CHAPTER-1

INTRODUCTION

In digital world applying colors on to virtual is simple operation

thanks to texture mapping. This enables a virtually unwanted control over
the appearance of the object including representing fine scale geometry,
adding decoration, etc. However in the real world such arbitrary color
assignment is not straightforward. For instance,multi material 3d printers
give users control over the appearance of an object, but this is only
available for objects being manufacture with such equipment. The
possibilities to edit the colors of the object that already exists or is
manufactured by other means are more limited. Paint and decals work
well on flat surfaces but are challenging on more complicated surfaces. in
this technology we seek to assign colors on to real world objects
independently of how they were fabricated

Hydrographic printing is known by a few different technical names such

as hydro dipping, water transfer printing, hydro printing, cubic printing
and fluid imaging. It is one of the recent innovations in printing sector
that enables to print colored patterns to three dimensional complex
surfaces.

For years, the automotive industry has embraced this technology ranges
from airplane interiors to cell phone, including exterior of an automotive
accessories and motorcycle helmets including likes plastic, wood, steel
and ceramics.

Now a days carbon fiber, wood grain and geometrical patterns may be seen
on some vehicle interior printed on a production line using hydrographic
process. It overcomes problems faced by traditional printing process such
as hot screen printing, transfer printing and three dimensional printing.
 A multiple colors can be added to objects using 3D printing during
fabrication process but cannot be added to manufactured objects.
Therefore hydrographic printing comes into existence to solve the problem
found in three dimensional printing processes. Using multiple
immersions, printing can be done on full 360° coverage of a manufactured
three dimensional object.

Currently, most of the 3D printed shapes at home are monochromatic,

although high-end 3D printers offer the ability to fabricate colored models.
These printers often support only a few colors and limited materials (e.g.,
plastic and sandstone), and their maintenance and printing cost can be
unaffordable for many personal uses. In industrial production, there exist
many ways for decorating 3D surfaces. These methods, including chemical-
and electro-plating, decals, enamels.

However, when used for coloring a complex surface with a user specified
texture; hydrographic printing suffers from fundamental limitations. First, it
is extremely hard to precisely align a color film to the object surface,
because the object stretches the color film while the film floats on water in
the process of immersion.
In addition, objects with complex surface shapes can severely distort the
color film or even tear it apart. As a result, current hydrographic printing is
limited to transferring repeatable color patterns (e.g., marble and
camouflage patterns) for which precise registration of the color pattern are
of little importance.
Today, applications of this technique are highlighting in many new
areas of manufacturing including, medical, marine, computer, and general
industries.
History of Water printing technology:

The exact origin of the water transfer printing process is unclear.

However, the first hydrographic apparatus registered for a US patent was
by Motoyasu Nakanishi of Cubic Engineering KK on July 26, 1982. Its
abstract reads, "[a] printing apparatus provided with a structure which
supplies a transcription film into a transcription tub containing a liquid so
that the transcription film is kept afloat on the liquid, a structure which
makes the liquid flow in a direction in which the film is supplied, and a
structure which slantingly immerses an article to be printed into the liquid
in the transcription tub from an upstream position to a downstream
position of the liquid
 CHAPTER-2
PROCESS OF OPERATION
2.1 WATER PRINTING ON 3D OBJECTS:

The hydrographic film is printed on polyvinyl alcohol (PVA) and it is

sensitive to humidity and temperature. You should store the film
appropriately to ensure long life, durability and proper decorating.
Room humidity should be below 60% and room temperature between
68º to 77º Fahrenheit (20ºC and 25ºC degrees Celsius).

The equipmental setup of the water printing process is as shown in

the following figure.

Fig 2.1.1: Experimental Setup for 3D water printing

 Kit includes:

 Activator

 Top coat

 Base coat

 Gloves

 Pattern of design

 Paint colors

 Built in water heater

 Adjustable digital thermostat reader

 Washing gun

 Control panel

 Hydro dipping tank

 Sewage pipe

The ink consists of solvents (alcohol,esters,glycol,etc.),acrylic

resins, color pigments and additives (bonding agents). We analyze the
surface to be processed. Sometimes need one or multiple steps to prepare
the item for printing.

Fig 2.1.2:Rotograuvre printer Fig 2.1.3:Inkjet printer

2.2.2 PRIMER AND BASE COATING:
A coat of specialized paint is applied to the part. This paint
serves as the base color to accentuate the film. This also serves as the
bonding agent between the part and the transferred inks. This part is
where an additional level of customizability is available since we can
custom mix any shade of the rainbow with our paint mixing system.
The paint must be allowed to dry after application and a QC inspection
is done to verify adequate adhesion has taken place.

Fig 2.1.4: Primer coating Fig 2.1.5: Base coating

2.2.3 INK ACTIVATION:

Printed colors film is placed on the surfaces of water in tank and

then a chemical reagent is sprayed by sprayer manually or
automatically. During this process the colored ink starts floating on
water and base of film is settled down Therefore the graphic pattern to
be formed in this stage.

Fig 2.1.6: Ink activation

2.2.4 DIP THE PART:

Your chosen patterned film is now prepared for the dipping

process. The film is carefully floated on the surface of the water in the
dipping tank. After a brief relaxation period, the film is then inspected
to be free of trapped air bubbles under the surface and imperfections
in the print. An activating solution is then sprayed on the surface of
the film re-animating the printing inks on the film. After the correct
amount of time has passed depending on the density of the inks on
the film, the ink is now ready for to receive the item to be printed. The
item is strategically and carefully processed through the surface of the
suspended ink. This is where the magic happens. Very much like
dipping your finger through the surface of oil on water, the pattern
coats the product evenly and consistently. All of the intricate recesses
and curves have now been printed.

Fig 2.1.7: Manual Dipping

Fig 2.1.8: Automatic Dipping

2.2.5 RINSE PROCESS:

After the item has been printed, the remaining PVA backing
film must be rinsed away to reveal the print. This is also where the
part is inspected for any flaws that may have occurred through the
printing process. At the point a flaw has been found either a touch up
will be done, or the decision is made to reprocess the part. A passing
grade moves it on to the next stage.

Fig 2.1.9: Manual Rinsing

Fig 2.1.10: Automatic Rinsing

 2.2.6 CLEAR COAT APPLICATION:

A scratch resistant and UV protective coating is applied. This

seals in the inks and allows you the customizability of either a flat,
semi-gloss or high gloss show finish. Additional coats of clear can be
applied. Depending on the application, wet sanding, polishing or
buffing may be part of the process as well. This is where the finish
shows its true colors and vibrancies.

Fig 2.1.11:
Clear Coating

2.2 WATER PRINTING ON FABRICS AND PAPER:

Marbling is the process of floating paints on the surface of a

thick cellulose solution (called “SIZE”), somewhat like oil on water. The
floating paints are swirled into patterns. Then we captured the designs
by laying a treated piece of any component or fabric or paper etc down
on top of the paint to transfer the swirls to the component or fabric or
paper.

The kit includes:

i. A frame,
ii. Combs or other tools,
iii. Paint,
iv. Mixing tools,
v. Medium
Fig 2.2.1: Cube dipping kit
And this process can be done in the following steps.

 Frame preparation
 Preparation of size
 Preparation of fabric
 Preparation of design on the medium
 Application of paint to the fabric
 Cleaning up

FRAME PREPARATION:
Frame is nothing but a pan, which may be a cake pan in which
SIZE can be prepared. The size of the frame depends on the
component or fabric or paper which to be designed.

HOW MUCH SIZE DO WE NEED

SIZE OF SIZE OF DEPTH GALLONS

PAN COMPONENT O O
F SIZE F SIZE
Cake pan Cut to fit 1” <1
pan
18”*18” 36”*36” 2” 7

18”*72” 20”*74” 2” 7

Table 1: Quantity of Size required

PREPERATION OF SIZE:

In this marbling process first thing we need to do is to make the

SIZE into which we are going to float the paints. For this we are going
to add some medium to the water. There are mainly two types of
mediums are available.

 Carrageen
 Methocel

CARRAGEEN:

The most popular option for medium is carrageen, a non-toxic

thickener made from seaweed.
There are two types of carrageen:

 Blender carrageen
 Heated carrageen

Both should be prepared 12-24 hours before use, to allow time to

thicken. Blender carrageen is easier to make in small batches whereas
heated carrageen is useful for large quantities. Blender carrageen is
easy to make and non-toxic.

To prepare blender carrageen, place water in your blender and

begin blending. With the blender running, add 1 teaspoon of
carrageen for every two cups of water. Blend for about 30 seconds. We
should obtain thick and uniform consistency. Place the substance in
the refrigerator over night, and remove and allow to come to room
temperature before using.

For heated carrageen, use a gallon of water. Pour 4 cups of this

into a pot and heat to a simmer. Pour into a bucket and add 5
tablespoons of carrageen powder along with a little more water to cool
the mixture enough to immerse our hands. Mix thoroughly with a
stick, or use our hands to breakup any clumps. Stir in the rest of the
water, and refrigerate over night. Again allow the mixture to come to
room temperature before using. The diagrammatic representation of
the blender is as shown below.

Fig 2.2.2: Blender

METHOCEL:
Methocel is another option for medium. The advantage of
methocel is that it can be mixed just 30 minutes before you begin, so
there is no need to let it sit overnight. To create this medium, place a
gallon of warm water in a bucket, and then add 1 Tablespoon of
ammonia. Finally, stir in 1/4 cup of methocel, a little at a time,
stirring constantly with a large stick or a whisk. Once dissolved, let
the medium sit for 30 minutes.
REUSING THE SIZE:

The SIZE can be used over and over again. It can be kept for 3
to
4 days at room temperature before it begins to mold and must
be discarded. To keep it longer refrigerate. Warm it to room
temperature before using.

The prepared SIZE set up is as shown below.

Fig 2. 2.3 : Size preparation

PREPARATION OF FABRIC:

Many types of fabric can be used for marbling, but for best
results, use a fabric with a smooth texture and fine weave. Heavily
textured fabrics will not show the patterns quite as well. Silk is always
a great choice because it absorbs color well and often has a
luxuriously smooth, fine texture.

ALUM

Alum will help the color from the paint set on the fabric,
preventing them from bleeding out later. Begin by pre-washing the
fabric with detergent, preferably an industrial textile detergent such
as synthrapol. This will remove any manufacturing chemicals, dirt, or
oil before you begin. It’s best to do this 12-24 hours before you
marble, so do it at the same time that you create the medium.
Dissolve alum in hot water, at a ratio of 3 tablespoons per
quart. Allow the mixture to come back to room temperature. Swirl the
fabric in the mixture, allowing it to become saturated, and then
remove it quickly. Squeeze to remove excess water and hang dry.
Don’t apply heat after treating with alum until you rinse it out later,
as this can damage the fabric. Line drying helps prevent wrinkles from
forming.
 Fig 2.2.4: Fabric preparation

PREPARATION OF DESIGN ON THE MEDIUM:

Mix your paint colors. Add a few drops to the medium and
check to see if they float, yet remain consistent in the medium. If not,
adjust the paint by thinning it with water or dispersant. Continue
adding paint, drop by drop.

Fig 2.2.5 (i)

Using tools such as a wide comb, fork, or chopsticks, drags lightly

through the surface to create patterns. Drag in straight lines, swirls,
or any other pattern you’d like.

Fig 2.2.5(ii)

Fig 2.2.5(i,ii): Preparation of design

APPLICATION OF PAINT TO THE FABRIC:

Lay your piece of fabric on the surface, allowing the middle of

the fabric to contact he solution first, and then lower the edges. It can
be helpful to have a friend help, to keep the fabric from falling, but
this isn’t strictly necessary for small pieces.

Fig 2.2.6(i)

Lift the fabric out of the water, gently peeling it away from the surface.
The remaining paint can be scooped from the surface of the medium
with strips of newspaper, allowing you to marble the next piece.

Fig 2.2.6(ii)

Fig 2.2.6(i,ii): Application of design

CLEANING UP:

Rinse the fabric in cool water, being careful not to wring or twist
the fabric. Line dry, or lay flat. Once dry, iron the fabric to heat set the
design and prevents future bleeding.

Fig 2.2.7: Cleaning up

 CHAPTER-3
METHODS AND MATERIALS

3.1. METHODS:
The three methods Of Hydrographic Printing

i. Manual hydrographic printing

ii. Automatic hydrographic printing
iii. Computational hydrographic printing

Manual Hydrographic Printing:

In these types of technique all steps of printing occurred manually

by skilled operator. It is suitable for stochastic color design, inaccurate
and Job type of production.

Automatic Hydrographic Printing:

It is similar to manual hydrographic printing but some steps

occurred automatically except placing the colored film on water tank,
spraying reagent and immersing. It is also applicable for stochastic color
pattern, and mass production.

Fig 3.1.1: Automatic Water Printing Machine

Computational Hydrographic Printing:

This technique predicates how the colored films will expanse when
the three dimensional object is immersed .In this technique, three
dimensional surfaces to be printed are first simulated on computer.Using
application software and the application software then translate the three
dimensional colored pattern into two dimensional pattern that requires to
be printed on colored film. The object to be printed is then dipped precisely
using computer and automated machine and this entire system aids to
transfer the colored pattern on the complex object immediately.In this
process, the object is attached in mechanical gripper and immersed on
flexible colored film floating on the water along with a fixed direction. Both
the object direction and immersion position are measured using 3D vision
system.

Fig 3.1.2: Computational Hydrographic Printing Workflow

We begin by summarizing the procedures of our hydrographic printing
system. Figure 3.1.2.depicts the pipeline, in which the key components
include a virtual simulation method for predicting the color film distortion
and computing a pixel image printed on the film prior to the hydrographic
printing, as well as a 3D vision system for precisely measuring and
controlling the dipping process. Briefly, the steps of this method are:

1. System setup:

For precisely controlling the printing process, we first set up a

calibrated system, in which the object is held firmly by a gripper and
can be immersed into the water with a constant dipping velocity .We
further develop a 3D vision system to measure the object’s orientation
and dipping location for computationally predicting color film
distortion during the immersion.
2. Virtual simulation:

Before the start of physical hydrographic printing, we simulate

it virtually. In particular, we wish to predict how the PVA color film is
distorted during the printing before adhering to the object. To this
end, we develop an efficient and accurate simulation model

3. Computation of printed color patterns:

Through the simulation, we establish a map between points on

the color film and their locations when transferred to the object surface.
This map in turn allows us to compute a pixel image printed on the color
film according to the object’s surface textures.

4. Physical color transfer:

Finally, after printing the computed pixel image on the color film, we
place it on water, fix its location, and start the physical hydrographic
printing process to transfer colors to the object surface. Furthermore, to
robustly print colors on a complex surface geometry, we extend our
method to enable multiple immersions using different object orientations.

5 Ways Water Transfer Printing Film is Superior

1. UV Stability: We used a series of sophisticated ink packages that

maintain color fastness after years of sun exposure. All of our films
are UV stable, not just some.

2. Print Quality: Our hydro dipping film is manufactured in an ISO

9001:2008 certified facility. Our films are meticulously crafted and go
through a stringent quality control process that ensures our films
have precise registration and consistent coloration.

3. Consistency: Water Transfer Printing film is consistent from pattern to

pattern. Gone are the days where you have to change your parameters
for every film in your inventory.

4. Color Accuracy: We use the latest in color measuring technology to

 ensure our patterns meet the correct color requirements post
application.

5. Superior PVA: Premium grade PVA provides greater flexibility and

wrapping characteristics. This improves processing capabilities when
dipping large parts and parts with highly complex geometry.

3.2.MATERIALS:

Materials can be printed:

 Metal
 Plastic
 Glass
 Fiberglass,
 Many other paintable surfaces.

Cannot be printed:

 Rubberized Items (Paint won’t stick if the surface is too

flexible.)
 Human Body Parts
 Bigger size components
 CHAPTER-4
ADVANTAGES &
DISADVANATGES
PROS
:
1. This is the easy and simple process
2. Designs may be printed and stored on a relatively cheap
3. The design may be applied to the textile with relatively low skill
input and low reject rates.
4. Stock volume and storage costs are lower when designs are held
on paper rather than on printed textiles.
5. Most transfer-printing processes enable textile printing to be
carried out using simple, relatively inexpensive equipment with
modest space requirements, without effluent production or any
need for washing-off.
6. One of the most important advantages is the actual printing
take a few seconds or minutes, depending on the size of the
object.
7. It is very durable compared to other decorating techniques.
8. Ceramic Customization printing can be done by
computational method.
9. Multiple-immersion from a single colored film.

CONS:
1. It is not suitable for the surfaces of rubber and fabrics materials.
2. Experienced operator is needed.
3. Conventional Printing is uncontrollable.
4. Colored films may be destroyed.
5. Mass production is not possible.
 CHAPTER-5
APPLICATIONS

The following are the applications of hydrographic

printing:

1. The technique could be used over a large area. Hence it can be

successfully made to use of military bases, auto manufacturing
plants, sport arenas etc.
2. Military equipments and vehicles can be coated with camouflage paints.
3. It can be used to decorate household objects
4. Automotive parts can be painted.
5. Marble nail art.
6. Alloy wheels
7. Bicycle frames
8. Skate boards
9. Footwear
10. Eyewear frames
11. Smartphone covers
12. Video game consoles
13. Marine steering vehicles
14. Boat cleats
15. Tools and tool handles.
16. Computer,monitor,keyboard cases
17. Tail light covers
18. Gas cans
19. Archery vibration
20. Game calls
Fig 5.1: Gun
Fig 5.2. Applications of Water Transfer Printing
 CHAPTER-6
CONCLUSION
It is concluded that the hydrographic printing named by various
names is an innovative technique for printing complex three
dimensional objects. In nutshell, this technique is suitable for
automotive industry and other segments for repeatable graphic
pattern as well as customized printing. Water printing technique takes
less time for printing. It produces UV and scratch resistant printing
and is economical. And it can withstand high temperature up to 400
degree F. Traditional printing methods cannot fully print on 3D
objects, especially if there is hard to reach areas, or if the object is odd
shaped. The water transfer printing process eliminates these issues by
submerging the item into water, covering the whole surface. And the
printing obtained has long life. Finally I can conclude that water
printing is the best method for the printing of decorative designs on
the surface of 3D objects and fabrics and papers compared to
conventional method.
 CHAPTER-7
REFERENCES
1. http://www.metafilter.com/134435/Stressful-day-
How-about-some- nice-relaxing-hydrographic-printing
2. http://hgarts.com/what-is-water-transfer-printing/
3. http://www.swedbrand-
group.com/blog/hydrographic-printing
4. Yizhong Zhang, Chunji Yin, Changxi Zheng, Kun
Zhou,” Computational Hydrographic Printing”
5. Daniele Panozzo, Olga Diamanti, Sylvain Paris, Marco
Tarini, Evgeni Sorkine, Olga Sorkine-Hornung,
“Texture Mapping Real-World Objects with
Hydrography
6. https://www.google.co.in/search?hl=en&site=imghp&t
bm=isch&source=h p&biw=1366&bih=662&q=
hydrographic+printing&oq=hydrographic+printing
retrieved on 12-06- 2017.
7. New computational technique advances color 3-D
printing process from PHYSORG .
8. The Origin of Hydro-Dipping. Dip Junkies. Retrieved
2015-03-01.
9. ZHOU, K., WANG, X., TONG, Y., DESBRUN, M., GUO,
B., AND SHUM, H.-Y. 2005. Texturemontage:
Seamless texturing of arbitrary surfaces from multiple
images. ACM Trans. Graph. 24, 3.
10. Articles of Zheijiang University and Columbia
University
11. BÄCHER, M., BICKEL, B., JAMES, D. L., AND PFISTER,
H. 2012. Fabricating articulated characters from skinned
meshes. ACM Trans. Graph. 31, 4, 47
12. BARGTEIL, A. W., WOJTAN, C., HODGINS, J. K., AND
TURK, G. 2007. A finite element method for animating
large viscoplastic flow. ACM Trans. Graph. 26, 3 (July).
13. BATTY, C., URIBE, A., AUDOLY, B., AND GRINSPUN, E.
2012. Discrete viscous sheets. ACM Trans. Graph. 31, 4
(July).