Majalah BancoNota

The KBA-GIORI magazine about banknote design, production and circulation
IntaglIO SpecIal repOrt

Super OrlOf IntaglIO II
DIgItal engravIng back tO the rOOtS
aDDIng value wIth ctIp
SECURITY FEATURES
MultIfluO
n2 Spring i Summer 2010
EVENTS
InternatIOnal banknOte
DeSIgnerS cOnference
cOnTenTS
18
cOmpany newS
Introducing the Engineering Department
Introducing Fadi Saadallah
21
TechnOlOgy
PolyWash III/D
22
Intaglio special
pre-preSS
Digital engraving back to the roots
A masterpiece not to be missed
Adding value with CTiP
Kazakhstan explores CTiP
12
16
Fluorescence revisited
The power of core processes
24
caSh cycle
A formidable barrier against soiling
caSh cycle
Development of a new banknote
series with proven technology
26
general inTereST
Women and money
The 74 million euro one hundredfranc note
prinT
Super Orlof Intaglio II
Inspecting infra-red with NotaSave III
Wiping: a deceptively simple process
SecuriTy feaTureS
28
evenTS
The 1st International Banknote
Designers Conference
30
inDuSTry challengeS
Banconota, the magazine about banknote design, production and circulation, is published twice a
year, in spring and autumn, by KBA-GIORI SA for its clients and business partners.
For comments and suggestions, address changes, back issues, to stop your subscription or for any
other communication, please use the details below:
KBA-GIORI SA
Graphic design: Emilie Fargues - vocables.com
Banconota Magazine
Computer graphics design: Oreste di Cristino
PO BOX 347
Photography: Giulio Locatelli
CH-1000 Lausanne 22
Editorial support: Henry Ploudy
Switzerland
Printer: Courvoisier-Attinger Arts graphiques SA
banconota@kba-giori.com
Fax: +41 21 345 70 10
Phone: +41 21 345 70 00
2010 KBA-GIORI SA All rights reserved. Reproduction in whole or in part

without express permission of the publisher is prohibited.
Editorial
Pierre Miranda, Editor
Dear Reader,
It is a pleasure to present the second edition of Banconota!
Thank you for the encouraging feedback about the (re)launching of the magazine. We are looking forward to continuing the exchange of ideas with you!
For this issue, we decided to focus our attention on one of the core processes of banknote printing:
intaglio.
Anyone who attended the last Banknote Conference, in Washington, will have witnessed the vitality
of intaglio. For instance, participants could not have missed noticing the Digital Engraving Studio
at our exhibition booth, where live demonstrations of this new way of producing intaglio portraits and
vignettes took place.
There were also many presentations made by a variety of other actors in the industry, highlighting the
key role played by intaglio as an essential first line authentication device, as a vector of state-of-the-art
level 2 security features, and as an important identification tool for the visually-impaired, to name but
a few. Several examples of innovative security features based on the combination of intaglio and other
printing processes were also shown.
In other words, intaglio is an exceptionally versatile printing process, in constant development, therefore we think now is a good time to give you an overview of the current situation of this multifaceted
process.
Of course we still had space for more hot topics in this special edition, and hope you will enjoy our
sequels to the series started in the first issue, such as security features based on Simultan offset, or the
different strategies that can be considered when launching new banknote series. We trust that everyone
will find something to their taste in this edition of Banconota!
Enjoy the magazine
ERRATUM
In the previous edition of Banconota, we mentioned that a Super Orlof Intaglio II (SOI II) in 5-colour version would be installed
in the showroom area of our new building. However, due to the commercial success of the SOI II, no machine is currently
available in this particular configuration. As a result, the machine on display will be a 4-colour Super Orlof Intaglio.
Intaglio special
pre-preSS
DIgItal engravIng back tO the rOOtS
One look at the size of a printing press explains why we rarely

have the opportunity to exhibit our products during conferences
However, we also supply smaller and lighter equipment, typically in the pre-press sector. One such system is the new Digital
Engraving Studio (DES), and we were rather excited to take it
along to Washington in December 2009, to present it during the
Banknote Conference.
But what is the DES, and why was it worth the trip to Washington?
Engraving is the process used to produce the intaglio portraits and
vignettes, which are a central work of art within the overall design of a banknote, and the DES is our new integrated engraving
EARlY DIGITAl SOlUTIONS
solution, and part of our complete digital workflow concept. The

DES is essentially the result of several years of listening to the
feedback of engravers about digital technology, and the testing
of various options to improve their digital engraving experience.
The reason why we opted to show this new generation of digital
engraving tools in Washington is because seeing, or even better
feeling, is believing: what makes the DES truly different is the superior ergonomics. Our engraver Bruno Cerboni-Bajardi was also
present in Washington, carrying out live demonstrations of the
DES, and discussing it with various other experts in the field.
including security printing, and nowadays only a handful of

craftsmen in the world have these engraving skills. Altogether the scarcity of engravers, the unique quality of their
work and the extremely limited availability of specialized
security printing intaglio equipment, are what makes intaglio
such a strong security feature.
4
banconota
SPRING | SUMMER 2010
In order to fully understand the DES, we need to have a look

at its origins. Intaglio, which started as a form of art in the
15th century before evolving into a large scale reproduction
technique, has relied for a very long time on hand engraving
to produce intaglio plates. Todays engravers, such as Bruno,
have generally been trained in the same ancient techniques,
which require many years of practice to master.
By the end of the 19th century, intaglio, having been totally supplanted by other printing methods (such as offset) for
mainstream applications, only survived in very limited circles
We focused on enabling the

engraver to work naturally
With the advent of digital technology, however, the situation

changed drastically. Computer-aided design and laser engraving
of intaglio plates brought many improvements to the intaglio prepress area, but were not compatible with the traditional method
of engraving, using a metallic medium and a series of chisels.
An alternative was needed, and thus the first generation of digital
tools to produce portraits and vignettes was born.
These first developments were based on a computer-generated
portrait concept, with limited involvement of the engraver.
But it soon became obvious that engravings produced with
such tools had an artificial and generic feel to them.
Rather than trying to fix a concept, which we considered a
dead-end with the technology currently available, we decided
to follow another direction and developed tools for what we
call computer-assisted drawing of portraits, re-focusing on
the engraver himself and essentially relying on a graphic tablet
in terms of hardware. We found the results of this new avenue
to be very encouraging, but still lacking in some areas. Using
tools that were not originally designed for engraving, the engraver lost his hand engraving feeling and, to some extent, lost
control of his creation.
GETTING BACK TO ThE ESSENCE OF ENGRAVING

There was still room for improvement and, learning from these
observations, we started working on a new generation of digital
engraving tools. It was now time to develop a tool specifically designed for the engraver, rather than force him to adapt to existing,
generic tools.
With the DES, we sought to get back to the essence of engraving,
and therefore focused on enabling the engraver to work naturally, in
order to express his art without limitations.
The main component of the DES is its power engraving table, which
includes a large touch screen mounted on a rotating disc. The tables
most striking feature is the complete freedom of movement it provides the engraver. All positions, specific rotations and precise
moves inherited from his craft can be replicated on the DES. The
table is particularly stable and vibration-free, and the engraver
can lean on it with all his weight. The level of comfort achieved
is exceptional; a fact not to be underestimated for what remains a
demanding physical activity. The graphic software has also been
customized by carefully transposing the various physical chisels
into specific virtual brushes.
Complete freedom of movement is provided. The table can be raised,

lowered, and rotated, so it is adapted to the engravers technique, and
not the opposite.
5
banconota
Intaglio special
We call it a studio because it is a
comprehensive solution
At the same time, the DES exploits all the benefits of digital
technology and the engraver can choose to automate or take
control in a more handcrafted manner at any time, switching from one mode to the other depending on the task at
hand, thus providing very refined control of the portrait or
vignette. Other benefits of digital technology include the
capability to use a reference picture as a background layer,
as well as a handy voice command interface for the most
frequently used shortcuts.
For the first end-to-end test of the DES, we chose Leonardo
da Vincis Mona Lisa portrait, one generally regarded as very
difficult to successfully render, and we were not disappointed:
the DES achieved the same line and stroke quality as traditional engraving.
We call the DES a studio because it is a comprehensive solution, featuring all the components required by the engraver.
This includes a scanner to capture original artwork, a backlit
table for sketch design, a high resolution, large format inkjet
printer for proofing, and all the associated furniture.
The DES is software- and OS-independent, and available in
different finishes. Visitors at our headquarters in Lausanne can
see the DES in action in our pre-press department, where it is
now operational. w
The engraver can choose to automate or take command in a more
handcrafted manner at any time, thus providing very refined control of
the portrait or vignette.
The goal of the Digital engraving studio can be summarized as the combination
of the hand engraving feeling, with the power of digital technology.
6
Banconota
spring | summer 2010
Pre-Press
A mAsterpiece not to Be missed
Last December, our engraver Bruno Cerboni-Bajardi attended the

Banknote Conference in Washington, D.C., to present our Digital Engraving Studio to the participants. But before he could hop
onto his return flight, there was one more thing he still had to
do, otherwise his visit to the Federal capital of the United States
would have been incomplete and that was a visit to the National
Gallery of Art.
This gallery is indeed home to a spectacular Italian Renaissance collection, including one of the gallerys main highlights, the Ginevra
de Benci portrait by Leonardo da Vinci. As a devoted admirer of
the great Italian Master, Bruno could absolutely not leave without
seeing this masterpiece. In fact, Bruno and Leonardo are old
acquaintances, the engraver having just spent several months
on the engraving of the Mona Lisa. He also worked on the selfportrait of the artist featured on our Leonardo specimen.
The oil-on-wood portrait of a young Florentine noblewoman is
currently the only painting by Leonardo da Vinci in the Americas.
Its unusual square shape is due to the fact that its lower part was
cut off at some point, probably as a result of damage.
Bruno was also particularly happy to be able to admire several
paintings of another major Italian master of the High Renaissance,
a contemporary of Leonardo, the great Raphael. The painter was
born in the same place as Bruno, in the town of Urbino.
Bruno, who is also a gifted painter when he is not busy teaching
engraving or working on a design for a banknote, is a member of
the Accademia Raffaello, and has produced beautiful replicas of
some of Raphaels original artwork. Bruno painted most of these
replicas in Urbino, taking advantage of temporary exhibitions,
in order to work under the best conditions. Four of his replicas
are permanently displayed in the Casa Natale di Raffaello in
Urbino.
Portrait of Ginevra de Benci, Leonardo da Vinci, c. 1474, National

Gallery of Art, Washington, D.C.
Self portrait of Raffaello Sanzio da Urbino, better known as Raphael. Replica

by Bruno Cerboni-Bajardi of the original on display in the Uffizi Gallery in
Florence, Italy.
Finally, another artist whom no engraver would want to miss seeing is also displayed in the National Gallery: Albrecht Drer, one
of the greatest engravers of all time.
This is just a glimpse into the Renaissance collection of the gallery, and there are many other sections which are just as interesting. It should be noted that the museum is open to the public and
is free of charge, a rare and admirable fact in itself. So if you live
in Washington D.C. or plan to travel to that city, there is really no
excuse not to visit the National Gallery w
7
Banconota
Intaglio special
Pre-Press
Adding vAlue with CtiP
Today, 6 years after its introduction and with nearly 20 units sold, CTiP (Computer to Intaglio Plate) is a wellestablished technology. Yet, as with most innovations in the field of banknote printing, it takes some time before it
can truly express its full potential. We asked Dr Florian Demaimay, Production Director at Oberthur Technologies,
what drove the French high security printer to be one of the first to adopt CTiP, and how the company uses this
technology today.
Banconota: When did you buy the CTiP system?
Florian Demaimay: The installation in the pre-press department of
our Chantepie plant took place in July 2005.
You were among the first to install a CTiP system. What was your
main reason to invest in this new technology?
Before the investment decision was made, our R&D team had
already been evaluating the use of high resolution laser engraving
technology to produce intaglio plates for a couple of years. So, when
KBA-GIORI launched CTiP, we were confident that this technology would answer our expectations. With this technology, our goal
was to speed up our intaglio plate production process, and open the
door to the development of new intaglio security features. We found
CTiP to be a good industrial proposal, successfully implementing
the potential of laser engraving technology.
How did CTiP affect your plate production process?

Intaglio plate production has a long history in our pre-press
department. It started with the traditional Cobex and chemical
etching process, before we researched and then adopted the
photopolymer process in the early 90s. The integration of the
new laser process was only natural, then. CTiP was also an
opportunity to start the development of a new, secured digital
workflow in the department. Today, we use CTiP to produce
the intaglio masters, whereas the galvanic process is used for
nickel alto master and intaglio plate production.
With CTiP, there are almost no limits to what you can engrave on a plate, but printing is another matter. How did you
adapt to this situation in terms of design?
The laser engraving technology of CTiP definitely provides a
great degree of freedom, but one has to be careful, because
everything that is engraved is not printable. I would say it
took us about 18 months to start mastering the laser engraving technology. During this period, we carried out intensive
experimental and theoretical studies on the different engraving
parameters. We tried and tested many plates on our different
intaglio presses in order to find not only the optimal parameters to engrave existing designs, but also the limit parameters to explore new design possibilities for innovative
intaglio security features.
How many plates have you produced so far with CTiP?
Today we have done the origination of more than 300 intaglio
master-plates with the CTiP process, and over 1,800 intaglio
plates have been produced from these masters.
elise, from Oberthur Technologies: an example of feature

taking advantage of the precision and control offered by CTip.
8
Banconota
Can you give us a few examples?

Each project is a different story, with its own challenges, and
every time it has given us the opportunity to learn more about
how to use CTiP in order to achieve a successful design. We can
mention, for example, the current banknote series issued by the
Cenral Bank of Peru. We worked on the 10, 20 and 100 Soles
denominations and greatly improved the printing results on
intaglio presses thanks to the CTiP process. Printing was much
easier, compared to the challenges experienced during previous
printing runs when using the earlier intaglio pre-press process.
Testing helped us optimize the new laser intaglio master, and
in addition productivity was greatly improved.
CTiP DaTaShEET
Another example is the new banknote series issued by the

Central Bank of Kirgizstan. We originated and printed the 50,
100 and 5000 Com denominations, which notably feature numeric portraits, latent images and blind embossing.
Finally, I would like to mention the 50 Dinars note recently issued by the Central Bank of Tunisia. This is the latest
and highest denomination of the Tunisian currency. For this
project, we designed and originated various features, such as
a large intaglio portrait, microlines, dual tone areas, vignettes
with complex secured screen, blind marks and latent images.
The value of CTiP is highly dependent on how it is used
and combined with other tools. How does CTiP fit into your
R&D program in terms of banknote design?
After the initial phase dedicated to setting the production
parameters for the new laser engraving technology, the
R&D team started exploring the possibilities of creating new
features offered by CTiP. The rapid engraving time of CTiP,
combined with the possibility of using the master plate for
proof printing, allowed us to carry out many trials and tests,
mainly focusing on level 1 visual features. Observations with
electronic microscopy also allowed us to have a better understanding of the results of the engravings.
Can you give us examples of security features designed by
Oberthur Technologies, exploiting the CTiP technology?
Intaglio bleed off (Editors note: also known as continuous
background) is a feature very easy to achieve with CTiP,
and which we integrated into many designs. We have also
developed a sophisticated dual-tone feature with a registered
negative design in both dark and light areas. This feature,
named Elise, has been successfully included in several
banknotes. More recently, we have developed a complex
helical engraving structure, which, after embossing on optically variable inks, provides a striking dynamic effect. We
thus called it Dynamic.
We have already introduced the CTiP (Computer to Intaglio Plate) system on

the pages of our former publication (New Horizons Newsletter). However,
for those unfamiliar with CTiP, here is a brief reminder and update about this
technology, in the form of a datasheet, which truly marked a turning point in
the intaglio pre-press area.
Name: CTiP (Computer to Intaglio Plate)
Date of introduction: 2003
Number of units sold: 19
Process overview:
1. Generation of intaglio security patterns on the ONE security design system,
2. Import in ONE of the central intaglio portrait or vignette produced by the
engraver, for example with our Digital Engraving Studio,
3. Setting of engraving parameters (depths, profile, etc.),
4. Laser engraving of master polymer plate,
5. Plate reproduction.
Summary of benefits:
Vastly streamlined process
- much shorter lead times
- possibility of making corrections without starting from scratch
- less processing steps and equipment necessary
- superior reliability
Precision and control
- Total control over engraving parameters
- Master-based concept, for maximum repeatability between
printing plates
Unique security features
Easy on-press proofing using polymer master plate
Examples of applications:
Continuous intaglio backgrounds
Multi-tone intaglio designs
Multi-tone micro-text
High tactility features
Latest enhancements:
150 deep engraving
Maintenance monitoring and tracking system
In your opinion, what is the most important feature of CTiP?

Laser engraving technology offers full control of the
engraving. The freedom in design in the XYZ axes is vastly
superior, when compared to previous processes. Once the
standard and limit parameters have been set, this freedom
grants the possibility of developing new features with a
high security value. In addition, the laser process is fast and
smooth, allowing the intaglio masters to be produced with
great accuracy and repeatability. CTiP will set a new quality
standard in our industry.
Thank you, Mr. Demaimay. w
9
Banconota
Intaglio special
pre-preSS
kazakhStan explOreS ctIp
Inside front cover of e-passport specimen.
1. High-quality latent image

2. Multi-tone microtext, with variable letter density
3. High tactility lines

4. OVI colour-shift ink
5. Feel Secure feature
6. Multi-tone design
10
banconota
Although the intaglio printing process is strongly identified

with banknote printing, it is also used in security documents,
including passports. One such project, which our company
had the privilege to participate in, was initiated last year by
the Banknote Factory of the Republic of Kazakhstan (BF of
NBK). The e-passport specimen was produced in partnership
with ArjoWiggins and has several of the companys exclusive
technologies, including the high-contrast Pixel watermark,
or Paperlam RFID inlay.
The document was printed in Kazakhstan using banknote
printing equipment: Simultan offset, 4-colour intaglio and
letterpress numbering. It was then processed on an automatic
passport manufacturing line.
The design and origination of the offset plates were made by
BF of NBK, while the intaglio plates were entrusted to KBAGIORI, using CTiP technology.
The inside cover of the passport, printed in both offset and
intaglio, is a good example of the superior quality which can
be achieved also using CTiP for security documents.
Commenting on the project, Mr Kazhmuratov, Director of
the Banknote Factory of the Republic of Kazakhstan, said
we appreciate the support of KBA-GIORI, and are looking
forward to our continued partnership.
The same year BF of NBK, which currently sources its intaglio
plates externally, also launched an interesting comparative study
asking three companies, including ours, to supply intaglio plates
based on different technologies, for the production of a banknote
specimen on the same machines and with identical settings. The
plates were produced respectively with CTiP, DLE direct laser engraving, and polynickel. Printed specimens are available
upon request from BF of NBK for independent evaluation.
Inside back cover of e-passport specimen.
A REPUTATION FOR INNOVATION

Kazakhstan has recently acquired a solid reputation for innovation in banknote design and security features. In 2008,
a commemorative note was issued to celebrate the 15th anniversary of the nations currency, the Tenge, that included
SPARK for the first time. At the beginning of this year,
another remarkable banknote was produced by BF of NBK,
commemorating the nations chairmanship of OSCE. The
banknote includes various just launched security features, as
well as a good example of PEAK, which is based on a combination of offset and intaglio. w
11
banconota
Intaglio special
Print
Super OrlOf IntaglIO II
fIve cOlOurS and upgraded archItecture
When the first generation of the Super Orlof Intaglio (SOI)

was launched in 1990, it was a radical departure from earlier
machines. Of most significance was the introduction of the
indirect inking principle. This process, also known as Orlof
after the name of its inventor, was first experimented on offset machines, before being implemented on intaglio printing
presses. Indirect inking applied to the intaglio printing process brought two major benefits: new design possibilities and
reduced ink consumption.
Both benefits actually stem from the higher precision of indirect inking. On the one hand, this translated into extremely
precise inking and colour splits, opening the door to entirely
new designs, which would have been otherwise unprintable.
On the other hand, the precision gained also allowed a closer
match of the chablon shape used for ink transfer with the
actual engraving to be inked on the printing plate. The resulting reduction of the surface to be inked led to less
ink loss during the wiping process, effectively reducing ink
consumption.
The super Orlof intaglio ii has a new and characteristic camelback

shape; the dimensions, however, remain the same as its predecessors.
12
Banconota
The same process was also implemented on smaller format

equipment, with the same benefits. This generated the Mini Orlof Intaglio product range, which are compact 4 colour intaglio
sheet-fed printing presses designed for small production runs and
on-press proofing.
This highly innovative concept, along with several other improvements, quickly generated much enthusiasm, and 11 SOI
units were delivered within the next year, followed by a constant
stream of orders to reach the more than 150 deliveries today.
2008 marked a new evolution of the highly successful Super Orlof Intaglio concept, with the launch of the Super Orlof Intaglio II
(SOI II). In addition to all the upgrades brought to the SOI over
the years, such as extensive thermoregulation or an improved
fleece-based wiping system, the new generation of super format
intaglio press introduced three major changes:
- 5-colour capability
- 3-3-3 architecture
- full indirect inking
Five colour intaglio printing is not

new for KBa-GIoRI
SuperOrlofIntaglio.
SuperOrlofIntaglioII.the main new features of the machine: 5-colour

option * 3 segments on the printing, plate and collecting cylinders * full
indirect inking.
In fact, five colour intaglio printing is not new for KBA-GIORI.

The first machine featuring this capability had already been sold
to Orell Fssli in the early 90s. The reason behind this particular
development for the Swiss-based high security printer was the
revolutionary design of the latest series of Swiss Francs. By
adopting 5-colour intaglio, the Swiss National Bank acted as a
precursor, setting new standards by getting maximal value out
of the central printing process that is intaglio.
GRowING INtERESt IN 5-coloUR PRINtING

This did not go unnoticed, and others soon realized the new
design possibilities that 5-colour intaglio allowed. Therefore, it
does not come as a surprise that several other printers followed
suit when the time came to invest in new intaglio presses, starting
with Note Printing Australia, and more recently Casa da Moeda
do Brasil. Sales of 5-colour intaglio presses amount to 6 units at
the time of writing, and the market trend is clearly strengthening,
with several banknote printers already expressing their interest in
this technology.
In order to allow printers to follow a step-by-step technology
migration approach, if needed, the SOI II is also available in
a 4-colour variant, which can later be easily upgraded to a
5-colour configuration.
SyMMEtRIcal aRchItEctURE
Another new feature of the SOI II is its new generation printing
unit based on a 3-3-3 architecture. With this configuration, the
printing, plate and collecting cylinders of the SOI II all have the
same number of segments. As a direct consequence, the same
printing plates are always in contact with the same blankets.
This improved architecture increases print stability and allows
the operator to exert more control over print results.
Finally, in another major departure from its predecessor, the
SOI II now features full indirect inking. Whereas the first generation of SOI still included one direct inking unit in order to
provide the flexibility to still print with direct inking if necessary,
this precaution is no longer relevant today, and the SOI II could
advantageously dispense with the direct inking unit, a legacy of
the earlier model.
In addition to these three new features, the SOI II obviously
takes advantage of all the latest refinements introduced to the
main SOI product range since then. This makes it an innovative
yet robust product, which benefits from the extensive experience
accumulated during many years of continued operation. w
13
Banconota
Intaglio special
prinT
InSpectIng Infra-reD wIth nOtaSave III
Final inspection, which is the process used in banknote print

works to sort out defective products, is essential to guarantee that
banknotes meet the quality standards set by issuing authorities.
However, it inevitably comes at a cost as it entails the elimination
of products carrying their full added value. This is why modern
quality management systems also rely on an additional process to
keep costs under control, i.e. online process control.
This process exploits the automated quality control systems
mounted on the presses to constantly monitor every step of the
production process, and therefore reduce waste. Final inspection
is then used as a last control step to remove any remaining products unsuitable for release into the cash cycle.
KBA-GIORI has largely invested in technologies for both quality
process control and final inspection. One of the early process control
solutions was the NotaSave, operating on the Super Orlof Intaglio
presses. The NotaSave is now in its third generation and, today,
practically every operating intaglio press is equipped with this system to inspect visible print.
In 2006 we introduced the IR (infra-red) option for the NotaSave
III, to also inspect the IR signature of every banknote. With this
option, features such as IR splits, where the same visible colour is
printed with 2 inks having different IR properties, can be immediately inspected when applied. The importance of IR features, which
are widely used in cash processing machines, is unquestionable, and
errors involving invisible ink properties, such as using the wrong
chablons or wrong inks, run a greater risk of going undetected. For
these reasons, we believe that online process control in this area is
particularly useful, and upgrading a NotaSave system with the IR
option makes just as much sense as initially installing a NotaSave.
A FUllY INTEGRATED SYSTEM

The IR system user interface is fully integrated into the NotaSave
IIIs, and the operator can handle both visible and invisible inspections in the same way, with the possibility of masking out areas and
inspecting them with different tolerances. An extra monitor is installed for the real-time display of the IR inspection, with an overlay
indicating the type and location of errors.
The NotaSave IR option benefits from the same core features as all
our process control systems. This includes rapid make-ready, the
ability of working at maximum production speed, and a sensitivity
level adjustable during production.
This option is available for all NotaSave III systems, and upgrades are particularly simple, as the system can be integrated
into the existing cabinet. w
14
banconota
An option of the NotaSave III inspection system allows online checking

of the IR signature for each note, typically to detect the presence of
infra-red split features.
ThE CovERT SiDE of iNTAgLio

Intaglio is best known as a visible and tactile security feature, but, due to its unique
resistance, it is also the ideal vehicle for carrying level 2, or covert security features,
based on inks with special properties.
IR characteristics, for instance, are widely used by the sensors present in cash
processing equipment such as vending or ticketing machines, ATMs or the back-office
equipment of commercial banks.
The value of the intaglio printing process in the level 2 area is even greater now, with
the recent introduction of the SICPATALK ink, which has two unique characteristics:
it is available in clear and vivid colours, instead of being limited to the dark tones
previously used, and has a very specific signature across the IR range.
Covert features applicable with the intaglio process are not just limited to IR inks.
They also include luminescent inks, which are visible under UV light, or magnetic
inks, which are typically used to automatically sort denominations. It should be noted,
however, that both types of inks also exist for other printing processes, such as offset
for luminescent inks, and typography for magnetic inks. Depending on a banknotes
specific design, one or the other will be used.
Finally, the characteristic properties of the intaglio printing process itself may also
present opportunities to develop inexpensive yet fail-safe banknote authentication
sensors in the future.
prinT
wIpIng: a DeceptIvely SIMple prOceSS
Wiping is a key step in the intaglio printing process, whereby the

intaglio plate is wiped clean, leaving ink only in the recesses of
the engraving before the plate comes into contact with the sheet
to be printed. This is achieved with a wiping cylinder which must
be cleaned with a special solution and then dried after each wiping
cycle. To the layman, such an operation may look simple but it is
actually far from being so.
Part of the complexity of the wiping process lies in the printing
press itself. However, wiping is a process which largely extends
off-press too.
For instance, there is hardly a machine as inconspicuous as a PlastiRota, yet this auxiliary plays an important role in the efficiency of
the wiping process and thus on the print quality. The PlastiRota is
used to apply a plastic coating (PVC) on wiping cylinders via a
rotary process. It is also used to coat inking rollers.
The goal of the PlastiRota is to provide a perfectly uniform wiping
cylinder surface for optimal wiping. For the PVC polymerization
process to be fully under control, the temperature must be uniform
along the cylinder axis. To achieve this, several sets of sensors and
IR-emitters are used, allowing separate temperature adjustments
in 8 different zones. The latest generation of this equipment, the
PlastiRota III, has undergone extensive redesign, particularly in the
critical area of health and safety. It is now equipped with a specially
designed filtering station to prevent potentially toxic exhaust fumes
from spreading into the working environment.
The wiping process also

extends off-press
2
3
4
1. printing cylinder
2. plate cylinder
3. collecting cylinder
4. wiping cylinder
The intaglio plate is wiped clean by the wiping cylinder, leaving ink only
in the recesses of the engraving, before the plate gets in contact with
the sheet to be printed.
WIPING SOlUTION RECYClING

Another easily overlooked aspect of intaglio printing is the recycling
of the wiping solution. The wiping process constantly generates waste water, composed of wiping solution mixed with ink
wiped off the printing plate. Before the introduction of recycling
systems, the wiping solution would simply enter the circuit at
one end, and the waste water would simply be discharged at the
other. This clearly had a negative impact on the environment, and
it also induced unwanted water and chemicals consumption.
For these reasons, we developed a closed-loop system which completely changed the situation. This system, called AquaSave, is now
in its second generation, and is capable today of achieving the stunning recycling ratio of 95%. It is nearly maintenance free, and also
exceptionally compact and scalable. The development of AquaSave
continues, with the aim of further reducing chemicals consumption
and making it even easier to use.
Wiping involves many different and complex technologies. As such,
it is a good reflection of the overall complexity of intaglio printing.
Only by grasping the interactions between all areas of intaglio printing, both in pre-press and print, can one hope to truly master this
highly sophisticated printing process. w
Compared to its predecessor, the PlastiRota III wiping cylinder

coating machine has been extensively improved in terms of working
environment.
15
banconota
Intaglio special
caSh cycle
a fOrMIDable barrIer agaInSt SOIlIng
Banknote durability remains a very popular topic in the media

and in the various conferences dedicated to our industry. With
the recent introduction of several new hybrid substrates mixing paper and synthetic material, the debate about durability
has even gained extra coverage. There are good reasons for
this, as central banks are fully aware of the large cost reductions that increased durability represents.
There are a number of options available to extend the lifetime
of a banknote. Even though the spotlight is currently focused
on the relative merits of the various long-life or durable
substrates, two other factors play a decisive role in banknote
durability, namely varnishing and intaglio.
If varnishing has been the subject of several studies and presentations, intaglio usually attracts less attention as an element
of durability, being not so much regarded as an option, but as
an inherent part of every banknote, due to its value as a key security feature. Still, this should not eclipse the fact that intaglio
is also essential in terms of banknote durability.
Dr Stphane Bolognini, as the Product Manager of the NotaProtector varnishing machine has, understandably, a particular
interest in durability issues. The various studies he has compiled
on the subject, together with his own analysis, clearly demonstrate
two facts:
1. Varnishing increases banknote durability, irrespective
of substrate type, which explains why the process is
steadily gaining ground.
2. Double-sided intaglio is a very cost-effective method to
protect a banknote.
The huge pressure of the

process changes the very
structure of the substrate
16
banconota
Existing surveys about durability have been carried out in different environments and with a variety of methodologies, he
says, but there is a degree of convergence in the results concerning paper-based substrates, such as the fact that the number
one reason banknotes need to be removed from circulation is, in
most cases soiling. Humidity and dirt are indeed a banknotes
worst enemies as they infiltrate its substrate, degrade its readability and eventually also compromise its mechanical resistance, leading for example - to tears or holes.
And, for Stphane, double-sided intaglio is a formidable barrier
against soiling: The huge pressure of the intaglio printing process quite simply changes the very structure of the banknotes
substrate, considerably decreasing its porosity on both sides,
and also its roughness. To some extent, the penetration of the
ink into the fibre layer of the substrate in the printed areas also
contributes to its durability. As a result of this combination of
process and material, double-sided intaglio print makes it more
difficult for soiling to stick to the paper.
REINFORCED EDGES WITh CTIP

The ability of the CTiP (Computer to Intaglio Plate) laser engraving technology to print continuous backgrounds also brings
additional value to intaglio in terms of durability. The application of intaglio features on the very edges of a banknote increases
its mechanical resistance. This is particularly useful in highly
automated cash cycle environments, where significant numbers of banknotes are rejected by cash processing machines
because of mechanical defects, such as cut or folded corners.
Nevertheless intaglio, however important for banknote durability, should not be considered on its own. A recent example of a
combined approach is the initiative launched by Crane Currency, supported by SICPA and KBA-GIORI, with its Endurance
specimen. This specimen, which underwent rigorous durability
tests in a special laboratory simulating various cash cycle environments, shows that the right type of substrate, combined
with the right type of varnish, brought together with the intaglio
printing process, does achieve superior resistance in circulation:
an encouraging sign that cooperation within our industry probably shows the best prospects of improving durability for everyones benefit. w
Intaglio printing drives ink into the fibre layer of the substrate, and
reduces its porosity and roughness.
The Endurance specimen, from Crane Currency, shows how intaglio,

varnishing and substrate all contribute to banknote durability.
DoUbLE-SiDED iNTAgLio ToDAy

The effect of double-sided intaglio print on durability, in addition to the added
security, is an important characteristic that speaks in favour of the process,
and today the validity of this reasoning is actually stronger than ever. Over the
last 30 years, even though process costs have decreased by ca. 30% due to
the productivity gains in banknote printing equipment (larger format, increased
speed and automation, etc.), it is generally accepted that the cost of comparable
banknotes has increased, essentially because of the need to develop more
sophisticated security features able to resist more sophisticated counterfeits.
Consequently, the relative part of the intaglio process within the overall cost
of a banknote is significantly lower today, even more so when considering the

progress made in intaglio printing, such as the waste reduction achieved by the
latest generation of Orlof machines equipped with process control systems.
For instance for a modern, medium denomination banknote including recent,
optically variable security features we estimate that the proportion of material
costs represented by intaglio may have dropped by as much as 50%, compared
to a similar design produced 20 years ago. This means that there is clearly
even less incentive today to abandon double-sided intaglio than before: why
compromise security and durability for minimal overall savings?
17
banconota
cOmpany newS
IntrODucIng the engIneerIng DepartMent
In the first issue of Banconota last autumn, we explained the role of our Customer Service Department. And now
we would like to introduce our Contract Engineering Service Department who initially handle operations. It is
made up of Ernest Molina and his team, and their responsibilities cover a wide range of activities, including
projects of high strategic importance such as the creation of entire new banknote printing facilities.
Banconota: Ernest, first of all can you please tell us a little
about yourself?
Ernest Molina: I was born in 1954 in Tangiers, Morocco. My
mother was Portuguese and my father Spanish, and we moved
to Switzerland in 1960. I am married and the father of two children, Aldric and Elise.
I have a degree in Mechanical Engineering, and for over 15
years was the head of contract engineering and construction for
a company in the packaging industry, and more specifically, in
the food sector. In 1977 I joined KBA-GIORI, taking over from
Victor Mansour as Contract Engineering Service Manager.
How many people work in your department?
There are now 15, including myself.
Who are the members of your team and what are their respective areas of responsibility?
The department is made up of two sections. The first includes
five teams made of a Project Manager and an Assistant, who
From left to right, Boris, Nadine, Patricia, Jacqueline, Michelle, Ernest,

Grazia, Katia, Christian, Doris, Fabrice, Michel and hans, plus Jean-Marie
and Ana laura (inset).
18
banconota
work together. They are Boris Loetscher and Nadine Comte

Loutre, Jean-Marie Panese and Katia Acebo, Hans Kruis and
Grazia Tripodi, Ana Laura Aranda and Michle Homberger, and
finally Doris Trachsel and I. Each team is responsible for about
15-20 projects at a time.
Then there are four draughtsmen who handle all the detailed
drawing activities for on-site installation and they are Patricia
Henchoz, Christian Mast, Fabrice Pause and Michel Schupbach. Finally, Jacqueline Henninger who is responsible for various administrative tasks concerning installation invoicing.
When and why was the department created?
This department actually has quite a tradition, dating back from
the 1960s and it has been considerably strengthened over the
years, as projects have increased in complexity. One really cannot compare the methods used in the early days of the business
with those in use today. Machines have become far more sophisticated, there are more processes, and the requirements of
modern quality systems are much stricter. The demands on the
department have constantly increased, and the department had
to follow suit.
Can you explain, in a nutshell, the activities of your department?

To keep it simple, I would say that our activities can be split into
four categories.
The first can be described as logistical sales support, and what
this means is that everything that happens before a contract is
signed is handled here, some examples being preliminary factory layouts and installation schedules, client visits and technical clarifications.
The second category includes all the project management activities that follow the signature of a contract i.e. installation
plans, schedule activities, customer training, factory inspection
tests and organisation of final acceptance tests, etc. We supervise and coordinate the interventions of the various fitters and
KBA-GIORI instructors, and are the main contact for our clients for any questions that may arise about the project. Needless
to say this entails a lot of travelling in order to oversee how each
project progresses.
The third category involves equipment upgrades. Depending on
the circumstances, either the Customer Service or our department handles this.
Last but not least, we also carry out feasibility studies, for countries that consider producing their own banknotes. This involves
the calculation of all the resources required in terms of buildings, equipment, personnel and consumables amongst other
things, in order to submit an estimated banknote production cost
per thousand. If the project is accepted, we then provide all the
necessary input for the architect, and closely follow each phase
of the project, including production start-up, until the client has
become truly autonomous.
When do you hand over the responsibility of the project to the
Customer Service Department?
After the client has signed the Customer Acceptance Test, thereby confirming that everything that has been installed is fully
functional and that the warranty period can now start.
When you look back at the many projects you have been involved
in over the years, what do you feel they have in common?
Projects can range from single installations to building a whole
new banknote printing factory from the ground up, but I must
say they are all very satisfying experiences. I am always amazed
at how warmly we are welcomed by our clients, sometimes even
under difficult conditions. You really get the feeling of being
part of a big family, where respect is mutual.
Have you ever experienced difficult situations?
In some cases, our personnel had to be called back because of
security risks. The world can be a dangerous place, but we take
all the necessary precautions and incidents are, fortunately, extremely rare. There is, however, a positive side: you cannot get
bored with this kind of job and you discover the world and continuously meet new people it is quite an adventure!
The project scope in the Contract Engineering Service Department

ranges from the installation of single machines to the set up and
production start up of entirely new banknote printing facilities.
Can you mention particularly noteworthy projects you have

been involved in?
The biggest project carried out by the department was probably at Perum Peruri, in Indonesia, in the mid 1990s, but that
was before I joined the company. Later projects in Colombia,
Venezuela and Bulgaria were also particularly ambitious, but
many other projects were quite challenging too.
Nowadays, most countries seem to have their own banknote printing facilities. Does it mean the days of large projects are over?
Certainly not! There are actually still a surprising number of
countries which could benefit from producing their own banknotes. We roughly estimate that the break-even limit would
be at about 20 million inhabitants, although this also depends
on banknote complexity and possible export activities. As
you can see, this means there is still room for growth. There
are good reasons why a country, even a small one, might
want to totally independently produce its currency. In addition, various currency unions are foreseen in the future, and
this could also result in the creation of new banknote printing
facilities.
You were actively involved in the transition from banknote
procurement to independent banknote production in various
countries. What do you think is the most critical factor to
successfully run a banknote printing works?
Without any hesitation, I would say people. Top management
should be fully committed to the project, personnel should be
motivated, competent and well-trained, and a real quality culture should be established. w
19
Banconota
cOmpany newS
IntrODucIng faDI SaaDallah
Last year, the decision was made to hire a new Sales Delegate to work in tandem with Mr Victor Mansour,
who will be retiring in 2011, in order that Victor can help the new recruit to gradually take over his
responsibilities. As it happens, the new member of our sales team, Fadi Saadallah, is also Egyptian.
Before we ask Fadi to introduce himself to the readers of Banconota, let us first ask Victor how they met:
When the time came to hire an Arabic-speaking engineer, I oriented my research towards Egypt after
several unsuccessful attempts to find someone through European agencies. Eventually, Fadis resume
reached me through an old friend from University, Victor explains. I was impressed by his technical
and commercial education level, as well as by his professional experience with multinational companies,
in and outside Egypt, he continues, and I also liked his excellent interpersonal skills, something which
should not be overlooked.
Where does Fadi come from exactly, and how does he envision his new career in the banknote printing industry?
To find out, read on!
Fadi Saadallah, 32, the youngest and newest Regional Sales Director,
and Victor Mansour, Business Development Director.
Fadi, first of all, which markets will you be responsible for?

Fadi Saadallah: When the hand-over is complete, I shall basically be responsible for the Middle East and North Africa.
What languages do you speak, and where did you learn them?
I speak, read and write Arabic, English and French, and I have some
knowledge of Italian. I am also considering learning German.
I owe this to the fact that, as a child, I studied at a good French
school in Cairo.
20
banconota
Can you tell us about your educational and professional

background, in a few words?
To me, education and profession go hand in hand, and I am still
investing much time, even today, studying alongside my job. In
2000, I earned my Bachelor of Science in Mechanical Engineering - major Automotive, from Ain Shams University, followed
by a Higher Diploma in Service Centers Management, and then
I earned a Master in Hybrid Vehicles. Later on, I earned an MBA
at the German University in Cairo.
In parallel, as a great fan of cars, I had a summer job in 1997 with
Porsche and then opened a car workshop with a classmate.
In 2000, I joined an Egyptian wholesaler distributing, in particular,
specialized equipment for car workshops. I was the Department
Director in Cairo, and also spent some time in Syria.
I then moved on to Chrysler in 2004, as a Technical Specialist in
the After Sales Department.
To tell you the truth, I was lucky to have a wonderful manager,
who offered me all the ways and means to develop my career. I
later worked out that I spent more than 360 hours of training in
Train The Trainer courses in Detroit, USA.
Another important step in my career was when I joined Mercedes-Benz in 2007 as a Business Development Manager, in
Cairo. Here, I could really put into practice the skills acquired
during my MBA, and my days there were extremely intense.
You know the rest of the story: in 2009, I joined KBA-GIORI.
When you joined the company last winter, what was your
initial impression?
Coming from the automotive industry, I thought printing machines
would not be too different, but I was wrong! KBA-GIORI machines are like Mercedes, but on a giant scale. I am still surprised,
when asked by friends about the dimensions of our equipment, to
answer some of them reach up to 18m and weigh 50 tons.
TechnOlOgy
pOlywaSh III/D
DeSIgneD fOr DIgItal plateS
Before joining KBA-GIORI, Fadi worked for Mercedes-Benz

as a Business Development Manager, in Cairo.
Mr Victor Mansour is quite a character, who notably worked very

closely with the founder of the company, Gualtiero Giori. What is
it like working with him?
I consider myself very lucky to work with Victor. It is simple, he
just knows about everything: machines, installation, engineering,
the history of each print works on the planet and above all, he has
a deep understanding of our clients, after working with them for
over 35 years. The transition is proceeding very smoothly and professionally. Knowledge transfer is critical, especially so when one
considers the wealth of experience accumulated by Victor, and I am
glad that it has been taken very seriously by all involved parties.
You have a very outgoing personality, with a great sense of humour. Where does this positive attitude come from?
I like the French expression voir la vie en rose. I think having a
positive attitude is a gift, which helps us move on, without anxiety,
under all circumstances.
The production of dry offset plates and polychablons relies on

photopolymer, a material which characteristic is to be sensitive
to UV light: initially soft, it hardens when exposed using equipment such as the PolyExpo. The exposed plate then undergoes a
washout process. This is where the PolyWash comes into play,
removing the soft photopolymer by the mechanical action of a
set of oscillating brushes and water, leaving only the hardened
material as a relief on the plate. Finally, the plate is then dried
and exposed again to UV, in order to finalize the polymerization
process and further increase its hardness and lifetime.
When the PolyWash was first introduced, plates were still analog. This type of plate, which was exposed through a film, simply
consisted of photopolymer material and a metallic layer. This
filmbased process, however, is on its way to becoming obsolete,
and many pre-press departments are now using computer to plate
systems, such as CToP (Computer to Offset Plate), and digital
plates. The photopolymer on these plates is covered by a thin
black layer, which essentially plays the same role as the film earlier did. This black layer is selectively ablated by a laser, so that
only the exposed photopolymer will react when exposed.
The washout of these digital plates, however, presented its own
special challenges, because of the carbon-based nature of this
black layer. The new PolyWash III/D addresses this by having,
as the first station in the washout process, a separate unit to remove the black layer. This way, the next stations (photopolymer
removal and rinsing), are not contaminated with carbon, resulting
in much reduced cleaning requirements. An automated cleaning
cycle is also launched each time the machine is powered off. Other improvements in the PolyWash III/D include easily accessible
and independent brushes, the relocation of all drives in the dry
area, and a lower frame, significantly improving ergonomics. w
How do you like your new home, Switzerland?

I like it very much. Everything is so gorgeous, including the skiing,
even though I had to walk with crutches for 3 weeks after a ski accident shortly after arriving in the country!
Do you still find time between all your business trips for your
hobbies?
Not much to be honest, but whenever I can I practice my new
hobby, learning how to fly. We have an airfield right next door to
our headquarters building, and our Technical Director is a certified
private pilot. Therefore, the conditions to learn to pilot a plane
could not be better, and this also perfectly matches my passion for
mechanical engineering. w
The new PolyWash is easier to clean, and its lower silhouette makes it
more user-friendly.
21
banconota
Security featureS
Fluorescence revisited
The Simultan offset printing process is a cornerstone of banknote security, providing a wide spectrum of overt,
covert and machine-readable security features.
In this article, the second in a series about security features based on the Super Simultan IV platform, we would
like to introduce a level 2a (covert) feature called MultiFluoTM.
Ultraviolet lamps are some of the most widespread banknote authentication devices used in the retail industry, and level 2a security
features based on fluorescence are very well-known, even by the
general public. Luminescent features are also commonly used for
machine recognition purposes.
As a result of their popularity, these features inevitably attracted
the attention of counterfeiters. In 2006, for example, 80% of seized
Euro counterfeits showed that an attempt had been made to imitate
the image of the banknote under UV light.1
Today, counterfeiting of fluorescent features has become a real concern, with increasingly convincing counterfeits regularly appearing
as the required materials become always easier to obtain.
In answer to this growing threat, we have developed MultiFluoTM,
an offset-based level 2a security feature available on Super Simultan
IV presses equipped with a 9th and 10th colour imprinter module.
What makes MultiFluoTM different from traditional fluorescent
features is the fact that it combines two different fluorescent
inks by superimposing them. The result, under UV light, is a
3-colour image, where the third colour appears in the area where
both inks are superimposed.
The printing of the MultiFluoTM feature is done in two steps.
The first: background fluorescent colour is printed with one of
the units of the 9th and 10th colour imprinter module, and then
immediately dried with an intermediate UV dryer. The second:
fluorescent colour is printed, in partial superimposition with the
main unit.
MultiFluoTM considerably raises the barrier for counterfeiters.
Achieving the right combination of colours, both in the visible
and UV ranges, is a true challenge, as confirmed by our counterfeit resistance laboratory.
An example of multiFluoTm.
Another additional complexity lies in the precise register between

all the colours achieved by one-pass Simultan printing.
The feature has already been selected for several banknote designs, and the first banknotes featuring MultiFluoTM should be
issued within the next few months.
MultiFluoTM currently takes advantage of only one of the units of
the 9th and 10th colour imprinter module. There is definitely still
much untapped potential in this area, and research is continuing
on new designs exploiting this technology and, in general, the
versatility of the Super Simultan IV platform. w
Source: 1st International Conference on the Protection of the Euro against Counter-
feiting, Trends in Euro Banknote Counterfeiting, Martin Mnd, ECB, May 2007.
multiFluoTm, as implemented here, uses two types of fluorescent inks. The ink on the bottom layer is invisible under normal light, while the ink on the top layer is
visible. Both inks, however, are visible under uV light with different colours, and a third colour appears in the area where both inks are superimposed.
22
Banconota
SecuriTy feaTureS
the pOwer Of cOre prOceSSeS
Over the last few years we have witnessed the launch of quite
a number of new and striking level 1 security features, some
of them printed and many others substrate-embedded. There is
no doubt that features, such as micro-optics and colour-shifting
threads, highly sophisticated OVDs and DOVIDs, and various
types of windows in synthetic substrates, are attractive and eyecatching. And seeing so many innovations vying for attention is
also a sign of our industrys good health. However, these highly
advertised security features come with a correspondingly highper-unit cost, and lack of hindsight makes it difficult to truly
estimate their real value.
In the new level 1 security landscape taking shape today, what
role does print have to play, and what is the added value brought
by banknote printers?
This was the main question we asked ourselves and wanted to
share with the public during the presentation entitled Creating
cost-effective level 1 security through intelligent design, given
last December, during the Banknote Conference in Washington,
D.C., by Jean-Franois Foresti, Director Press and Pre-press of
KBA-GIORI. We chose to adopt a thought-provoking, back to
basics perspective, going against the dominant current, to see
what can be achieved when using a healthy dose of imagination
and design skills, combined with clever implementation of the
core printing processes available to all print works, represented
by Simultan offset and Orlof intaglio.
What we actually found was a wealth of level 1 security features,

proving that effective security does not necessarily incur high
costs. MVC (GOZNAK), MCLI (OeBS) and PEAK (Giesecke
& Devrient), to name but a few, were amongst the generally less
publicized, yet highly interesting and innovative features made
possible by exploiting the core processes.
REINFORCING SECURITY ThROUGh FEATURE

INTEGRATION
Finally, during the second part of the presentation, Jean-Franois
bridged the apparent gap between the latest level 1 security features
and the core processes, by showing how both could play hand-inhand to reinforce overall security, with examples such as MVI
(Multi Variable Image), which uses intaglio or dry embossing to increase the impact of features based on colour-shift ink, recto-verso
Simultan offset printing of transparent windows, or integration of
foils and threads by high-precision application coupled with overprinting and / or underprinting.
Is the role of print works bound to be limited in the future to just
decorating substrate already carrying all the added security value?
Fortunately, this scenario seems very improbable in the short term
and we believe that there is strong evidence that true security does
not rely on any single feature, but remains a combination of specific design, process and material. However, periodically asking
ourselves the question should help us all to stay focused, and to
keep providing maximum value to banknotes through print. w
Clever implementation of core processes, such as intaglio and offset, can result in striking level 1 printed security features, as illustrated by the recently
issued 1000 Tenge OSCE commemorative note in Kazakhstan.
23
banconota
caSh cycle
DevelOpMent Of a new banknOte SerIeS
wIth prOven technOlOgy
By Roland Tornare, Senior Advisor Banknote Services
DUTIES AND RESPONSIBIlITIES
Roland Tornare has a long and rich

experience in the field of banknote design,
and a deep knowledge of the cash-cycle. As
Director of the Issue Department at the Swiss
National Bank (1985-2007), he was one
of the main architects of the current Swiss
Due to their duties and responsibilities, it is usually the issuing

department or the department in charge of the New Banknote
Series that initiates the project, and proposes the policy, strategy, as well as the schedule and project objectives to the board
of the central bank. Based on this information, the board can
accept, adapt, postpone or refuse the proposition. At the very
least, the board should clearly define the mission of the department in charge of the project.
banknote series, and is heavily involved in the

new one under preparation. he has acted as
ThE MISSION
an advisor for similar projects in various other
The mission should contain:

the boards intention
the strategy
the schedule
any limitations or constraints
the responsibilities and the structure of the project team.
countries, and continues to do so to this day.
As explained in the first issue of Banconota, one of the main

tasks of central banks is to ensure that payment systems adhere to the security requirements, in order to increase the
efficiency of the traffic of payments for all users (the public,
businesses and financial institutions).
New series have two major objectives: to be easily identified
by the public and to provide a high resistance to counterfeiting.
Furthermore, due to the rapid evolution of the reproduction
technologies, the time span between two series tends to be shorter.
Nowadays, many countries expect their series to be replaced after 8
to 12 years only, in order to keep counterfeiters at bay.
According to the risk assessment of a central bank, the preparatory work for a new series should, therefore, be considered as a
preventive measure and in an ideal case as an ongoing process,
without any stops. In any case, attack being the best form of
defence, it is preferable to take action in time rather than
reacting under stressful situations.
The time needed for the development from design to issuance
- of a new series with proven technology is estimated as being
between two to four years. In principle, in order to balance the
work load of the central bank, the printing works and any other
parties involved, it is advisable that the new series of denominations be issued one after the other.
The way in which the different central banks manage projects
of new series can differ; however, we believe that good planning and efficient decision processes can significantly improve
the end result.
By using only proven technology, the central banks can significantly reduce the risks and complexity of new banknote
series projects.
24
banconota
INFORMATION AND ENDORSEMENT OF ThE

AUThORITYS CONClUSIONS
It will be the responsibility of the department in charge of the
project to regularly and systematically inform the board of
each of the projects main milestone developments, and of the
results of the analysis. This regular information should insure
that the board endorses the conclusions of the different analyses, and confirms the way forward.
ThE CONTExT ANAlYSIS

Based on the mission, it is advisable to start with a context
analysis that covers the various aspects relating to the existing
series, such as the publics awareness, the extent of counterfeiting, the cash handling sorting equipment in place, etc. This
analysis should take all actors into consideration.
All theses tasks can easily take one full year.
SUBSTRATE AND SECURITY FEATURES SYSTEM

SElECTION
These context analysis activities will serve as a basis for the
selection and justification of the substrate and security features
system, as well as for the technical specifications. This selection
should address the countrys specific needs and help to build
a security system carefully balanced between the different technologies available. After the substrate and the security features have
been selected, the technical functional layout of the new series can
be prepared, indicating the position of each feature, keeping in mind
how these will be communicated in the future to the users.
ThE ThEME
PRODUCTION AND ISSUANCE
In parallel with the selection of security features, the choice of

the main theme and the corresponding documentation research
can be done. The choice of the theme should take into account
the countrys culture and history, and can refer to the past, the
present or the future. It should also reflect a national identity and
represent a common thread throughout the family of banknotes.
The theme should be broad enough to cover the various topics
which are allotted to each denomination. The design on the back
of the notes can either be systematically associated with the topic
on the front, or can be dissociated.
The existing means of production are an important point to

consider. For instance, it would be counterproductive to
choose a banknote size that is incompatible with the sheet size
of the printing machines, because it would increase the costs,
whereas a size - perhaps just a little smaller - would be ideal.
Depending on the selection of the security system, it may be
necessary to adapt the means of production.
The issuing date is strongly influenced by the production capacity of the printing works and the volume necessary for the
first issue.
ARTWORK
On the basis of the technical functional layout, design guidelines,
theme and documentation the designer can then draw the sketches
of the new series. To keep the system of security features attractive,
this has to be integrated into the design in such a way that it will
make the communication campaign easier later on. At this stage, the
aesthetic approach is of primary importance to make the banknotes
attractive to the public.
After selecting security

features, the functional layout
can be prepared
QUAlITY INSURANCE
To ensure a very high quality of the final product, central banks
should manage the project with a high level of technical knowledge. A quality plan must, therefore, be drawn up.
SERVICES OFFERED BY KBA-GIORI

As the leading technology supplier to the banknote industry,
KBA-GIORI, Banknote Services, offers both expertise and an appropriate methodology to assist and give advice to central banks
and security printing works for the management, development,
design and production of new banknote series while adopting a
neutral approach. w
Only after the technical functional layout has been set, can the designer start
to draw the sketches of the new series, based on the selected theme and
observing clear design guidelines.
25
banconota
general inTereST
wOMen anD MOney
are banknOteS feMale?
Money talks. But is it in a mans, or a womans voice? The Gutenberg Museum for graphic arts and communication in Fribourg,
Switzerland, has built a fascinating temporary exhibition centred on
the question, taking over a centurys production of Swiss banknotes
to try to answer the question. And, contrary to popular belief, the
Swiss Franc is largely influenced by women.
It all begins in 1850 with Helvetia, the allegoric womans representation that has symbolised Switzerland for Confederates since
the 17th century. Interpreted under various guises, the figure first
appears on coins, before being featured in 1881 on the first unified banknotes of the country. These early banknotes, produced
by foreign manufacturers, still bore the name of the 36 different
regional banks allowed to issue banknotes at the time, but were
otherwise identical. This difference would disappear when the
Swiss National Bank (BNS) is founded in 1906, with the exclusive rights to issue banknotes.
Helvetia still adorns Swiss coins, but the most important woman for
Swiss bankers is probably Vreneli: a typical Swiss-German name,
Vreneli is the work of Fritz Ulysse Landry, and was created in 1895
to appear on a famous 20 Franc gold coin. Again, coins influenced
banknotes, and Vreneli lived on to appear in 1914 on the first 20
Franc note, a technical marvel that required 16 offset passages. This
was the first note to be produced by Orell Fssli, in Zurich.
Vreneli was never formally identified, and it is thought that her
model was either Rosa Tnnler from Haslital, a remote valley in the
Canton of Bern, or the daughter of the artists tenant. It is interesting
to note that years later, at the beginning of World War II, another
woman from Haslital was chosen to be on the 100 Franc note. A
dead-end valley located roughly in the centre of the country, Haslital
was believed to be only one of a few places were the population had
been untouched by foreign influence. The model, therefore, bore
an undisputable Swiss made label!
Early banknote designs were heavily influenced by coins.
26
banconota
This study, where the features of the helvetia allegoric character are
inspired by the artists wife, on one hand, and lover, on the other, was
unsurprisingly dismissed.
A FAMOUS ARTIST AND hIS ThREE WOMEN

In 1905, the Swiss painter Ferdinand Hodler is commissioned to
create a new series of banknotes. Hodlers creations, albeit heavily
modified for printing purposes, appear on the 50 and 100 Franc denominations. On a study, the artists Helvetia has the features of his
wife Berthe on the left, and one of his lovers on the right: needless
to say the project is rejected without a word of explanation. Morals
are better respected by Eugne Burnand on the 500 and 1,000 Franc
denominations which were emitted at the same time.
The only series which does not feature any woman at all is the sixth
one, issued in 1976 and in circulation until the year 2000. It is only
in 1995 that Sophie Taeuber-Arp, an artist, is featured on the 50
Franc note and therefore signals the return of a woman on a Swiss
banknote. However, critics of the series argue that the portrait chosen with her wearing a hat does not plead in favour of women.
The future Swiss notes, due to be issued in 2012, will not feature
a woman or a man, but the designs created on the theme Switzerland open to the world are the work of a woman, artist Manuela
Pfrunder. It is the first time in the century-long history of Swiss banknotes that a woman takes on the creation of an entire series.
If Swiss paper money has been influenced by women to various
degrees during its history, it is interesting to note that the next series will not have any gender at all. Therefore, the answer to the
exhibitions question may well be that (Swiss) money, after all,
has no gender. Perhaps it is a solution to reassert the countrys
long-standing tradition of neutrality. w h.P.
general inTereST
the 74 MIllIOn eurO
One hunDreD franc nOte
LHomme qui marche I, a sculpture by the Swiss artist Alberto

Giacometti featured on the current 100 Franc Swiss note
(covered in issue 1 of Banconota), reaches an all-time high
at an auction.
One million seventy-five thousand and nine hundred. Thats the
amount of 100 Swiss Franc banknotes needed to acquire edition two of LHomme qui marche I, a bronze life-size sculpture created in 1961. Formerly the property of the German bank
Commerzbank, the sculpture came up for auction on 3 February
2010 at Sothebys in London and broke all records held by
a work of art sold at a public auction. The sale lasted eight
minutes.
The funny thing is that this work of art can be owned through
any 100 Swiss Franc note, albeit not in life-size format
According to Guy Maradan of the Swiss National Bank in Bern,
the 100 Franc note is the most widely circulated, and therefore
a target of choice for counterfeiters. For this reason, it was also
the last note to be issued when launching the last series, in order
for it to include the most up to date security features. w h.P.
In order to buy this sculpture, more than one million of the corresponding notes would be required!
27
banconota
evenTS
05-08 SepteMber 2010, geneva SwItzerlanD

By Mark Stevenson, Conference organiser
ThE CONFERENCE
The International Banknote Designers Conference is a dedicated
industry event addressing banknote design and its impact on printing, security and functionality. In recognition of the role played by
the international designer community, KBA-GIORI is acting as the
official conference partner. The conference agenda and format will
provide a private forum for the exchange of information, experiences and ideas concerning banknote design and how design can
influence banknote performance in the cash-cycle.
The conference will take place in Geneva, Switzerland from 05-08
September 2010 and is limited to professionals active in the domain
of banknote design, issuing and forensic evaluation. The three-day
event will consist of a series of presentations, panel discussions and
workshops. The conference will conclude with a unique demonstration following the evolution of an artistic design right through to the
final printing process on the latest security printing equipment.
ThE OBJECTIVE
Mark Stevenson, the conference organiser, says that; the conference aims to clarify the link that exists between banknote design
and all other steps in the banknote chain, from production to issuing,
re-cycling, and destruction. Our principal objective is to facilitate
the sharing of core information on the above subjects and to provide
designers with a wider perspective on how their work has a direct
impact on banknote security, functionality and longevity. Ultimately this will enable designers and issuers to make more informed and
objective choices on banknote design and content.
During the conference the International Banknote Designers Association will be launched. The objective is to ensure prolonged and
enhanced levels of communication and information exchange after
the first conference, and to promote stronger ties and relationships
within the banknote designer community.
ThE CONFERENCE COMMITTEE

The International Banknote Designers Conference has been created for banknote designers by banknote designers. The conference
committee consists of six well-known personalities from different
cultures and parts of the world. Their role is to ensure that the conference meets the highest expectations of the banknote designer
community and that you get the maximum return for the time you
invest in attending the conference.
The conference agenda, presentations and workshops are structured
around the following themes:
Banknote design and printing
Banknote design and the cash-cycle
Banknote design and the public
Banknote design and the counterfeiter
Banknote design and durability
Within these categories a host of subjects will be addressed including recent counterfeiting threats, machine-readability, design and
origination technology, public perception, production challenges
and central bank issuing and recycling strategies.
The International Banknote Designers Conference has been created for banknote designers by banknote designers. The conference committee consists of six well-known
personalities involved in banknote design, coming from different cultures and parts of the world.
From left to right: Jorge Peral (CAN), Roger Pfund (Ch), Jennings Ku (hK), Renato Manfredi (IT), Andrew Ward (CAN), Karin Mrck hamilton (SWE).
28
banconota
Conference speakers will be invited from a broad spectrum within

our industry. The content of their presentations will always be linked
to banknote design.
While the official conference language is English, real-time translation of all presentations in the following languages will be provided
during the conference:
Spanish
French
Arabic
Russian
The conference registration fee of CHF 1,500 covers all conference
and related expenses including social events, lunches, dinners and
refreshments. A special discounted hotel rate of CHF 350 per night
has been negotiated at the Grand Kempinski Hotel Geneva which is

also the conference venue.
In addition to the registration fee and hotel costs you should also
budget for your travel costs to and from Geneva which is well
served by its international airport and train station.
If you are interested in participating in the 1st International Banknote Designers Conference, you can visit the conference website
at www.banknotedesignersconference.com or simply send an email
expressing your interest in attending the conference to registration@
banknotedesignersconference.com. If you have any questions or require further information you can call the conference hotline on +41
79 915 63 47 and you will be welcomed by one of the conference
staff who will be able to answer any queries you may have. w
ShOrT newS
KBA-GIORI showroom The installation of a brand new printing line in our showroom in our new headquarters is proceeding as
planned (see Banconota N 1). The machines are equipped with
the latest options and fully operational. The latest generation of prepress equipment can also be seen in a production environment for
interested parties.
KBA-Mdling A flexible production programme is being implemented in our production facilities. Pre-assembly of standard
modules and various other measures are expected to speed up
manufacturing time of most machines by ca. 15 to 20%, and to
allow configuration changes up to four months before delivery.
Quality and Security Mr Sbastien Mongenot has been hired as
our new Quality & Security Manager.
Brazil The decision has been made to upgrade the two recently
ordered NumeroPak III to Super Check NumeroPak III machines,
for even greater process integration.
Egypt An order has been placed for a Super Simultan IV, in 10
colour configuration, with 2D-Iris module and the latest type of
ColorSave recto-verso online inspection unit.
Italy A contract has been signed for the supply of a Super Simultan IV press equipped with the latest type of ColorSave recto-verso
online inspection unit.
Kazakhstan A NotaScreen II with the SPARK module and a
CToP II system have been ordered. Both are scheduled for delivery
this year.
Mexico A NotaProtector protective varnishing application
machine has been ordered. This is the second NotaProtector to
be installed in this country, where the NotaProtector is used to
varnish polymer notes.
Morocco Varnishing will be introduced on Moroccan banknotes, leading to a NotaProtector order. In addition, the print
works will completely upgrade its pre-press department by
adopting the CToP and CTiP technologies. Corresponding auxiliaries have also been ordered.
Sweden A SPARK module has been purchased for the
NotaScreen II already installed in the print works.
Venezuela A complete new printing line has been ordered, in addition to the finishing line delivered last year. This line comprises
the offset, screen, intaglio and varnishing processes.
2D-Iris The first note to feature 2D-Iris was put into circulation
in November last year by the Central Bank of Yemen. The middenomination 250 Rial was designed and produced by GOZNAK.
FoilCheck II A new version of the FoilCheck online OVD inspection system has been released. Enhancements notably include
the support for the OPTI-Windows window cut module.
LabQMD UEFO A new version of our portable statistical process control QMD family of products has been released. LabQMD
UEFO can check fluorescent security features and was presented
during the Optical Document Security conference in San Francisco, USA.
PliFora III A new version of the PliFora, which is used to
perforate and bend intaglio plates for backside grinding, and
for installation on press, has been released. Cameras have
replaced microscopes, and the new system features a higher
degree of automation.
SPARK Sales of SPARK modules for the NotaScreen are uninterrupted, illustrating the popularity of this security feature. A total of 26 modules have been installed or are being delivered. Latest
orders include Kazakhstan, Poland, Russia, Sweden and Ukraine.
29
banconota
inDuSTry challengeS
Welcome back to the Industry Challenges column!

In this section, personalities from various backgrounds in our
field have the opportunity to express a personal opinion about
one of our industrys hot topics.
Banconota asked three experts in the field to explain their views on:
ARE SECURITY FEATURES BECOMING TOO COMPLEX?

For authorities in charge of deciding which security features should be included in a banknote, the task is
becoming increasingly difficult: there have never been so many features to choose from, and these tend to
become more complex every day. If security features should, by definition, be very complex to imitate from
a technical perspective, are they not also sometimes becoming too complex to authenticate, to produce, or
even to evaluate?
Do we not overestimate the capacity of the general public of keeping pace with new developments in security features? Can we accurately assess their impact on production waste levels? Do we have enough
hindsight to check their relative effectiveness?
Rob Stierman
Chief Technology Officer
Royal Joh. Ensched
The Netherlands
30
banconota
Our industry has the obligation to produce banknotes that

can be trusted by their users. Traditionally, the focus has
been on the banknote itself, but nowadays, we have to consider trust in the whole cash cycle, including ATM usage in
the streets, and also acceptance of cash in the shops and the
commercial banks.
Our main challenge today is to let the man in the street feel
more secure with cash in the pocket than with a credit card
and money on an internet account. As banknote producers,
we should take advantage of the tangibility of the banknote:
web-based banking does not look transparent to the user,
contrary to banknotes. Therefore, on the one hand, security
features should be easy to authenticate, but on the other
hand and in the long run, they should not be easy to counterfeit. The same can be said of machine readable features.
We always need to keep one step ahead of the counterfeiter.
To this end, our industry must develop smart, well designed
combinations in overt and covert security features, continuously invest in research and development, and regularly issue new banknote designs.
Nestor Plazas
Deputy Manager for Industrial and
Treasury Affairs
Banco de la Repblica
Colombia
Shao Guowei
Chief Technology Officer
China Banknote Printing
and Minting Corp.
Peoples Republic of China
Any security feature on a banknote must meet at least three

main requirements: first, the feature must be easy to verify
by users in their everyday life; then, the feature must resist wear and tear during the lifetime of the banknote; last,
the element must be falsification-proof, either by imitation
or reproduction. In order to meet this last requirement, the
banknote industry has been very dynamic in developing new
security features that involve exclusive technology, offering
the greatest protection against falsification.
After evaluating many security features available today in
the market, we found that good design can capitalize on
the features technical complexity without sacrificing the
clear message for verification to the general public. In other
words, we believe it is possible to get the best of both worlds
by combining high technology for resistance to falsification, with ease of recognition. Difficult to imitate should not
mean difficult to recognise.
Although the industry provides many complex security

features, they should not be too difficult to authenticate,
produce or even evaluate. Successful banknotes must meet
several requirements at the same time: they should be easy
to verify by the general public, reliably identified by the
sensors of the various machines in use in the cash cycle, and
last but not least, difficult to counterfeit. To achieve these
goals, decision-makers should optimise the banknotes
functional layout, and select the most suitable features. In
terms of technology, it should be noted that most security
features nowadays are not isolated anymore, but an integration of several advanced technologies. This contributes to
making them both hard to imitate, and at the same time easy
to verify.
Topics covered by the last editions of the ti bulletin include:
The ti bulletin (technical information bulletin) is a publication aimed at Production, Technical and Maintenance Managers and, in general at all personnel using
KBA-GIORI equipment, new and old.
The ti bulletin is distributed exclusively by e-mail, on a variable schedule. In order to subscribe to the ti bulletin, please send an e-mail to service@kba-giori.
com, with TI SUBSCRIBE in the subject area, and provide the following details:
First name
Surname
Company name
Title
e-mail address
Preferred language
N 1, April 2009
Product: Super format Intaglio presses
Topic: Wiping system upgrade
Product: Super Orlof Intaglio press
Topic: Potential safety hazard when cleaning the inking unit
N 2, December 2009
Product: Super Numerota, Super Orlof Intaglio, Super Simultan
Topic: In-feed suction drum upgrade
Product: Super format intaglio presses
Topic: Automatic chablon cylinder gear lubrication upgrade
31
banconota

Majalah BancoNota

Uploaded by

Copyright:

Available Formats

Majalah BancoNota

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Majalah BancoNota

Uploaded by

Copyright:

Available Formats

What is the main topic of focus for this issue?

What is the main topic of focus for this issue?

What are some examples of innovative security features mentioned?

What are some examples of innovative security features mentioned?

The KBA-GIORI magazine about banknote design, production and circulation

IntaglIO SpecIal repOrt

n2 Spring i Summer 2010

Introducing Fadi Saadallah

Graphic design: Emilie Fargues - vocables.com

Computer graphics design: Oreste di Cristino

Photography: Giulio Locatelli

Editorial support: Henry Ploudy

Printer: Courvoisier-Attinger Arts graphiques SA

2010 KBA-GIORI SA All rights reserved. Reproduction in whole or in part

One look at the size of a printing press explains why we rarely

EARlY DIGITAl SOlUTIONS

solution, and part of our complete digital workflow concept. The

including security printing, and nowadays only a handful of

SPRING | SUMMER 2010

In order to fully understand the DES, we need to have a look

We focused on enabling the

With the advent of digital technology, however, the situation

GETTING BACK TO ThE ESSENCE OF ENGRAVING

Complete freedom of movement is provided. The table can be raised,

spring | summer 2010

Last December, our engraver Bruno Cerboni-Bajardi attended the

Portrait of Ginevra de Benci, Leonardo da Vinci, c. 1474, National

Self portrait of Raffaello Sanzio da Urbino, better known as Raphael. Replica

How did CTiP affect your plate production process?

elise, from Oberthur Technologies: an example of feature

spring | summer 2010

Can you give us a few examples?

Another example is the new banknote series issued by the

We have already introduced the CTiP (Computer to Intaglio Plate) system on

In your opinion, what is the most important feature of CTiP?

Inside front cover of e-passport specimen.

1. High-quality latent image

3. High tactility lines

SPRING | SUMMER 2010

Although the intaglio printing process is strongly identified

Inside back cover of e-passport specimen.

A REPUTATION FOR INNOVATION

fIve cOlOurS and upgraded archItecture

When the first generation of the Super Orlof Intaglio (SOI)

The super Orlof intaglio ii has a new and characteristic camelback

spring | summer 2010

The same process was also implemented on smaller format

Five colour intaglio printing is not

SuperOrlofIntaglioII.the main new features of the machine: 5-colour

In fact, five colour intaglio printing is not new for KBA-GIORI.

GRowING INtERESt IN 5-coloUR PRINtING

Final inspection, which is the process used in banknote print

A FUllY INTEGRATED SYSTEM

SPRING | SUMMER 2010

An option of the NotaSave III inspection system allows online checking

ThE CovERT SiDE of iNTAgLio

Wiping is a key step in the intaglio printing process, whereby the

The wiping process also

WIPING SOlUTION RECYClING

Compared to its predecessor, the PlastiRota III wiping cylinder