Blending ink is an important work in the colour printing process, which is directly related to the printing quality of the product. Because the colour is bright, good brightness, accurate hue is the basic requirements of colour printing products, to achieve this requirement must first accurately mix the printing ink. Therefore, the operator should master the colour knowledge and ink mixing process.
Dark and light-coloured ink blending
Ink blending can be divided into dark ink and light ink blending. The so-called dark ink refers to: only with the original colour ink blending without adding any lightening agent. Blending according to the amount of ink consumption for printing, and colour analysis to determine the main colour ink and secondary colour ink together with the mixing of uniform. Dark ink blending is divided into monochrome, inter-colour, multi-colour three. Monochrome refers to: from a primary colour 1 by ink blending. Intercolour refers to: from two primary colours ink blending. Compound colour refers to: three kinds of ink mixed and blended.
Where to join the lightening agent blending ink called light-coloured ink, blending, pay attention to three points:
1, the original colour peach and yellow to 1:1 mixing, you can get a big red phase; if 1:3 mixing can get a deep yellow; if 3:1 mixing can get a gold-red phase;.
2, primary yellow and blue equal amount of mixing, can get green; if 3:1 mixing can get emerald green colour: if 4: mixing can get apple green: if 1:3 mixing to get dark green.
3, the primary colours of peach and blue to 1:3 mixing and blending, you can get a deep blue-purple; if the 3:1 tune can get close to the blue lotus colour: the primary colours of peach and blue to 1:3 mixing and blending, you can get deep blue-purple; if the 3:1 tune can get close to the blue lotus colour.
To master the three primary colours of the law of change, in order to achieve accurate ink blending
Any one of the three primary colours can be used in different proportions to mix and blend. Ink hue change, it is the use of this law. For example:
1, three primary colours ink equal amount of mixing and blending can become black (approximate).
2, the three primary colours of the ink equal amount of mixing and adding different proportions of white ink, can be formulated into a variety of different shades of light grey ink.
3、Three primary colours ink and various ratios of mixing, can be blended into a variety of different hues of the inter-colour or compound colour, but its hue is biased towards the proportion of the original colour hue.
4、After mixing two primary colour inks in equal quantity, it can become standard inter-colour; after mixing and blending two primary colour inks in different proportions, it can be blended into a variety of inter-colour with different colour phases, but its colour phase tends to be in the proportion of large primary colour phases.
5, any colour ink, add white ink after its hue appears brighter. After adding black ink, its hue becomes dark.
The above primary colour ink blending into a variety of colours, it is based on the theory of the subtractive method of the three primary colours.
When mixing ink, you should first analyse the hue of the colour manuscript and correct the colour deviation by using the complementary colour theory to improve the setting effect.
When receiving the print, the first should be the original manuscript of the various colours for careful appreciation and analysis, weighing the ink to be adjusted by the proportion of the hue. Analysis of the colour is to grasp a basic principle, that is, the three primary colours is the deployment of any colour of the base colour.
Generally speaking, the application of the three primary colours of the law of change, in addition to gold and silver colours, any complex colour can be blended out. However, in the process of practice, relying only on the three primary colours of ink to be blended out of countless kinds of ink colours, or not enough. Because, in fact, due to the manufacture of ink pigment is not very standard, and even each batch of ink production in the colour of the inevitable existence of a certain degree of difference. Therefore, in practice, should also be used such as blue, dark blue, light blue, blue, light blue, yellow, dark yellow, light yellow, gold, red, red, orange, dark red, light red, black, green and other colours of the ink in appropriate quantities to join in order to achieve the desired ink hue. There are many types of inks, but in any case, in addition to the three primary colours of ink, other colours are used to supplement the three primary colours. Any complex colour, always in the three primary colours within the range of change, as long as you master this principle, ink blending will not be a problem.
When the colour analysis to determine the primary and secondary colours of ink and this example, can be blended. However, if the blending of the hue has deviation, available complementary colour theory to correct its hue. For example, a hue of green flavour is heavy, you can add a small amount of red ink to correct. Conversely, the red flavour is too heavy to add blue ink to correct.
Intercolour and compound colour mixing
The so-called inter-colour, is a mixture of the two primary colours of ink blending. For example: the colour of the inter-colour is red plus yellow after the hue of orange; yellow plus blue can get green; red plus blue can become purple. Two primary colours of different proportions for mixing and blending, can be blended out of many kinds of inter-colour.
The compound colour is derived from the three primary colours of ink and mixing and blending. If they are mixed in different proportions, you can get many kinds of compound colours.
1, the original colour peach, yellow and blue equal amount of mixing, you can get close to black;
2, 2 peach red and yellow and blue each 1 mixing and blending can be obtained brownish red;
3, 4 peach and yellow and blue each 1 part of the blending, can get reddish-brown phase; if peach, yellow each 1 part of the blue 2 parts, can be blended out of olive; peach, yellow each 1 part of the blue 4 parts of the mixing of the blending, you can get a single green colour phase.
Blending black operation essentials
Blending ink, according to the original analysis of the hue of the manuscript, the determination of the appropriate use of which kinds of ink to blend the right. To adjust the lake blue ink, with visual inspection and practical experience can determine the white ink and peacock blue should be used to mix and blend. White ink is the main colour, peacock blue is a secondary colour should be added slightly. If you want to deeper to slightly add blue. To adjust the olive yellow and green ink colour, can be determined to be the main white ink, add light yellow and peacock blue and slightly peach can be added. As long as the main colour is determined, the other colours are auxiliary colours, should be gradually added in small quantities and stirred evenly. Later, the use of two pieces of paper (the same as the printing paper), one of the paper surface coated with a little bit of ink adjusted, with another piece of paper to scrape it to the printing of the ink layer thickness, i.e., compared with the original to see if it is appropriate. When comparing samples, to scrape the ink on the paper ink layer relatively thin and light parts, in order to see some accurate.
When adjusting the ink, but also to master a principle, that is, as little as possible with different colours of ink, that is to say, can be adjusted with 2 kinds of ink, do not use 3 kinds of ink to adjust, so as not to reduce the gloss of the ink. On the other hand, scraping samples should be slightly more muddy than the original colour, so that the printed colour samples can be accurate. After the ink colour of the small sample is adjusted, it can be based on the proportion of its respective ink, batch ink adjustment, in order to ensure the quality of ink adjustment and improve work efficiency.
How to improve the gloss of the ink film
1. Add appropriate amount of ink blending oil within the permissible range of colour concentration.
2、Coat the surface of printing film with overprinting oil or ink blending oil.
3, increase the transparency of the ink, choose high transparency ink or add the appropriate amount of withering ink oil, the use of smooth, strong reflective power of the substrate printing surface of the smoothness.
4, to prevent the substrate surface adsorption, reasonable improvement of the smoothness of the substrate printing surface.
5, pay attention to the temperature and humidity of the printing environment. In the case of high humidity, low temperature for plastic gravure printing, due to the solvent evaporation speed, absorb the heat around the ink film, and cause the water vapour in the air at the place of rapid condensation, so that the printing ink film surface to form a fog, resulting in the loss of luster of the ink layer.
In the rainy season, special attention should be paid to controlling the temperature and humidity of the printing environment to ensure good printing results. Usually the best room temperature in 21-23 ℃, humidity control in 40% is appropriate, which will help the true reproduction of colour.
Special colour mixing
1, gold, silver ink blending: the use of withering ink oil to add the right amount of gold powder, silver powder can be stirred, pay attention to the selection of the appropriate fineness of the gold powder and silver powder, but also to choose the printing substrate in line with the ink blending oil. But also in the printing of the preparation, in order to prevent the ink due to the rotation time is too long and precipitation and stratification, gold ink can also use silver powder, transparent yellow, withering ink oil for mixed production. Pen in the preparation of gold ink, the use of gold powder (green light): withered gold oil: transparent yellow = 1:3:2, the effect is good. If you want to formulate the red light colour phase, just change the gold powder to red light. In the choice should be determined according to customer requirements.
2、Pearlescent ink mixing: pearlescent pigment and the right proportion of high transparency ink or ink blending oil mixed evenly into. The covering power of the ink is strong, and the pearlescent effect of the application may be lost, so attention should be paid,
3、Luminous ink blending: the ink has the effect of absorbing light energy and then releasing light in a certain period of time, thus it can often be luminous in the night, so it is called luminous ink or phosphorescent ink, usually the luminous pigment is dispersed in the high transparency of the ink mixing oil, and it can be stirred evenly.
Above all kinds of ink can not grind gold ink, silver ink grinding will damage the grinding equipment, pearlescent, glow-in-the-dark ink grinding will destroy the surface or crystal structure, the loss of due to the effect of the hue and so on.
Plastic printing colour mixing precautions
1, printing ink toning should be used as far as possible, the ink factory produces the same hue of the shaped ink, shaped ink colour degree, than with two colours of ink toning the colour degree is high:
2、If you want to use one or two kinds of ink to match the colour, you should try to use the colour close to the main shaped ink for mixing.
3, colour matching, should try to reduce the variety of ink, because the more varieties of ink, the higher the proportion of cyan, will reduce the brightness and colour of the ink, so you can use two colours wither to match the good not to use three colours to mix.
4, plastic film is non-absorbent material, can not use thinner to dilute the colour ink, should be added to the white ink to dilute.
5, different manufacturers, different varieties of ink mixing, which will affect the gloss of the white ink, purity and drying speed, ink of different types of mixing will directly change the original resin hue change, ink bad, so clear everyone should pay more attention.
Summarize: wither with ink colour, must carefully grasp each pass, in order to deploy a good colour to the end result is in line with customer requirements, quality to ensure that different batches of ink colour to remain consistent.
Contact Us Now!
If you need Price, please fill in your contact information in the form below, we will usually contact you within 24 hours. You could also email me info@longchangchemical.com during working hours ( 8:30 am to 6:00 pm UTC+8 Mon.~Sat. ) or use the website live chat to get prompt reply.
| Polythiol/Polymercaptan | ||
| Lcnamer® DMES Monomer | Bis(2-mercaptoethyl) sulfide | 3570-55-6 |
| Lcnamer® DMPT Monomer | THIOCURE DMPT | 131538-00-6 |
| Lcnamer® PETMP Monomer | PENTAERYTHRITOL TETRA(3-MERCAPTOPROPIONATE) | 7575-23-7 |
| Lcnamer® PM839 Monomer | Polyoxy(methyl-1,2-ethanediyl) | 72244-98-5 |
| Monofunctional Monomer | ||
| Lcnamer® HEMA Monomer | 2-hydroxyethyl methacrylate | 868-77-9 |
| Lcnamer® HPMA Monomer | 2-Hydroxypropyl methacrylate | 27813-02-1 |
| Lcnamer® THFA Monomer | Tetrahydrofurfuryl acrylate | 2399-48-6 |
| Lcnamer® HDCPA Monomer | Hydrogenated dicyclopentenyl acrylate | 79637-74-4 |
| Lcnamer® DCPMA Monomer | Dihydrodicyclopentadienyl methacrylate | 30798-39-1 |
| Lcnamer® DCPA Monomer | Dihydrodicyclopentadienyl Acrylate | 12542-30-2 |
| Lcnamer® DCPEMA Monomer | Dicyclopentenyloxyethyl Methacrylate | 68586-19-6 |
| Lcnamer® DCPEOA Monomer | Dicyclopentenyloxyethyl Acrylate | 65983-31-5 |
| Lcnamer® NP-4EA Monomer | (4) ethoxylated nonylphenol | 50974-47-5 |
| Lcnamer® LA Monomer | Lauryl acrylate / Dodecyl acrylate | 2156-97-0 |
| Lcnamer® THFMA Monomer | Tetrahydrofurfuryl methacrylate | 2455-24-5 |
| Lcnamer® PHEA Monomer | 2-PHENOXYETHYL ACRYLATE | 48145-04-6 |
| Lcnamer® LMA Monomer | Lauryl methacrylate | 142-90-5 |
| Lcnamer® IDA Monomer | Isodecyl acrylate | 1330-61-6 |
| Lcnamer® IBOMA Monomer | Isobornyl methacrylate | 7534-94-3 |
| Lcnamer® IBOA Monomer | Isobornyl acrylate | 5888-33-5 |
| Lcnamer® EOEOEA Monomer | 2-(2-Ethoxyethoxy)ethyl acrylate | 7328-17-8 |
| Multifunctional monomer | ||
| Lcnamer® DPHA Monomer | Dipentaerythritol hexaacrylate | 29570-58-9 |
| Lcnamer® DI-TMPTA Monomer | DI(TRIMETHYLOLPROPANE) TETRAACRYLATE | 94108-97-1 |
| Acrylamide monomer | ||
| Lcnamer® ACMO Monomer | 4-acryloylmorpholine | 5117-12-4 |
| Di-functional Monomer | ||
| Lcnamer®PEGDMA Monomer | Poly(ethylene glycol) dimethacrylate | 25852-47-5 |
| Lcnamer® TPGDA Monomer | Tripropylene glycol diacrylate | 42978-66-5 |
| Lcnamer® TEGDMA Monomer | Triethylene glycol dimethacrylate | 109-16-0 |
| Lcnamer® PO2-NPGDA Monomer | Propoxylate neopentylene glycol diacrylate | 84170-74-1 |
| Lcnamer® PEGDA Monomer | Polyethylene Glycol Diacrylate | 26570-48-9 |
| Lcnamer® PDDA Monomer | Phthalate diethylene glycol diacrylate | |
| Lcnamer® NPGDA Monomer | Neopentyl glycol diacrylate | 2223-82-7 |
| Lcnamer® HDDA Monomer | Hexamethylene Diacrylate | 13048-33-4 |
| Lcnamer® EO4-BPADA Monomer | ETHOXYLATED (4) BISPHENOL A DIACRYLATE | 64401-02-1 |
| Lcnamer® EO10-BPADA Monomer | ETHOXYLATED (10) BISPHENOL A DIACRYLATE | 64401-02-1 |
| Lcnamer® EGDMA Monomer | Ethylene glycol dimethacrylate | 97-90-5 |
| Lcnamer® DPGDA Monomer | Dipropylene Glycol Dienoate | 57472-68-1 |
| Lcnamer® Bis-GMA Monomer | Bisphenol A Glycidyl Methacrylate | 1565-94-2 |
| Trifunctional Monomer | ||
| Lcnamer® TMPTMA Monomer | Trimethylolpropane trimethacrylate | 3290-92-4 |
| Lcnamer® TMPTA Monomer | Trimethylolpropane triacrylate | 15625-89-5 |
| Lcnamer® PETA Monomer | Pentaerythritol triacrylate | 3524-68-3 |
| Lcnamer® GPTA ( G3POTA ) Monomer | GLYCERYL PROPOXY TRIACRYLATE | 52408-84-1 |
| Lcnamer® EO3-TMPTA Monomer | Ethoxylated trimethylolpropane triacrylate | 28961-43-5 |
| Photoresist Monomer | ||
| Lcnamer® IPAMA Monomer | 2-isopropyl-2-adamantyl methacrylate | 297156-50-4 |
| Lcnamer® ECPMA Monomer | 1-Ethylcyclopentyl Methacrylate | 266308-58-1 |
| Lcnamer® ADAMA Monomer | 1-Adamantyl Methacrylate | 16887-36-8 |
| Methacrylates monomer | ||
| Lcnamer® TBAEMA Monomer | 2-(Tert-butylamino)ethyl methacrylate | 3775-90-4 |
| Lcnamer® NBMA Monomer | n-Butyl methacrylate | 97-88-1 |
| Lcnamer® MEMA Monomer | 2-Methoxyethyl Methacrylate | 6976-93-8 |
| Lcnamer® i-BMA Monomer | Isobutyl methacrylate | 97-86-9 |
| Lcnamer® EHMA Monomer | 2-Ethylhexyl methacrylate | 688-84-6 |
| Lcnamer® EGDMP Monomer | Ethylene glycol Bis(3-mercaptopropionate) | 22504-50-3 |
| Lcnamer® EEMA Monomer | 2-ethoxyethyl 2-methylprop-2-enoate | 2370-63-0 |
| Lcnamer® DMAEMA Monomer | N,M-Dimethylaminoethyl methacrylate | 2867-47-2 |
| Lcnamer® DEAM Monomer | Diethylaminoethyl methacrylate | 105-16-8 |
| Lcnamer® CHMA Monomer | Cyclohexyl methacrylate | 101-43-9 |
| Lcnamer® BZMA Monomer | Benzyl methacrylate | 2495-37-6 |
| Lcnamer® BDDMP Monomer | 1,4-Butanediol Di(3-mercaptopropionate) | 92140-97-1 |
| Lcnamer® BDDMA Monomer | 1,4-Butanedioldimethacrylate | 2082-81-7 |
| Lcnamer® AMA Monomer | Allyl methacrylate | 96-05-9 |
| Lcnamer® AAEM Monomer | Acetylacetoxyethyl methacrylate | 21282-97-3 |
| Acrylates Monomer | ||
| Lcnamer® IBA Monomer | Isobutyl acrylate | 106-63-8 |
| Lcnamer® EMA Monomer | Ethyl methacrylate | 97-63-2 |
| Lcnamer® DMAEA Monomer | Dimethylaminoethyl acrylate | 2439-35-2 |
| Lcnamer® DEAEA Monomer | 2-(diethylamino)ethyl prop-2-enoate | 2426-54-2 |
| Lcnamer® CHA Monomer | cyclohexyl prop-2-enoate | 3066-71-5 |
| Lcnamer® BZA Monomer | benzyl prop-2-enoate | 2495-35-4 |