Guide to Good Thermography

Powder Arts are the worldwide distributors of Caslon and Faust Thermography Products. For many
years the names Caslon and Faust has been synonymous with quality Thermography and the
powders that bear their names are the established leaders in this exciting branch of printing
technology. Thermography literally adds a new dimension to the printed image and both company’s
policy of continual product development has raised the process to new heights of excellence
extending its versatility and broadening its appeal.

We at Powder Arts are proud of Thermography and take special pride in the powders we market
because the qualities required for good powders are very particular, they should melt and flow at a
suitable temperature and have a high degree of flexibility enabling them to flex with the paper.
Early thermographers relied on natural resin, which is still used today in the manufacture of crude
paints and ordinary furniture polish. Nowadays technology has enabled Caslon and Faust to
develop recyclable Thermographic powders from a natural resin extracted from paper during
manufacture, this provides the high quality finish, reduces the orange peel effect and combines
even melt with sharp edges. All the powders marketed by Powder Arts also undergo an anti‐static
treatment that facilitates ease of operation and greatly reduces any static problems.

Powder Arts, Caslon and Faust have a staff of experts with over 250 years of combined experience
in Thermography and of developing resins universally applied in the industry. Therefore in order to
help users understand our products and Thermography more thoroughly we have combined this
knowledge into a comprehensive guide – an appreciation of which will enable you to become the
complete thermographers.
 Guide to Good Thermography

What is Thermography?

By definition Thermography is the production of raised image prints by the use of heat. To break it
down to basic components the process involves covering a wet sticky ink with a thermoplastic
powder, heating it until it flows and forms a coating over the ink, then cooling it down so the
covering sets. The process is explained in the diagrams below:

WET STICKY INK

PAPER

THERMOGRAPHIC POWDER STICKING TO THE INK

zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz

PAPER

HEAT MELTING THE POWDER

¾ ¾ ¾ ¾ ¾ ¾
▂▇▆▉█▆█▅▃▅▅ ▅█▄▇▆▃▃▂▆█▇▅▄▇ ▅▃▂

PAPER

AFTER COOLING A RAISED IMAGE WITH SHARP EDGES

PAPER

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 Guide to Good Thermography

The Art of Good Thermography

To obtain good results from your Thermographic machine you must first obtain a high quality image
from your printing press. This may sound obvious, but there are certain differences between
printing for Thermography and just producing normal flat prints.

Inks
Thermography needs ink that stays ‘open’ or tacky, in fact sticky would be a better word, so that
the powder can adhere to it in sufficient quantity to give a suitable raise and smooth finish. Most
Thermography can be produced using standard inks but if necessary the characteristics can be
altered by the addition of varnish to achieve the desired ‘tack’.

Stock
Generally, most stocks can be Thermographed, but for best results a stock with a good hard surface
and low moisture content is ideal. Ink will actually sit on the surface of the paper catching more
powder to give a nice high raise. However, as all stocks are not the same, the weight, texture,
colour and moisture content of the paper should be taken into consideration.

1 Heavy paper requires more heat to melt the resin

2 Certain textured stocks may require a larger resin for a smooth finish
3 Stocks with too much moisture will have the water boil off under the heaters giving a
bubbly or cloudy effect to the raised areas
4 Dark coloured stocks absorb heat faster than light colours
5 Absorbent stocks soak up thin inks too fast leaving nothing for the powder to stick
to.

Water/Ink balance
Is an important consideration on offset. Proper control here will keep surplus powder off the sheet.
To produce quality work, reduce damping to the minimum but still allow enough ink on the paper
to catch sufficient powder for a good raise. Remember you need to run just enough fount to
prevent catching up.

Letterpress
Requires a good quantity of ink to be transferred in the very nature of the process, but if the type is
banged into the paper the Thermographic powder will have to raise out of the resulting depression
and above the surface of the paper to achieve the desired result. Therefore a little more time
spent, making ready, will result in a far better finish.

Powder Arts Thermography Warehouse

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 Guide to Good Thermography

Thermography machine Adjustments

Powder Flow
The hopper should be adjusted for a good flow of powder, and the heaviness of the flow depends
on how heavy the printing is. For small printed areas less powder, and more powder flow for larger
printed areas. When filling the hopper do not overfill as it is better to keep adding small amounts
of fresh powder during the run to maintain good flow and keep static build up at bay. Ensure the
powder blanket is clean and undamaged, set the disc rollers to the thickness of the stock to be
Thermographed and adjust the powder flow and suction head to clean the paper without removing
the powder layer from the ink.

Vacuum
This should be adjusted so that it does not pull to much powder off the ink. The aim should be to
use minimum suction – it is surprising how little vacuum is needed to clean the sheet on most
stocks. The efficiency of the suction will be impaired if the dust bag is not kept clean, it should be
thoroughly vacuum cleaned or washed once a week.

Heat
When setting the heaters for a good Thermographic finish. It is important to remember that it is the
heat in the paper that melts the powder and therefore the thicker the paper the more heat needed
to melt the powder. If you have a four‐heater unit set the 1st bank of heaters low, the 2nd a little
higher, the 3rd higher and the 4th ever higher. This will pre‐heat the paper at the first and second
heaters and start melting the powder between the 3rd and 4th and then straight out to the cooler.

SETTING UP YOUR HEATERS IN THE CORRECT WAY IS OF VITAL

IMPORTANCE IF YOU WANT TOP QUALITY RESULTS

1 Powder should melt at the end of the heating head so there is not too much spread.
2 If the powder melts early in the heating tunnel, it will continue to melt until it gets under
the cooler, which will cause it to over‐run the type and flatten out.
3 Too much heat can result in bubbles, an irregular finish or pinholes.
4 Paper subjected to intense heat will curl, but long slow heat will not curl the paper so
badly. With light weight papers you may think that only two heaters are required, but by
using all of them set very low the powder is brought up slowly and with less paper curl.

Powder Arts Thermography Warehouse

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 Guide to Good Thermography

Press Adjustments

Impressions
When running Thermography the press must be set up differently than when running
conventional offset, where minimum ink and heavy impression is used to push the ink into the
paper for fast drying. For Thermography the opposite is required, with more ink and the
impression cylinder and blanket cylinder adjusted to obtain a ‘kiss’ impression so the image will
be transferred to the paper with the ink sitting on the surface but not being squeezed into it.
Letterpress machines should also be set up to run with a ‘kiss’ impression. The purpose is to lay
the ink on the surface of the paper to catch more powder for a better raise.

Press Speed
The Optimum speed for Thermography is dependent upon graphic design, choice of stock and
type of Thermography machine. Press speed must be synchronised with the Thermography
machine so the sheets spend maximum time under the hopper and thus collect optimum
coverage of powder. This is achieved by ensuring that the sheets entering the Thermography
machine have a minimum gap between them. Depending on the Thermography machine, some
presses may need to be equipped with an alternate feed attachment (‘skipfeed’), or modified by
use of a slow down pulley to reduce print speeds. This will allow you to synchronise the press
to the Thermography machine so that there is a small gap between sheets without overlapping.

Powder Arts Thermography Warehouse

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 Guide to Good Thermography

Problem Solving Guide

PROBLEM SOLUTION

1. Static Electricity 9 Run wire to a good earth point.

9 Run plain paper through the thermo machine to see if powder is
sticking to the sheet. If it is, there may be static at press end. Check
earthing, put anti‐static ‘tinsel’ across feedboard.
9 Change powder but only half fill the hopper & keep adding to it.
9 Clean powder blanket with clean water, wipe and allow suction head to
lift moisture into the hopper

2. Powder hangs 9 Sand down obstructions, and clean inside of cyclone with an anti‐
up in the hopper static cloth or Kleenayd. If the suction in the cyclone is obstructed
friction results and causes static.
9 Check for static as in Problem 1.
9 Add a small amount of Wonderflo or Stabiliser to the Powder

3. Finished job 9 Too much heat causes the powder to boil. Reduce heat or increase
appears dull. conveyor speed
9 Keep additives to a minimum and only use when necessary.
9 Change powder, if no more available filter through nylon stocking. If
powder is old it may be full of paper fluff and dried ink.

4. Sheets ‘block’ or 9 Too much heat

are sticking 9 Set heaters correctly as described earlier.
together in 9 Reduce speed and heat to allow more time under the cooler.
delivery 9 Check cooling fan baffles are open to give maximum airflow
9 Check cooling fan blades for obstructions

5. Tramlines of 9 Check sharpness of the suction wheels / discs. Emery cloth the edges
powder on the until sharp or have re‐ground.
sheet

6. Uneven image. 9 Adjust heater temperature; A long slow heat gives best results.
Finish not smooth. 9 Is too much powder removed from image area by excessive suction?
Reduce suction strength.
9 Check powder flow for gaps. Keep hopper over half full.
9 Add more ink if possible or change ink specification.
9 Consider adding Thermographic Varnish to increase ink tack.
9 Is correct grade of powder being used?
9 Check heat settings and machine speed.
9 A rippled or crazed effect in the image area could be caused by
excessive airflow from the cooler.

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 Guide to Good Thermography
7. A bubble or 9 Could indicate excessive moisture in the paper stock. To test put the
crater effect on paper through heater section to evaporate moisture and then test by
the surface, printing and Thermographing the sheet.
possibly 9 There is not enough time for gasses to escape the molten powder film.
accompanied by a Lower the heat and slow the conveyor speed.
‘cloud’ effect.

8. Surplus powder 9 Could indicate excessive moisture in the paper stock. To test put the
on printed matter. paper through heater section to evaporate moisture and then test by
printing and Thermographing the sheet.
9 If an offset press is used, reduce damping to minimum setting before
scumming starts.
9 Check the system e.g. dust bag, suction head setting.
9 Check that suction motor is rotating the correct way.
9 Check value seal around rotary value for leeks.

9. Surplus powder 9 Clean the powder blanket using Stabiliser Powder. Do not use solvent‐
on the reverse of based cleaners. Grease or oil can be removed by a small quantity of
the sheets. white spirit, then dry the blanket by using Stabiliser.
9 The suction should lift the sheet a little to enable powder to be
removed from under the edges of the sheet. Adjust suction head
height.
9 Check and clean the wire mesh conveyor section. If time prevents
clearing the wire mesh section, then sprinkle the mesh with cornstarch.
This will stick to the mesh and not melt, but it will hold the sheet above
the melted powder.

10. Insufficient 9 Excessive heat will spread and flatten the image area.
Raise 9 A grade of powder is required which will fill any texture and raise the
image above the level of the paper. Smooth paper gives the best result.
9 Was the correct grade of powder used?
9 If textured paper is used, it may be necessary to use a coarser grade of
powder than normal.
9 If letterpress is used, excess pressure on the paper can create a
depressed area

11. Finished 9 A Huge excess in heat will burn the powder and it will turn yellow and the
Product is too glitters will turn brown
Yellow / Gliitter 9 The varnish or ink under the Thermography will probably turn yellow
mixes turn brown before the powder does. Slow the conveyors and reduce the heater
temperature.
9 Only use high quality powders. Economy powders are made with a
more yellow resin.

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 Guide to Good Thermography

Guillotining Thermographic Work

Ideally, a slitter is the correct way to finish a job with Thermography on it. If this is not possible
allow 24 hours before cutting to let the powder cure, use a sharp knife and light clamp pressure.
Block the sides of the work to be cut with board to take the clamp pressure and prevent side
slippage, cut small lots to prevent scuffing and flattening.

Powder Guidance for Best Results.

Although most printers are familiar with the range of powders available and use the grades best
suited to their needs, we are frequently asked for advice on the subject of which powder to use and
we do occasionally find a printer is using a grade that is unsuitable for the work being undertaken.

The following notes of guidance may be helpful.

TYPE SIZE POWDER GRADE

36‐72 POINT Faust Grade 609

SOLIDS & LARGE TYPE Caslon Grade 7 or 9

27‐42 POINT Faust Grade 609 or 611

SOLIDS & MEDIUM TYPE Caslon Grade 11

11‐30 POINT Faust Grade 611 or 614

GENERAL PURPOSE USE Caslon Grade 14

6‐14 POINT Faust Grade 614 or 618

FINE LINE WORK Caslon Grade 18

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