow of the sheet photopolymer platemaking process
As the name implies, photopolymer plates are light-sensitive, and the platemaking
procedures employ multiple exposures to light to determine their relief depth and shoulder
angles. The workflow figure shown above describes the sheet photopolymer production flow.
The raw materials are either in a liquid or a precast sheet form. Figure below describes the
sheet type of plate, available in a wide variety of sizes from small (12 x 15 inches) up to 50 x 80
inches and possibly larger today; change is constant.
Removable cover sheet
Light - sensitive polymer
Stable base/substrate
Figure: The sheet type of plate, which is available in a wide variety of sizes.

There are many sizes and types of exposure devices. The diagram in shown below is
just one typical exposure system. The procedure for exposure and processing is simple.
i. Back / Base (Plain) Exposure

The plate material has a base and a face side. The base side is determined by the firmly
attached polyester sheet. This provides the plate with dimensional stability. The base resists
size changes and cannot be stretched during handling, particularly mounting. The first exposure
is made through the base. Its duration determines floor thickness. Since total plate thickness is
a specification of the sheet plate as it is supplied, floor thickness is the determiner of relief
depth. Relief depth is a major factor in determining print quality. The longer the back exposure,
the thicker the floor. Back exposure also affects the length of the face exposure.
ii. Main (Face) Exposure with negatives
The face side of the plate also has a polyester sheet, but it is easily peeled off prior to
imaging. Face exposure is the imaging exposure made through the negative held in contact by
a vacuum and a flexible drawdown sheet. The length of the face exposure determines the
shoulder angle, which controls support of the image. Fine lines will be wavy if there is
insufficient face exposure. Very small highlight dots will fail to image or be weak and move
during impression without enough face exposure. Stochastic images require more face
exposure to image the highlight “spots” since they are farther apart, somewhat independent of
adjacent spots. Too much face exposure causes excess dot gain, particularly in highlights and
quartertones.

Base
hardened
by exposure
a. Exposure of base side
Image area Negative
b. Exposure through negative
Raised image areas
c. Processing to remove
unhardened photopolymer
d. Postexposure to cure plate
Figure: Steps in producing a sheet photopolymer plate
iii. Washing out the non image areas

Once the plate is exposed the material has been rendered stable or insoluble. The
unexposed material is still a soluble monomer. It is processed by simply dissolving in an
appropriate solvent or detergent. The plate is also scrubbed with brushes during washout to
speed the process by removing the unexposed material as it is dissolved. Solvent-washed
plates require a blotting step to assure all solvent and plate material are removed from the
printing surface. This is a simple but critical part of the platemaking process. Any foreign
material left on the face of the plate causes noticeable defects in the printed image.
Solvent-washed plate material absorbs some of the solvent, and time is required while
drying for this material to escape from the plate. Detergent-washed plate materials don‟t absorb
liquid and thus require less time for drying. Dryers provide hot air and exhaust for rapid removal
of moisture and vapors.
iv. Post Exposure
After the plate is processed and dried, it requires post exposure to cure all remaining
unexposed material and finishing to eliminate a tackiness on its surface. While there are
alternative methods, finishing is usually done by a UV light finishing process.
2.1.2.b. LIQUID PHOTOPOLYMER PLATES PREPARATION (IN DETAIL)
The figure below illustrates the process of making a liquid photopolymer plate. Liquid
polymer plates are made following exactly the same exposure and processing steps of sheet
photopolymer plates. The difference is that the parts of the plate come as separate items to the
liquid platemaking department. The base, or substrate, of the plate is a sheet of polyester. One
side has a matte surface to assure its firm attachment to the polymer resin. The polymer is in
liquid resin form comparable to honey in appearance and consistency. There is a thin plastic
cover sheet used to keep the resin off the negatives during exposure.
Negatives are placed onto the glass.
A cover sheet is placed over

the negatives.
The resin is cast and the plate exposed
The exposed plate is removed from the

platemaker. The plate is washed out,
postexposed, and finished similar to a
sheet plate.
Figure: The process of making a liquid polymer plate.
i. Preparation of liquid photopolymer layer

While there are many features of liquid platemaking systems, the basic process is the
same. The operator positions the negatives, emulsion up, on the lower glass which is cleaned
before every plate is made. A very thin cover sheet is pulled over the negatives and drawn down
with vacuum.

The resin supply carriage moves across the negatives, pouring a metered quantity of
resin and simultaneously laying down the polyester base of the plate. As soon as the carriage is
clear of the plate area the top of the machine is closed and vacuum is applied between the top
and bottom glasses. This is done to assure the plate completely fills the space between the two
glasses. This space is the critical plate thickness and determines plate uniformity required for
quality flexographic printing.
a. Mounting the negative
b. Depositing the liquid photopolymer
c. Plate exposure
d. Plate after development and postexposure
Steps in producing a liquid photopolymer plate
ii. Exposure
The exposures are made. First the back exposure lamp is switched on. As with a sheet
system, this is timed to establish the floor thickness (and relief depth) while also increasing the

sensitivity of the resin to the face exposure. While the back exposure is being made the face
exposure is started from the bottom lamps. This exposure is made through the negatives and
determines the imaging and the shoulder support of the plate.
iii. Washing out
When the exposures are complete the unit is opened and the plate is removed. The
cover sheet is discarded and unexposed resin reclaimed. The plate is placed into the processor
washout unit; the processor washes out all the unexposed resin using a heated detergent and
water solution.
iv. Post Exposure
Once washed out, the plate is rinsed and moved to the finishing unit where it is post
exposed and finished simultaneously, in a special solution to remove the tackiness and to leave
the plate ready to be used once it has been dried. Drying is done only to remove water from the
surface since there is no absorption into the plate.
v. Finishing
Liquid platemaking departments almost always reclaim a significant amount of the
unexposed resin before the plate is washed out. This is done by placing it on a vertical surface
where, after removal of the cover sheet, a high-velocity air knife is passed down over the plate
causing the unexposed resin to roll off into a catch basin. This resin is used again in the
platemaking process, saving both material cost and pollution of the washout and subsequent
wastewater.
DIGITAL FLEXOGRAPHIC PLATES
Currently there are several varieties of direct-to-plate, or digitally imaged flexographic
plates. As with all printing processes, the motivation is to eliminate film imaging costs and
improve throughput. Of course, improvements in quality are also expected.
2.1.3. LASER ENGRAVING ON RUBBER ROLLERS
The first direct-to-plate process was laser engraving rubber. In the process gum is
vulcanized and precisely ground to final plate thickness. It is then mounted to a drum and
rotated in front of a CO2 laser. The nonimage area is burned away leaving the image in relief
and the plate ready for mounting (see Figure 8-11). Laser-engraved rubber plates have
precisely controlled shoulder angle, and resolution as high as 120-line halftone screens can be
produced. One of the most appealing applications of this technology is the production of
continuous-pattern images. Conventional plates always leave a gap of line where the two ends
of the plate come together on the cylinder. Continuous patterns are laser-engraved onto rubber-
covered rollers. Rubber is vulcanized to roller bases and ground to the exact repeat length. This
roller is then laser-imaged. Gift wrap and wall covering often require uninterrupted patterns, and

laser imaging is a popular solution. This process also eliminates any plate mounting and the
cost of potential register flaws that go with mounting.
Figure: Operator examining a laser-engraved rubber plate.
COMPUTER TO PLATE FOR FLEXOGRAPHIC PRINTING

As explained in detail in sections 1.3.2.1 and 2.3.3, flexography is a relief printing
technology, in which a flexible (soft) printing plate is pressed against a hard impression cylinder.
Three different imaging systems are available for computer to plate in flexographic printing:
laser imaging of the mask (high quality),
laser engraving/ablation (up to approximately 600 dpi, mostly used for rubber
plates),
direct imaging with very high energy UV light (quality suitable for newspaper
printing).
The first computer to plate systems for flexographic photopolymer plates were shown at
DRUPA 95. They work on the external drum imagesetter principle and a Nd: YAG laser is used
for imaging the mask. The plate is held on the drum by vacuum. The Barco company‟s “Cyrel
Digital Imager” system may be taken as an example (fig. 4.3-14). This system is suitable for
DuPont Cyrel plates with a format of up to 1067mm x 1524mm. In full format with 48 lines/cm
screen, imaging takes approximately 35 minutes. Addressability is a maximum of 4000 dpi.
Low laser power suffices to image the laser-sensitive black coating on the photopolymer
plate. The black coating is vaporized in areas corresponding to the image, consequently serving
as a film for the subsequent UV exposure (details of the composition and function of these
plates are given in sec. 4.3.9, see fig. 4.3-30). After imaging, these plates undergo conventional
exposure on the reverse and image side (main exposure) with UV light and are then developed
or further processed. In 1997 a computer to plate system suitable for both flexographic and

some thermal-sensitive offset plates was introduced for the first time by Misomex, the
“Omnisetter.” A light source consisting of twenty thermal laser diodes (wavelength 830 nm) is
used as the imaging system here.
In flexographic computer to plate systems for producing relatively soft rubber printing
plates, the recessed, ink-free parts of the printing plate are removed directly by laser energy
(laser engraving). The ablated particles are removed by suction. High-power lasers (such as 1–
2.5 kW CO2 lasers) are used for this activity. The laser engraving of gummed rollers for
continuous printing has been possible since the seventies.With the maturing of computer
technology, computer to plate became available as early as the end of the eighties.
UV direct imaging is available as the “UV Laser Platesetter” from Napp Systems. By
means of high-power UV laser light the polymerisation needed for producing the flexographic
plate is carried out directly pixel by pixel.
Laser engraving on polymer plate
The second direct-to-plate system simply substitutes a polymer plate for the rubber and,
as above, images the polymerized material by laser burning away the unwanted polymer in
nonimage areas.
The other two direct digital imaging approaches are digital-photographic hybrids.
They both employ digital masking of light and conventional photographic exposure and washout
processing. The first of these was first introduced by DuPont at DRUPA 95. It uses a laser to
ablate (remove) a mask (black or other light stopping coating), which is applied on top of a
conventional photopolymer plate. The plate material is supplied with the light-stopping mask. It
is mounted onto a drum in the laser ablation unit and rotated in front of the laser. The laser
removes the light mask leaving the image area open to pass light during the exposure step. The
plate now has a negative built into it. It is placed on the standard exposure unit and given the
same exposure as used on conventional plates. The benefit to the process is, of course, that
there is no need to produce film. The lack of a negative does eliminate any issues of dust from
film and halation due to contact problems, so quality is clearly improved. Without the negative
and drawdown sheet, diffusion of light is also eliminated and, thus, resolution improved. This is
particularly valuable in the lightest highlights. As with most new technologies, the early
applications show little if any financial benefit. There has been little or no difference in
throughput with single laser machines. Market realities should lead to future economic benefits
for the consumer flexo printer. This digital approach is also used to image photopolymer on
sleeves providing a “seamless” plate if necessary. This, of course, eliminates all plate mounting
and the register issues that often result.
The third direct digital approach is the same as used by screen printers to apply
graphics to photographic screens for many years, It employs an inkjet imager that applies a
light-stopping mask to the sheet flexo plate. Once imaged, the plate is exposed and processes
as any other sheet-type plate. This system is far less expensive but also limited in its early form
by the capability of inkjet imaging.
2.2. GRAVURE IMAGE CARRIER PREPARATION
HAND ENGRAVING AND PRINTING:
There are several methods of hand engraving and etching. These terms are used
interchangeably, but actually should not be. To engrave is to cut an object with a tool and to
etch is to remove by chemical-acid means.
Both engravings and etchings are true intaglio methods of reproducing images. Lines
are cut or etched below the non image surface of the image carrier. The image carrier made of
copper, steel, or plastic, is then inked over the entire surface. The ink is wiped from the non-
image high portion, leaving the lines filled with ink. The image carrier is then pressed against a
paper receptor to transfer the image.
GRAVURE IMAGE CARRIERS:
The three main types of gravure image carriers are 1) flat plate 2) wraparound plate,
and 3) cylinder.
Flat plates are used on special sheet-fed presses that produce stock certificates and
other highgrade limited-copy materials.
Wrap-around plates are used to print art reproductions, books, mail order booklets,
calendars, and packaging materials. The wrap-around plate is thin and flexible and attaches to a
cylinder similar to one on an offset-lithography press. They can be used economically only on
short runs (30,00 copies or less). They cannot produce a continuous design or pattern because
of the area needed to clamp the plate to the cylinder.
Cylinder image carriers are the most common within the industry; Preparation of a
gravure cylinder is a most critical process and each step in its production must be done with
exacting care if quality results are expected.
GRAVURE CYLINDER MANUFACTURE
With the exception of sheet-fed gravure printing, which is now found only rarely, web-fed
gravure printing requires a gapless gravure cylinder,onto which the image is applied directly,by
means of etching or engraving. For this, the cylinder must be prepared in a costly mechanical
and galvanic process.

In its basic design, the gravure cylinder consists of a thick-walled steel tube with flanged
steel journals. To increase the stiffness of this hollow cylinder, some of the cylinder journals are
drawn inwards and are supported inside the tube on additional steel discs. All of these joints are
welded during the manufacture of the gravure cylinder so that a solid roller body is created,
which still has to be balanced so that there are no vibrations when running at high speed
(typically up to 15 m/s) in the printing press.
The cylinder receives a base copper layer on its surface, which, among other things,
serves to achieve the specified diameter of the finished gravure cylinder. For the application of
another copper layer (figs. 2.2-3 and 2.2-4), which varies from print job to print job, there are
several methods that are described in the following sections [note: the top copper layer is twice
as hard (Vickers hardness approximately HV 200) as the base copper, so that this copper layer
has good cutting properties as regards the electromechanical engraving process]:
• The thin layer method (fig. 2.2-4a):
The base copper layer is coated with an engravable copper layer (approximately 80 µm)
in an electroplating process (fig. 2.2-3). This thin layer only allows a one-time engraving. The
advantage of the thin layer technique is that all the gravure cylinders of one type have the same
diameter dimensions and less mechanical surface treatment is required after the electroplating
process than with thick layer processes (see below). The removal of the engraving (after
dechroming) is achieved by dressing or milling the copper. After this, a new copper layer is
applied. (In the special process known as copper recycling, the copper layer is removed in an
electroplating reversal process. In this process, an additional nickel barrier layer of
approximately 25 µm between the base copper and engraving copper is necessary.) The thin
layer technique is used in some 35% of cases, whereby the copper recycling method only
accounts for some 5%.
• The Ballard skin method (fig. 2.2-4b):

This method is also a thin layer process (one-time use of the engraving copper layer).
The base cover is electrically covered with a removable copper skin (80–100 ¼m), whereby a

special layer between base copper and Ballard skin ensures that the Ballard skin can be peeled
off the gravure cylinder after printing. The Ballard skin method is employed in approximately
45% of cases.
• Heavy copper plating (thick layer technique; fig. 2.2-4c):
An approximately 320 ¼m thick layer of engraving copper is applied onto the base
copper in an electroplating process. This thickness of the layer permits engraving for
approximately four print jobs. After each print job, a layer of approximately 80 ¼m is removed in
a multi-stage mechanical process (milling, grinding). The former image is thus removed. When
the engraving copper is used up, a new copper layer (hard) is applied by means of
electroplating. This method is employed in about 20% of cases. With all methods the cylinders
are always hard chromeplated after etching or engraving to reduce wear and tear. Therefore
chemical chrome deplating with hydrochloric acid must be undertaken prior to removal of the
image carrying layer.
The process sequence for preparing an Engraving Cylinder is generally as follows:
removing the used gravure cylinder from the gravure printing press;
washing the gravure cylinder to remove residual ink;
removing the chrome layer;
removing the copper image-carrying layer, eitherchemically, by means of
electroplating, or mechanically;
preparing the copper plating process (degreasing and deoxidizing, applying the
barrier layer if the Ballard skin method was employed);
electroplating;
surface finishing with a high-speed rotary diamond milling head and/or with a
burnishing stone or a polishing band;
etching or engraving (producing the image on the gravure cylinder);
test printing (proof print);
correcting the cylinder, minus or plus (i.e., reducing or increasing the volume of
cells);
preparing the chrome-plating process (degreasing and deoxidizing, preheating,
and – if necessary – sometimes polishing);
chrome-plating;
surface-finishing with a fine burnishing stone or abrasive paper;
storing the finished cylinder or installing it directly in the gravure printing press.

Today, all these operations are performed, more or less fully automated, in production
lines, whereby overhead traveling cranes and in some cases the transportation of the gravure
cylinder from station to station is carried out by automated guided vehicle (AGV) systems.
GRAVURE CYLINDER IMAGING

In addition to an image-carrying function, the screen structure of the gravure cylinder
surface has the significant task of guiding and supporting the doctor blade. The blade supports
itself on the cell walls, which demarcate the cells. The continuous-tone-like graduation in the
image of conventional gravure (etching) is achieved through the various depths of the cells.
However, there is a mixed form, the variable area and depth gravure process, in which
the cell diameter and depth of the cells are altered for the continuous tone graduation
Variable area gravure printing without cell depth variation (corresponding to the dot size
variation in offset and letterpress printing) has gained little significance.
Electromechanical engraving with diamond stylus (variable area and depth gravure) is
the dominant process. Only seldom is etching still used as an imaging process in gravure

printshops. Despite this, and in the interests of thoroughness, a short description of this process
is given below.
GRAVURE ENGRAVING
Collective term for the various means of engraving or etching the image onto the gravure
cylinder. Gravure, unlike most other printing processes, prints from depressed, inkfilled cells
produced on the surface of a copper-plated cylinder. The ink in the cells is then transferred to
the desired substrate.
The four basic means of engraving the image into a gravure cylinder are
i. the diffusion-etch process or carbon tissue or conventional method
ii. the directtransfer process or halftone gravure process
iii. electromechanical engraving, and
iv. the laser-cutting process.
I. CONVENTIONAL CYLINDER PREPARATIONS:
Conventional methods of cylinder preparation date back to the nineteenth century when
the first commercial application of the intaglio mechanical principles took place. This early effort
took into account the concept of a pattern of square dots, all the same size laterally arranged.
The etched cells in highlight areas are very shallow, with the depth increasing in direct ratio to
the incerase in tone. Tones are thus determined by the thickness of the ink film in the cells,
rather than by the size of the dots. Principles of this form the basis for virtually all other gravure
processes.
PREPARING OF GRAVURE CYLINDER BY CONVENTIONAL METHOD OR CARBON
TISSUE METHOD
It is necessary to prepare film positives for gravure production.
Preparation of Originals
1. Prepare photographs, artwork, and type composition necessay for the images.
Film Processing
2. The type and artwork are photographed in a process camera to obtain the film
negative.
3. The continuous-tone film negatives (those that contain no dots) are prepared from
photographs that contain varying shades of gray.
4. The film negatives are then carefully retouched by the engraver to correct
imperfections.

5. The retouched negatives are set up in proper position and a one-piece film positive
combining all elements of the image, is made.
6. The engraver carefully inspects the film positive and retouches it to make final
corrections and adjustments.
7. Several film positives are stripped together for the image to cover the entire cylinder.
8. Photographic proofs are made of the film positives and the engraver closely inspects
them for needed correction.
Readying (Preparation) of the Cylinder :
During the time that the film positives are being prepared, the surface of the gravure
cylinder is prepared to accept the iamge. The cylinder must be carefully prepared before the
etched image is placed onto it.
9. The thin coating of copper, containing the image used on the previous printing job, is
removed. This is done on a special gravure cutting lathe.
10. A new coating of copper must be placed on the cylinder surface. To do this the
cylinder is placed into an electroplating tank coated with copper to approximately 0.005 inch
over the specified finished diameter.
11. The cylinder is accurately centered in a high-precision lathe and is cut to a fine finish
with a diamond tool to within 0.002 inch.
12. The cylinder is placed on a special grinder and super finished to the exact specified
diameter and smoothness. It is now ready to receive the image.
Exposing the Image :
The entire image is screened in the gravure process. This includes the type, artwork,
and photographs. Special gravure screens containing 150 to 300 lines to the inch are used. A
sheet of carbon tissue, coated with a layer of orange-colored light sensitive gelatin on a paper
backing sheet, is placed in contact with a gravure screen. Both items are placed in vaccum
frame.
Exposure with Gravure Screen :
13. The carbon tissue is exposed to strong arc lamps through the screen. The
transparent lines of the screen allow light to strike the carbon tissue, hardening it and making it
insoluble to the etching solution which wil later be placed upon it.
Exposure with film positive (image) :
14. The screen is removed from the carbon tissue and the film positive is placed over the
tissue. The tissue is again exposed to light source through the film positive. The gelatin
sensitized coating of the carbon tissue hardens in proportion to the amount of light that passes
through the positive. In highlight or lightest areas the gelatin is hardened to the greatest amount;
in shadow areas (darkest) it is hardened to the least.
Mounting the carbon tissue on cylinder
15. The exposed carbon tissue, containing the complete image, is transferred carefully
to the copper cylinder. It is important to place the tissue in exactly the correct position on the
cylinder.
Expose gelatin (carbon tissue)

to Screen Screen
Gelatin
Paper backing
Continuous tone copy
Expose gelatin (carbon tissue)
to Continuous tone copy
Paper backing
Apply gelatin (carbon tissue)
to copper cylinder, with paper
backing stripped away
Dissolve unhardened gelatin
Etch cylinder
Remove resist
The transfer machine places approximately 1,300 pounds of pressure per square inch
on the carbon tissue to make it adhere properly to the copper cylinder.
Peeling off paper back from carbon tissue
16. After the carbon tissue has been adhered to the cylinder, the paper backing is
removed and hot water is used to wash away unhardened gelatin remaining where the light did
not penetrate. Large nonimage areas of the cylinder are “staged out” (hand painted with
asphaltum) to resist the action of the etching solution. The cylinder is now ready for etching.
Etching the Cylinder :
17. The cylinder is carefully removed from the transfer machine to the etching trough.
The etching solution (ferric chloride solution) can be either poured onto the rotating copper
cylinder or placed in an etching machine that allows the cylinder to rotate constantly in a bath of
acid. The etching solution penetrates the gelatin and attacks the copper.

The etching depth of the copper is determined by the thickness of gelatin in each
rectangular dot. Because the gelatin is thickest within the highlight area of the image, it takes a
longer period of time before the etch penetrates it. The depth of the etching within that area is
therefore vey slight. Within the shadow area of the image there is only a small amount of gelatin
to protect the cylinder, and the etching solution quickly attacks the copper and etches to greater
depth. The shadow cells are etched to approximately 38 microns in depth; highlight cells to 3 or
4 microns. Cells of depth between these extremes represent the middle tones. (25 microns =
0.001 inch.)
18. The cylinder is carefully inspected microscopically after it has been etched for a
period of time. If any flaws appear it is possible to re-etch to corect the defect.
PROOFING AND FINISHING THE CYLINDER:
19. The cylinder is proofed on a special gravure press after inspection. The proof results
are compared with the original copy. If flaws are found in the cylinder, it is possible for the
finisher to hand-correct them.
20. A thin chrome plating is done over the copper cylinder surface after it is considered
to be perfect. The chrome is much harder than the copper and offer better resistance to wear for
many more copies. The cylinder is now completely prepared and is ready to be placed on the
printing press.
OTHER METHODS OF CYLINDER PREPARATIONS:
Several variations in methods of preparing the gravure cylinder are now practiced. Each
method of special technique has special advantages, and also disadvantages. The major
difference between these processes and the conventional gravure process is that in the former
the square dots vary in size as well as depth. This allows a wider range of tonal values.
GRAVURE CYLINDER PREPARATION
II. HALFTONE PROCESSES
1. DOUBLE POSITIVE SYSTEM-HALFTONE GRAVURE:
This is similar to the conventional process except that instead of exposing the carbon
tissue to a gravure screen and then a continuous tone positive, it is exposed to a continuous
tone positive and a screened positive. The screened positive is made from the continuous
tone positive by contact using a special contact screen and duplicating film (to yield a positive
directly). The screened positive has dots of varying area, but ones which never join up
completely because a cell wall pattern is always present. Etching is similar to before, using
baths of ferric chloride of different strengths or a single-bath etching technique. The result is a
cylinder in which different tones are made up of cells which vary in both depth and width.

The advantage of this technique is that etching is easier to control and the cylinder has
greater tolerance to wear on long runs. This is because the highlight cells have smaller width
but much greater depth so will not be affected by wear. Speckle can be a more prominent
problem with this type of etch.
2. HALFTONE GRAVURE PROCESS OR DIRECT - TRANSFER PROCESS
Another technique will produce cells which vary only in width and are all the same
depth. Carbon tissue is not used and only a single halftone positive is used. A light-
sensitive coating is applied directly to the cylinder, exposed to the positive and developed.
Etching can be done in a one-bath etch. The Acigraf process is the most widely used process of
this type although other methods based on powderless etching (as in letterpress platemaking)
and electrolytic etching have been tried.
Also called the Single-Positive System, the direct transfer process is, like the diffusion
etch process, a chemical etching process. The primary difference is in the composition of the
resist, which replaces the carbon tissue with high-contrast, high-resolution photo polymer
emulsions.
The emulsion is applied (by a spray, ring coaler, or other means) directly to the copper-
plated surface of the gravure cylinder itself. A single screened positive is brought into contact
with the emulsion on the cylinder and exposed to ultraviolet light. As in the diffusion-etch
process, the exposed (nonimage) areas become hard, while the unexposed (image) areas
remain soft.
A solvent is used to wash away the unexposed resist, and the photopolymeric resist
produces cells that print with smoother edges than cells etched by electromechanical engraving.
Etchant is applied, as before, and engraves cells at a rate that varies according to the thickness
of the resist.
The film positive is carried by clear mylar belts between the emulsion of the gravure
cylinder and a mercury-vapor lamp, which enables the engraver to expose the resist in a
circumferential fashion. The direct-transfer process is also quicker than the diffusion-etch
process, taking only about 4-10 minutes to etch a cylinder.
Despite the quickness and ease of the previous forms of chemical engraving, they have
been replaced for the most part by newer techniques, primarily by the electromechanical
process, while newer digital computer-to-laser systems are making inroads into the gravure
engraving process.
III. ELECTRONIC / ELECTROMECHANICAL ENGRAVING OF GRAVURE CYLINDERS:
Present procedures for producing gravure cylinders are time consuming and demand
several skilled personnel. Electronic engraving machines reduce the amount of production time
and labour.

Electromechanical engraving appeared as a commercial process in the late 1960s and
has almost completely replaced earlier chemical processes. In its simplest form, the engraving
machine has three basic parts:
i. a scanning head and cylindrical drum for mounting copy, or a digital input device;
ii. a control panel and power supply;
iii. an engraving head and cylinder mounting station.
This is a technique that was developed by the Hell organization in Germany, who have
produced a range of Helio-Klischograph machines for several types of work such as consumer
magazines and packaging.
These machines, which are similar to a lathe in general layout, use a diamond stylus
which is shaped in a very precise way, to engrave cells shaped like inverted pyramids, 2 to 50
microns deep. As the cylinder rotates the stylus moves in and out of the copper surface cutting
between 2800 and 5000 cells per second, although 3200 cells per second is typical. For deeper
cells the stylus penetrates deeper into the copper so that the area at the top of the cell becomes
greater as well as the depth. Cells in adjacent rows are staggered by half a cell so that they
nestle together, with a screen angle of 45. For colour work the screen angle must, of course, be
varied to avoid moire patterning. This is done by altering the cylinder rotational speed in relation
to the frequency of the cutting tool in a carefully calculated fashion. In this way, compressed or
elongated cells are produced with screen angles at 30 or 60.
The composition of the copper on the cylinder is important to achieve a consistent
cutting action. If the copper is too soft, the chips of copper produced by the cutting tool do not
come out of the surface cleanly, and tear leaving splinters of copper on the cell edges. Variation
in hardness can lead to variation in depth of cut, and hence cell volume. The best copper
hardness is in the range 200 to 220 Vickers.
The use of mechanical engraving has become widespread since, by comparison with
etching methods, it is controllable, and also lends itself to direct output from computer pre-press
systems. The inverted pyramid shape of the cells promotes good ink release and a lower cell
volume can therefore print an equivalent density.

Scanning cylinder Gravure cylinder
Light source Stylus Track for

Reading
uint Projected
Stylus
Computer
Diagram of the electromechanical process
The operations involved in electromechanical engraving are significantly shorter

compared to the etching process. Nowadays, they are normally controlled directly with the data
recorded in prepress. In this way the mounting of a scanning original on a separate scanning
drum that runs synchronously with the engraving machine is also no longer needed.Hence, the
engraving machine only consists of a lathe-like device, into which the prepared gravure cylinder
is mounted. The engraving procedure is similar to a rotating cutting process, but the cut is
intermittent (stylus frequency).
The gravure cylinder rotates during engraving at a constant surface speed (depending
on the screen at approximately 1 m/s).At the same time the diamond stylus of the engraving
head moves at a high frequency (4–8 kHz). The diamond penetrates the copper at different
depths and produces the cell.
The cells are equidistant from each other in the circumferential direction (direction of
engraving) due to the continuous circumferential velocity and the engraving frequency.
Engraving of neighboring tracks is semi-staggered. The lateral repeat length corresponds to the
forward motion of the engraving head per cylinder revolution in the shaft direction of the gravure
cylinder.
Depending on the width of the web to be printed, up to sixteen engraving heads
(typically eight) with styli are used for publication gravure printing. The burrs on the copper
surface are usually removed by a scraper which is fixed to the engraving head during the
engraving process. The cylinder must therefore only be lightly polished before it is used for a
test print in a proofing press, corrected manually in accordance with this, and then finally
chrome-plated.
IV. LASER ENGRAVING/LASER CUTTING PROCESS
In the past, there have been numerous attempts to make engraving faster and cheaper.
One possibility lies in the implementation of non-contact methods, such as electron or laser

beam. In individual cases, laser engraving is already in practical usage today. In the year 1995,
a direct engraving process using a laser was brought onto the market (“Laserstar”by Max
Dätwyler AG), where a solid-state laser engraves a zinc layer. The cell shapes produced are
similar to those of etched cells (the process operates at 70 kHz engraving frequency). The
engraved cylinder is chrome-plated after a grinding and cleaning process.Dressing of the
gravure cylinder after printing is carried out using similar chemical, mechanical, and
electroplating methods as with a copper cylinder. Basically the step of copper plating (to permit
engraving copper) is replaced by a process of electroplating zinc.
Laser engraving opens several new doors for gravure printing. The unwanted saw tooth
effect with fine fonts can be reduced. Alongside this, there is the possibility of working with
frequency-modulated screens.
Indirect laser engraving processes use a light-sensitive black layer that is applied onto
the copper of the gravure cylinder.The laser removes this layer in accordance with the image
(on the basis of already available digital data files). The gravure cylinder is then etched (e.g.,
“DIGILAS” by Schepers-Ohio).
V. COMPUTER TO CYLINDER FOR GRAVURE PRINTING

Direct digital control of mechanically stylus engraving devices has been possible since
about 1985 in gravure cylinder production.This means that the data comes directly from the
computer and not from a scanned analog copy (bromide), (see fig. 1.3-14). Thus computer to
cylinder technology is far more widespread in gravure printing than computer to plate
technology in offset printing.
Electrons or laser beams have been tested in conjunction with various base materials for
direct engraving by applying heat energy to the base material. Electron beam engraving has
worked very efficiently.However, it is too expensive as a result of the costly vacuum technology.
Thus, for economic reasons, no system has yet been marketed. A fully automated gravure
system using laser beams, the “Laserstar” from Max Dätwyler, was presented at DRUPA 95. In
this, however, the cylinders have to be coated with zinc (instead of copper) because of its better
absorption capacity, particularly at 1064 nm (Nd:YAG). This entails high expenditure on
conversion of the other cylinder preparation processes.




Summary of Current Technology
The gravure engraving process today includes chemical engraving, usually employing a
method called direct transfer, electromechnical engraving and recently-introduced laser
technology.
i. Electromechanical Engraving
Electromechanical engraving freed gravure image processing from carbon tissue
transfers and chemical etching. This method of cylinder preparation uses a diamond stylus that
vibrates at more than 4500 times per second, cutting a diamond-shaped cell in the copper-
plated cylinder. The input information that drives the diamond stylus is generated by a scanner
or by a digital file.
The physical volume of the electromechanical cell is approximately 30% less than the
chemically-engraved cell, but other factors play a part in overcoming this difference. The
inverted diamond shape of the cell provides a superior ink release compensating for the
reduced cell volume.
In the solid areas of the image, the diamond stylus can be programmed to cut a channel
between the cells. The channel enhances the flow of ink from the cells and produces a
smoother coverage in the solid areas.
ii. Direct Digital engraving
Direct digital engraving refers to the filmless transfer of the image from a digital file to the
image carrier via an electromechanical engraver. In a filmless environment, all image
corrections are done in the digital file, eliminating the need to correct film and/or cylinders. This
significantly reduces the time required for the manufacturing cycle and produces consistent
quality. A duplicate cylinder can be made from the digital data, thus minimizing the variables
inherent in the use of film. This process can be repeated as often as required. This is a great
advantage for packaging and product gravure printers who often repeat the printing of a design
for years.
iii. Laser Engraving
Recently introduced laser engraving technology is being Beta-site tested at the time of
this writing. Although laser and electron-beam technologies were researched in the 1970s, they
were always deemed too expensive for commercial use. The newest entry into tile engraving
market has developed a new alloy that can be plated and machined using existing equipment
currently handling copper. The laser engraver is designed to be six times faster than existing
electromechanical equipment. The equipment is also designed to integrate efficiently into
existing production environments capable of sharing the same prepress technology. We expect
that commercial results and the adoption of laser technology will be completed in the next
couple of years.

iv. Electron-Beam Engraving
The Hell company developed electron-beam engraving techniques in Germany in the
late 1980s. This technology, working in a vacuum, could engrave cells at speeds reportedly up
to 1,50,000 cells per second in a copper image carrier using digital imaging information as input.
After early field testing, the equipment was withdrawn from the market because it was too
expensive to be competitive in the commercial market. An interest remains in electron-beam
technology. As other technologies advance, it may again become a viable option for gravure
engraving.
Cylinder Proofing
Proofing of the engraved gravure cylinder is a critical part of the prepress process. All
cylinders engraved by chemical etching or electromechanical engraving using analog scanning
are proofed either on a multiunit proof press for publication cylinders or on a Single-color proof
press for packaging and product cylinders. The proofing process is performed on the actual
substrate to be printed, with inks that are comparable to the final pressrun, except they are
slower drying to facilitate cleanup. As more and more engravings are generated from digital
information, the need for press proofing is being reduced.
Proofs printed by digital printers directly from the digital data are increasingly common in
all three gravure market segments.
v. Halftone Gravure
The Gravure Association of America published Publication Halftone Specifications for
Gravure in 1988. They have been updated periodically to reflect advancements in gravure
prepress technology. One of the most significant advances in gravure technology was the
successful use of digital input in the form of halftones, to drive electromechanical engraving
machines. This eliminated gravure‟s dependence on continuous-tone film. These specifications
made it possible to use the same film for both gravure and offset.
2.3. IMAGE CARRIERS USED FOR SCREEN PRINTING
Negative and Positive making:
Line and halftone positives are needed to prepare photographic screens. These
positives are obtained by photographing line and continuous tone copy.
In every printing unit, whether the work is done by hand or by machine, they employ a
screen as a means of holding the design to be printed. The screen consists of a wooden frame,
metal frame or plastic frame. Metal meshes are used for high precision jobs. The stainless steel
mesh is usally fitted in a metal frame with the use of vacuum pressure.
Preparation of a Screen Frame
The most common frame used is made up of soft, straight, grained, dried soft wood such
as white pine or walnut or any other wood which is light in weight and strong. The thickness and
width of the sides of the frame varies depending upon the size of the screen.
Attaching the Screen Fabric to the Frame
The screen fabric may be attached to the wooden frame by means of nails or stapplers
to the underside of the screen. Care should be taken so that the threads of the fabric run
parallel to the sides.
Metal Screens
Metal meshes are used when thousands of impressions are to be printed from a screen
and for high precision work or where the ink employed is unsuited for fabric screens. Ceramic
ink or dye, could destroy synthetic fabrics after a relatively smaller number of impressions.
Metal meshes are made of very fine threads of uniform diameter and their strengths are
also classified by their numbers. The numbers denote the mesh variety or number of openings
per square inch. The most common metal screen used is stainless steel, although phospher
bronze and copper meshes are also used. Wire or metal screen are very durable but they do
bend and crack, where as silk is resilient and gives more value than working with screens made
of metal.
Screen Fabrics
The printing screen contains uniform mesh openings and blocking material or a masking
medium applied to the fabric which provides the design to be printed.
The meshes or the bolting cloth must have uniform strong and fine threads. It must be
durable and it must be woven in such a way that the threads are parallel and will not be mis-
positioned. The mesh or the bolting cloth variety used for screen process work is identified by a
number. Smaller the number the coarser the mesh, that is the larger the openings in the fabric.
The numbers ordinarily employed vary from 120 mesh to 400 mesh, that is the number of
weaves vary from 120 to 400. The mesh number is usually followed by one or more X's. It
indicates the strength of the mesh or fabric, for example the 120 XXX is stronger than number
120XX, and the number 120 X is weaker than 120XX. 120 mesh can be used by the beginner
for most purposes and the quality is recommended for quality works because it has more
twisted fibres than the plain number 120. Coarser meshes give a heavy deposit of ink when
printed and takes a longer drying period. In these meshes fine details cannot be obtained in
printing.
New meshes should be washed with warm water (about boiling temperature). After it is
attached to the frame, soap or detergent can be used for washing. Washing not only cleans the
fabric for the photographic film to adhere properly, but also results in roughening of the fabric.
Meshes are available in different widths and is generally sold by meters or yards and the cost
varying with width, classification and quality of the fabric. All screens should be cleaned
immediately after use with proper solvents. If ink is allowed to remain on the screen, it will dry
and harden, thus shortening the life of the fabric.
VARIOUS METHODS OF PREPARING IMAGE CARRIERS FOR SCREEN PRINTING
There are several methods of preparing printing screens, most of which have become
standardised. These methods enable the printer to reproduce any type of copy, including fine
details in line drawing, single and multi colour halftone pictures for reproduction.

To a great extent, the versatility of screen printing is made posible by the varied printing
screens which are used. These screens first of all must withstand enamelling lacquers, synthetic
inks, ceramic inks, water based inks, textile dyes etc., that are forced or pushed through the
screens. In addition each screen must be resistant to normal handling and to atmospheric
conditions. Variations are due to wear and tear in printing. It must withstand the cleaning
solvents employed to clean the screens for future storage and use ; and when necessary it
should be possible to remove the screen completely from the screen fabric for future use.
The printing screens are prepared by hand or photographically. The actual printing is
made possible by blocking out the unwanted parts of the screen or those areas that are not to
print and keeping open only those parts in the screen that are to be printed, or areas through
which the ink is to be squeegeed. There are many types of printing screens and each having its
own methods of preparation. Four general types have been developed. They are
i. the knife cut printing screen,
ii. photographic printing screen,
iii. the wash out or etched screen and
iv. the block art printing screen.
The first printing screens consisted of simple stencils which were attached to the screen
fabric, screen printing has sometimes been reffered to as stencil printing due to this reason. Any
printing screen can be used for single colour or multi-colour work. Regardless of the type of
printing screen employed a screen has to be prepared for each colour that is to be printed.
Preparing the Screen by Knife-cut Stencil Method
The first printing screen used in the early days of screen printing consisted of knife cut or
paper cut out or stencils representing the design or originals to be prited. These were adhered
to the fabric with adhesives such as glue, shellac and paste or the cut outs were just held in
place on the underside of the screen by the tackiness of the ink employed in printing. Then
shellacked papers and lacqured papers were employed because they were easier to attach on
the screens and the result was much better.
• The present day printer employs a synthetic film as a stencil.
• The method of cutting is by using a sharp knife blade.
• Placing the stencil film over the master drawing, the stencil is pasted on the four
corners by adhesive tapes. The film side of the stencil is in contact with the design.
The emulsion should face the user.
• The required areas are cut carefully.
• After completing the cutting, image areas are removed leaving only the non image
areas to block out the screen.
• Now the stencil is placed below a screen and solvent of the particular type mostly
thinner is rubbed with a cotton waste from the top. This should be done slowly in all
the areas of the stencil. First the thinner should be applied with one waste and
rubbed on with another. This process should be repeated to all the areas of the
stencil film.
• After drying for a few minutes, the backing film is peeled off.
• Now the screen is ready for blocking out the non image areas and to carry out the
printing.
I. PHOTOGRAPHIC METHODS OF MAKING SCREEN IMAGE CARRIERS
2.3.1. PREPARING THE SCREEN BY GELATINE PROCESS ("DIRECT" METHOD)
The photographic methods of making screens are greatly responsible for the
tremendous growth of the industry. These have encouraged printers to step into fields which
would have been impossible for them to enter in with handcut screens.
It is possible to print fine details, illustrations and to separate colours photographically
from a coloured original and then print the colours to produce prints on varied surfaces. This
enables to do one, two, three or four colour works by screen process printing. All proofs from
engraving or from other printing processes can be used, enlarged, reduced and printed. Screen
process printing produces a more distinct and concentrated colour effect than it is possible to
attain with photographic plates used in other printing processes.
Although the method of photographic screen making is not difficult to carry out, it took a
vast amount of experimentation and research by experts and suppliers to develop this phase of
the graphic arts. The first photographic screen was made in United States.
Photographic screen process printing deals with the arts and processes employed in the
production of photographic printing screens which are used for photography and screen printing
as a combition of light energy or chemical energy to make the printing screens. It is based on
the principle that substances such as gelatine, albumin, polyvinyl alcohol (PVA) or glue when
coated or mixed with light sensitive salts such as potassium bichromate or ammonium
bichromate harden upon exposures to light. Those parts of the screen which are covered
(sensitized) so that no light strikes them during the period of exposure will not become
hardened. The hardened or exposed parts will remain insoluble in water, while the unexposed
parts can be washed or etched out in water. The substance or compound which makes the
emulsion or coating sensitive to light is known as a sensitizer.
The Process
In the present day market the gelatine or gum is sold in commercial names such as Silk
coat, Red star etc.
• The method of preparing a sensitized emulsion is as follows
Emulsion - composed of polyvinyl chloride, a gelatin - based substance,
Sensitizer 2% (Ammonium Bichromate),
Few drops of liquor Ammonia (3 to 4 drops)
• The above proportion may be increased or decreased accordingly when larger or
smaller quantities are required.
• The emulsion thus prepared is coated to the cleaned screen with a scale or a sharp
edged squeegee in a dark room. The emulsion becomes light sensitive after the
addition of Ammonium Bichromate.
• The coated screen is dried with a fan in the dark room.
Transparent
positive
Wet emulsion Light ray
image areas
Screen Fabric
1. Coating
A wet emulsion is coated onto a clean 2. Exposure
screen Areas where light strikes the
emulsion (nonimage areas)
harden during exposure
image
areas
Water spray
3. Wash
Unhardened areas (image areas)
are washed away leaving open
areas in the stencil
Direct screen stencil process
• After drying the required positive is placed readable side in contact with the under
side of the screen.
• The screen is then exposed to a light source, where light will go through the
transparent parts of the positive but not through the opaque parts of the positive.
• Thus leaving some parts of the sensitized emulsion exposed and some parts where
the light does not strike which will be washed away with the water when developed
and produced as openings in the stencil.
• When the emulsion is dry, the screen is ready for printing.

2.3.2. SCREEN MAKING BY PHOTO SENSITIVE FILMS (5-STAR FILM) METHOD
("INDIRECT OR TRANSFER METHOD)
The photographic screen process printing is made from an emulsion which is coated on
a strong translucent or tranparent backing sheet such as Vinylite (for perfect accuracy in large
printing or small printing screens and when many colours are to be printed). The film with the
plastic backing sheet will prove very effective especially in hot and humid conditions.
Contraction of the plastic backing sheet is negligible and therefore the registration of different
colours is easier.
Support
Stencil
Light ray
Image
Film
1. Exposure
No light strikes the photographic 2. Development
screen emulsion under the image Areas exposed to light during exposure
areas on the transparent positive harden during development
Screen
Support Stencil emul
Support Stencil
lm
Water
Peel support base
3. Wash 4. Adhesion
Unhardened areas (image areas) The stencil emulsion adhered to the
are washed away leaving open screen fabric, let dry and the support
areas in the stencil base is peeled away
Indirect screen stencil process
Usually the thin emulsion coating which is carefully applied on the backing sheet under
cotrolled condition consists of the colliodal gelatine, pigment and plasticizer for imparting
softness and flexibility to the coating.
The film should be stored according to the manufacturers directions. It is ordinarly sold in
tubes and may be left in these tubes in cool, dry places for a long time when not in use. The film
should be stored in total darkness.
The technique of film cutting deserves careful consideration. Skill in cutting is developed
through persistent practice.

The Process
Cut the five star film to required size and in excess of the positive‟s size. Be sure that the
hands are free from grease or perspiration. Keep the film well covered, especially after it is
stripped to avoid dust or damage. Examine the cut film closely for „mistakes‟, omissions and
presence of foreign matter. Keep the film side in contact with the readable side of the positive.
• Then place it in a contact box so that light will pass through the positive and strike
the five star film. Then expose it to sunlight or artificial light source. The exposure
time varies from design to design, from 1 minute 10 minutes in some cases.
• After exposing remove the five star film from the contact box and place it in a tray,
care should be taken so as not to expose it to actinic light. Then pour a diluted
solution of Hydrogen peroxide, that is, one part of Hydrogen peroxide mixed with
three parts of water. Develop the film for about one minute. Remove the Hydrogen
peroxide solution from the tray and pour warm water, over the film. Now the image
areas wil open up. After all the image areas have been opened up, cool down the
film by pouring cold water.
• Then adhere the developed film on the back side of the screen with the films
emulsion side in contact with the screen.
• Keep the screen flat by placing it over some pile of papers. Then from the top place a
blotting paper to blot out excess water. Allow the screen to dry either with a drier or
allow it to dry naturally.
• When the screen is completly dry, peel off the backing transparent film of the 5 star
film. Now the screen has a stencil which will allow the ink to pass through, only on
the opened up areas.
• Cover the screen on the non-image areas. Bloack out unwanted areas with opaquing
solutions like lacquer, gum, photographic opaque or any other blocking out medium
recommeded.
• The screen is now ready for printing.
2.3.3. CHROMALINE FILM METHOD OF SCREEN MAKING ("DIRECT/INDIRECT METHOD)
This film combines the advantages of the strength of gelatin method and the sharpness
of the photographic method. Hence it is a hybrid film. With this type of film we can print fine
details and halftone reproductions including colour separation work. This film can be used for
long runs and are not easily damaged.
The method of preparing the screens are as follows:
• Prepare the gelatin or silkcoat solution and sensitize it with Ammonium Bichromate
to 100 grams of silkcoat solution. Add 2% of Ammonium Bichromate. Thin the
solution till it becomes like honey.
• Cut the chromaline film (dark blue in colour) to the required size.

• Place the screen over the chromaline film emulsion side. Pour the sensitized solution
over the screen. Using a squeegee give an even coat of the solution over the film.
Remove the excess solutions which appear on the sides of the film with a waste. Dry
the screen under a fan. Carry out this process in a dark room.
• After the film is dry peel off the backing of the chromaline film.
• Place the positive‟s readable side in contact with the emulsion of the chromaline film.
The positive may be held rigidly by pasting cello tapes at the corners. Give sufficient
backing on the printing side of the screen, so that the screen is slightly above the
table level. Place a rigid glass on top of the screen.
• Now expose the screen to a light source. The exposure time varies from 30 seconds
to 3 minutes for a bigger design. This condition is with a powerful carbon arc lamp. It
may vary for other sources of light. The exposing may also be done with the use of a
contact box in which the screen can be placed inside.
• Take out the screen, remove the positive and dip the screen in a tray of water;
slightly agitate the screen. Now the image areas will open up.
• Instead of dipping in a tray of water it can be developed by placing it in a sink and
spraying water with a tube with moderate pressure.
• The screen is dried in natural atmospheric conditions after blotting out the excess
water.
Direct/indirect screen stencil process
II. COMPUTER TO SCREEN FOR SCREEN PRINTING

Computer to screen is the digital production of image carriers for screen printing in which
the print image data, controlled directly via the computer, are output onto the stencil or screen
[4.3-5]. Most computer to screen systems work using the ink jet technology, in which either
heated wax or ink is applied to the screen.

First the screen must be lined with a closed layer/emulsion (stencil material). The print
image is applied to this coating using ink jet ink (as a film substitute). This is then followed by
the usual exposure to cure the stencil material. The uncured ink-covered areas of the coating
are then washed off with water. After drying, the stencil/screen plate is ready for printing.
Addressability is about 600 dpi (systems with 1000 dpi are being developed). In large format
applications (e.g., 2 m x 3 m, which is now about the maximum format for computer to screen) a
resolution of 150 dpi usually sufficient, with screen ruling of 18 to 20 lines per cm becoming
possible. An example of an ink jet-based computer to screen system is shown in figure 4.3-16.
The shortest stencil production method is the direct exposure of the emulsion-coated
screen by laser beam. The laser beam destroys the emulsion in the image area. The emulsion
is cured on the non-printing areas (UV light). This method is only suitable for metal mesh and
not for the customary polyester mesh. It is only used in exceptional cases, mainly in textile and
tile printing.
III. OTHER STENCIL AND SCREEN PRODUCTION OPTIONS ARE:

1. Cutting on a cutting plotter
Stencils can be cut directly out of the appropriate films by means of graphics and CAD
programs. They are then transferred and stuck onto the screen. The process used here is
comparable to hand-cut stencil production.
2. UV projection for oversize formats
Projectors that expose the photosensitive stencil material with UV light (fig. 2.4-7) are
used to save on film costs, or so that comparatively very large screens can still be exposed with
manageable film formats.
3. Ink jet process
Some manufacturers supply ink jet systems (Piezo Drop on Demand Systems) that
spray a UV impermeable ink (or wax ) onto a conventionally coated screen in accordance with

the print image (fig. 2.4-8). The sprayed-on ink replaces the film (having the effect of a positive
film). The UV exposure cures the unmasked parts of the stencil. The ink/wax, with ink jet
produced film is removed in the subsequent development process and the uncured areas are
washed off.
4. Rotary screen production
The nickel-based flat plates are stuck or welded or clamped to the appropriate end
pieces to produce rotary screen plates (fig. 2.4-9). In decorative printing, for example, seamless
rotary screens are made using electroplating techniques (fig. 2.4-10).
5. Screen printing plates produced from electroformed screens (Stork)
Electroformed screens (flat and rotary) made from nickel are primarily used for rotary
screen printing (figs. 2.4-9 and 2.4-10). There are several stencil making options for this type of
screen:
 The screen is first coated with a photopolymer, which then undergoes
conventional (film) exposure and washing off.
 The screen is coated with a photopolymer as in the previous example and
imaged by the ink jet process, then exposed and washed off.
 The photopolymer-coated screen is completely exposed/cured and the
appropriate image perforations are then burned into the polymer with a CO2
laser.
 The screen is enclosed in a special polymer and this is then developed directly
with a laser (488 nm). Unexposed parts are washed off by chemical means.

UNIT: II - IMAGE CARRIER PREPARATION
Part – A (1 Mark Questions)
1. State the type of image carrier used for flexographic printing.
Relief image carriers.
2. What are rubber plates?
Rubber plates made from natural and synthetic rubber were the first type of plates
developed for flexographic printing. Rubber plates are prepared from mould or matrix. The
mould is prepared from the original relief metal plate.
3. What do you mean by relief depth?
The distance between the floor and face of the flexographic (relief) plate is known as the
relief depth.
4. What is matrix?
A matrix is a mould made from an engraving or a metal relief master into which softened
rubber is pressed for rubber plates preparation. Matrix is composed of thermoplastic resin and
cellulose material.
5. State the purpose of back exposure given to flexo plates.
Back exposure is done to harden or cure the base of the flexo plate. Back exposure
determines floor thickness and relief depth of the flexo plate.
6. What do you mean by face & floor of the plate?
Face: The physical past of the flexographic printing plate that holds the image to be
printed is called the face of the plate.
Floor: The non image area of the flexographic plate is called the floor of the plate.
7. What is vulcanization?
The process in which gum is cured and changing its physical properties to rubber.
8. Mention the layers of photopolymer plates.
i. Stable base / Substrate layer.
ii. Light sensitive photopolymer plates.
iii. Removable cover sheet layer.
9. State the type of image carrier used for gravure printing.
Recessed or sunken image carrier.
10. What are the various methods of copper plating the cylinder?
a) The thin copper layer method (approximately 80 µm of copper)

b) The ballard skin method (removable copper skin of 80 to 100 µm)
c) The heavy copper plating method (approximately 320 µm of copper)
11. Name the various layers of imaged copper cylinder.
Stainless steel base cylinder, nickel layer, base copper layer, engraving copper layer,
chromium layer.
12. What is gravure scope?
A microscope used to examine engraved gravure cylinder or Anilox roller cell as a
means of evaluating cell depth, the cell opening, and cell wall thickness.
13. What is carbon tissue?
Carbon tissue is light sensitive material attached to gravure cylinders, used as a resist
during the chemical etching process. Carbon tissue consists of layers of gelatin, dye,
photosensitive material, and a paper or plastic backing.
14. What is electroplating process?
The electro deposition of an adherent metallic coating on an electrode for the purpose of
securing a surface with properties or dimension different from those of base material.
15. Define etching.
This is the process of dissolving unevenly a part of the surface of a metal using an acid
or other corrosive substance.
16. What is sleeve?
This is tubular part of a base cylinder, which can be mounted on a shaft.
17. What is the chemical used for etching gravure cylinder?
Ferric chloride solution.
18. State the purpose of chrome plating gravure cylinder.
A thin chrome plating is done over the copper cylinder in order to protect the cylinder
surface from wear and tear caused by the wiping action of doctor blade.
19. Name the various halftone processes available for gravure cylinder preparation.
i) Double positive system halftone gravure.
ii) Halftone gravure process or direct transfer process.
20. What are screen fabrics?
In screen-printing, screen fabric is the material used to make the screen to which the
stencil is attached and through which the ink is transferred. Screen fabrics include such
substances as silk, polyester fibers, nylon, and metal wires.

21. What is direct stencil?
A light –sensitive liquid emulsion that squeezed into the screen fabric and becomes
stencil when contact exposing and processing are done on the screen.
22. What is emulsion?
A solution that contains light-sensitive diazo or bichromatic components used in the
direct stencil method in screen-printing.
23. What is indirect film or transfer film?
A light sensitive gelatin emulsion coated on a polyester or plastic carrier sheet that is
exposed to a film positive and chemically processed into a stencil before being adhered to the
stretched screen fabric. After the stencil is dry, the carrier sheet is removed.
24. What is mesh?

The open space between the woven threads of screen-printing fabric through which the
ink passes during printing.
25. What is photo stencil?
A stencil in which image and non-image areas are produced photographically is called a
photo stencil.
26. What is a scoop coater?
A tool for coating screen-printing fabrics with photosensitive emulsions for making photo
stencils.
27. What is serigraphy?
A fine art screen-printing reproduction of an original artwork is called serigraphy.
28. What is tension meter?
A precision instrument used to measure the surface tension of the stretched screen
fabrics.
29. State the various image carriers used for Flexographic printing.
a. Rubber Plates
b. Photopolymer plates
i. Sheet Photopolymer plates
ii. Liquid photopolymer plates
c. Laser – engraved rubber plates or rubber rollers
d. Laser engraving on polymer plates
e. Computer to photopolymer plates.
30. What are photopolymer plates?
Photopolymer plates are made from light – sensitive polymers (plastics). When they are
exposed to light, they undergo polymerization, or the chemical conversion of may small
molecules into long – chain molecules. The result is that they will be harder and more insoluble
in exposed image areas and become softer in unexposed non image areas.
There are two basic types of photopolymer plates used in Flexographic plate making –
sheet photopolymer plates and liquid photopolymer plates.
31. State the purpose of post exposure given to flexo plates.
After washing off the plate has to be dried thoroughly in order to evaporate any wash –
off agent that has penetrated relief layer. Post exposure is done to harden all parts of relief
completely. In this state, the plate has a sticky surface, on which dust and dirt would collect.
This stickness disappears as a result of exposure to UV- light or after immersion in a bromine
solution.
32. State the thickness of different range of photopolymer plates available.
Single layer sheet photopolymer plates are available in thickness fro 0.76mm to 6.35
mm. Thicker sheet photopolymer plates are available in thickness from 4 to 5 mm.
33. What are the various cylinder preparation methods available for gravure printing?
a. Conventional or carbon tissue or diffusion-etch method
b. Halftone Process
i. Double positive system halftone method
ii. Halftone gravure or direct transfer process
c. Electromechanical engraving process
d. Direct digital (Computer to cylinder for gravure printing) engraving process
e. Laser engraving process
f. Electron beam engraving process
34. What are image carriers?
Any plate, film, cylinder or other surface which contains an image are called image
carriers. Image carriers receive ink, and transfers it to the substrate to be printed.
Eg: Gravure cylinders, Flexo photopolymer plates, screen stencils, offset plates,
letterpress blocks.
35. What is integral shaft and mandrel shaft?
Integral Shaft: A cylinder base design in which the supporting shaft is permanently
attached to the printing cylinder.

Mandrel Shaft: A cylinder that is not permanently mounted on a shaft and can be
removed.
36. What is engraving?
Engraving is a printing principle whereby an image area lies beneath the surface of a
plate and the non image areas exist on the plate surface. Ink is applied to the plate and then
wiped from the surface, leaving the ink in the recessed image areas. Pressure applied to the
substrate transfers the image.
37. What are the various gravure cell configurations available?
Conventional Process - Cells having the same width but varied depth
Halftone gravure or direct transfer process - Cells having the same depth but varied
width
Electromechanical engraving Process - Cells having the varied width and varied
depth.
38. What is Ballard skin copper plating?
This method is also a thin layer copper deposition process (one – time use of the
engraving copper layer). The base copper layer is electrically covered with a removable copper
layer (80 to 100 µm), where by a special layer between base copper and Ballard skin ensures
that the Ballard skin can be peeled off from the gravure cylinder after printing. The Ballard skin
method is employed in approximately 45% of cases.
39. State the advantages of laser gravure engraving process.
i. Laser engraving opens new doors for gravure printing.
ii. The real advantage of this process is the speed of 30,000 cells per second.
iii. The unwanted saw tooth effect with fine fonts can be reduced.
iv. There is also the possibility of working with frequency modulated screens with laser
engraving process.
v. The laser engraver is designed to be six times faster than the existing
electromechanical equipment.
40. What are the advantages of direct digital engraving?
In Direct digital engraving, all image corrections are done in the digital file, eliminating
the need to correct film and/or cylinders. This significantly reduces the time required for the
manufacturing cycle and produces consistent quality. A duplicate cylinder can be made from the
digital data, thus minimizing the variables inherent in the use of film.
41. State the advantages of electron beam engraving.
This technology, working on a vacuum, could engrave cells at speeds upto 1, 50,000
cells per second in a copper image carrier using digital information as input.

42. What are the various screen stencils available for screen printing?
Following are the various types of screen printing stencils available and each having its
own methods of preparation.
1. The knife cut printing screen,
2. The photographic printing screen,
3. The washout or etched screen, and
4. The block art printing screen.
43. What is mesh count and mesh opening?
Mesh Count: The number of openings per linear inch in any given screen printing
fabric. The higher the number, the finer the weave of the screen fabric.
Mesh Opening: In screen printing, a measure of the distance across the space between
two parallel threads, expressed in microns.
44. What is monofilament, and multifilament?
Monofilament: A single strand of synthetic fiber that is woven with others to form a
porous screen fabric.
Multifilament: Many fine threads twisted together to form a single thread of synthetic
fiber that is woven with others to form a porous screen fabric.
GLOSSARY
Computer-to-Sleeve (CTS)
A system where the plate is mounted on a sleeve and imaged in the round directly from
a computer system using laser ablation.
Cure
The process of hardening a heat-set or photoreactive material. For example hardening
photopolymers requires exposing the photoinitiator to UV light.
Deep-relief Powder Molding (DRPM)
The rubber plate-making process where the finished plate relief is more than 0.125".
Matrix
An intermediate mold, made from an engraving or type form, from which a rubber plate
is subsequently molded.
Photopolymer Plate
A flexible, relief-printing plate, used in flexography, made of either precast sheet or liquid
light-sensitive polymers. Photopolymer plates require exposure to UV light during the
platemaking process.

Vulcanization
A curing process to change the physical properties of a rubber.
Part – B (6/12 Marks Questions)

45. Describe the structure of flexographic plate with diagrams. (6 marks)
46. Describe briefly the preparation of rubber plates for flexographic printing with figures.
(6 marks)
47. Explain briefly the preparation of sheet photopolymer plates with necessary diagrams.
(6 marks)
48. Describe briefly the preparation of liquid photopolymer plates with suitable sketches.
(6 marks)
49. How will you prepare flexographic plates by laser engraving method? (6 marks)
50. Explain the principles and procedures involved in computer to plate technology for
flexographic printing. (6 marks)
51. Explain the steps involved in preparation of rubber plates with necessary diagrams.
(12 marks)
52. Describe the steps involved in preparation of sheet photopolymer plates with suitable
sketches. (12 marks)
53. Explain the steps involved in liquid photopolymer plates preparation with suitable diagrams.
(12 marks)
54. Describe the process sequence for the preparation of copper cylinder. (6 marks)
55. Explain the various methods of copper plating the gravure cylinder. (12 marks)
56. Explain the steps involved in preparation of gravure cylinder by carbon tissue method with
necessary diagrams. (12 marks)
57. How will you prepare gravure cylinder by double positive system halftone gravure.
(6 marks)
58. Describe the steps involved in gravure cylinder preparation by direct transfer process with
suitable sketches. (12 marks)
59. Explain the steps involved in electromechanical engraving of gravure cylinders with
60. How will you prepare gravure cylinder by laser engraving process? (6 marks)
61. Describe the working principles of computer to gravure cylinder system. (6 marks)
62. Write the advantages of direct digital engraving process, and laser engraving process of
gravure cylinders. (12 marks)

63. Write notes on(i) Electron – beam engraving of gravure cylinders (6 marks)
(ii) Gravure cylinder proofing. (6 marks)
64. Explain the preparation of screen printing stencils by direct method with sketches.
(12 marks)
65. Describe the steps involved in preparation of screen stencils by indirect method with
66. How will you prepare screen-printing stencils by Direct / Indirect method. Support your
answer with diagrams. (12 marks)
67. Explain the working principles of computer to screen printing systems. (12 marks)
68. Write notes on screen fabrics used for stencil preparation. (6 marks)

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GRAVURE, FLEXO AND SCREEN PRINTING IMAGE CARRIER PREPARATION

UNIT - II – IMAGE CARRIER PREPARATION

2.1. FLEXOGRAPHIC IMAGE CARRIER PREPARATION

Figure - Structure (physical parts) of the flexographic printing plate

37 Compiled by AP, P.Tech., AGPC, Sivakasi

a. Exposure through negative

b. Unhardened emulsion washed away

c. Etching lowers nonimage areas

d. Matrix presses into metal alloy to form mold

e. Rubber plate presses into matrix

38 Compiled by AP, P.Tech., AGPC, Sivakasi

39 Compiled by AP, P.Tech., AGPC, Sivakasi

Image area Negative

b. Exposure through negative

Raised image areas

d. Postexposure to cure plate

2.1.2.b. LIQUID PHOTOPOLYMER FLEXOGRAPHIC PLATES (IN BRIEF)

40 Compiled by AP, P.Tech., AGPC, Sivakasi

a. Mounting the negative

b. Depositing the liquid photopolymer

d. Plate after development and postexposure

Figure: Steps in producing a liquid photopolymer plate

41 Compiled by AP, P.Tech., AGPC, Sivakasi

Steps in Rubber Plates preparation

42 Compiled by AP, P.Tech., AGPC, Sivakasi

a. Exposure through negative

b. Unhardened emulsion washed away

c. Etching lowers nonimage areas

d. Matrix presses into metal alloy to form mold

e. Rubber plate presses into matrix

Figure: Steps in producing a rubber plate

ii. Preparation of Matrix / Mold

Figure: A Volcanizer (top) and a diagram of its key parts (bottom)

Figure: The assembly of pattern plate, matrix, and cover sheet

iii. Preparation of rubber plate

44 Compiled by AP, P.Tech., AGPC, Sivakasi

2.1.2.a. SHEET PHOTOPOLYMER PLATES PREPARATION (in detail)

The Plate is back-exposed to create

The Plate is washed out in a

The Plate is inspected for relief and

The Plate is thoroughly dried

The Plate is post-exposed and light

Figure: Production flow of the sheet photopolymer platemaking process

Light - sensitive polymer

45 Compiled by AP, P.Tech., AGPC, Sivakasi

i. Back / Base (Plain) Exposure

46 Compiled by AP, P.Tech., AGPC, Sivakasi

Image area Negative

b. Exposure through negative

Raised image areas

d. Postexposure to cure plate

Figure: Steps in producing a sheet photopolymer plate

iii. Washing out the non image areas

Negatives are placed onto the glass.

A cover sheet is placed over

The resin is cast and the plate exposed

The exposed plate is removed from the

Figure: The process of making a liquid polymer plate.

i. Preparation of liquid photopolymer layer