In the 1980s, a film-covered vacuum press was developed. At the time, it was a completely new technology in terms of the three-dimensional fully covered finish of furniture components. However, furniture manufacturers still hope to have better technology to replace it. For the elegant and complicated pattern, the cabinet door has both complex and embossed fronts, which can be more efficient and more refined. Finishing, and the cost should be lowered, but the quality should be improved. This requires technology to miracle.
In the 1990s, a filmless cladding vacuum press was developed, but there has always been a different view of the short length of the film and the film. In fact, any technology has its strengths and weaknesses, so how to properly apply these two technologies is the key. The main factors are the design of the press, the properties of the cladding material, the nature of the adhesive and the shape of the pressed product.
1 Press and its structure
In the stereo thermoforming process, the press is the main part of Zui, which is generally considered to be the sole determinant, but it is not. The pressure can be roughly divided into positive pressure and negative pressure (vacuum), and both positive and negative pressure presses can be used for film and filmless pressing.
The lamination is a silicon film that is placed on the upper platen to cover the entire surface of the upper plate to seal the surface of the workpiece and transfer heat to the veneer to activate the adhesive. The life of this film is between 1500 and 2000 presses, depending on the shape, edge and thickness of the workpiece.
In the pressing process, the silicon film is first heated to the desired temperature; then the workpiece is fed into the press, the upper platen is closed downward, the silicon film covers the surface of the workpiece, and the film edge is also clamped for sealing. The workpiece is then pressurized or evacuated.
The structure of the membraneless press is very similar to that of a membrane press, but it does not have a membrane. The facing film itself acts as a silicon film, and heat and pressure are applied directly to the facing material.
2 Finishing film and adhesive
The filmless pressing technology mainly depends on the facing material and the adhesive, and has little to do with the press itself. Zui's new facing film materials have many more excellent properties, such as it is easier to stretch and less whiting when stretched. This makes the facing film more suitable for covering the deeper concave portion of the relief, so that the entire covering surface is ironed.
The facing material or facing film currently used has a thickness of 0.8-1 mm. However, for different applications, depending on the complexity of the profile, the thickness of the film can be as thin as 0.7 mm. Of course, the smaller the thickness of the facing film, the lower the cost of the material and the less heat required during the hot pressing process. However, the film is not limited to be thin and has a certain limit.
Adhesives also play a large role in the filmless pressing process. The pre-adhesive film simplifies the process and increases productivity. The currently used adhesives are low temperature active and have a relatively high reaction temperature. A low temperature active adhesive means that the heat required to melt the adhesive is relatively small and therefore the energy cost is low. The higher reaction temperature allows the laminated surface to withstand higher ambient temperatures, allowing the facing film to adhere firmly to the surface of the substrate.
Manufacturers of finishing films and adhesives have joined forces to develop their products, which allow the working characteristics of the facing film and adhesive to be more compatible with the pressing process. The success of membraneless compression is mainly due to this joint effort.
3 applications
Commonly used facing materials are PVC, veneer, textile fiber materials and other porous or non-porous materials. PVC is a non-porous material, while veneers and textile fibers are porous materials, which limits their use in filmless pressing processes.
Porous and non-porous facing materials can be used for film pressing because the film can form a hermetic sealing action to maintain pressure on the facing material. As for the film-free pressing, the facing material will bear the role of the film, the porous material will leak pressure or vacuum, and the working process is unstable. Therefore, filmless pressing can only be used with non-porous facing materials.
Another key issue is the thickness of the facing film used, which has a relatively long heating cycle in film pressing, which allows a wider range of thicknesses of the facing film, especially when the film thickness is as thin as 0.7 mm. As for the filmless press, the heating cycle is shorter, which is not very suitable for a thinner facing film.
4 determinants
When investing in a press, the cost of production is a major concern for Zui. Factors such as investment, product requirements, material consumption costs, and productivity are all considered together and an assessment is required to arrive at a reasonable decision. Since product requirements and production conditions often change, it is difficult to make a simple conclusion. The premise of making sound decisions is to understand the technical characteristics and constraints of each option.
Although film presses appear to be more versatile, there are many factors to consider in terms of production costs. The first is the cost of lamination. The silicon film has a certain service life and needs to be replaced regularly. The price of each silicon film is about $1,000. When clamped or in constant contact with the corner portion of the workpiece, its edges are easily torn. Although it can be repaired, the heat transfer effect at the repair site is lowered, resulting in poor stacking at the place. Replacing the lamination is costly and time consuming. These negative effects are inevitable, so they cannot be ignored.
Second, there is a longer period of film pressing than without film pressing because the film itself needs to be heated to the required temperature before the pressing process can be performed. After the pressing is finished, it is necessary to cool the lamination film, and then the upper pressing plate can be raised to take out the workpiece, otherwise the lamination film will be damaged. However, since there is no film pressing without film pressing, there is no problem of heating the film, and heat is directly conducted to the laminated surface, which reduces heating time and energy. This short cycle process results in higher productivity without film pressing.
In both forms of pressing, the consumption of the laminated material needs to be evaluated. Film pressing is suitable for any size and any number of workpieces (as long as it is within the size of the platen). It can be used for lamination of workpieces of different sizes, which means that film pressing can be adapted to various yields. The batch of products makes the stratified material consumption small. Filmless pressing requires that the size of the laminated workpiece in one cycle be fixed because the laminated facing material itself acts as a lamination. Even for a workpiece, a full-size facing film (the same size as the platen web) is required, which results in a large waste of laminated material.
5 Make a choice
The above assessment did not reveal the problem, but it provided an information framework for furniture and furniture component manufacturers to make investment decisions on stereo thermoforming presses. In general, small and medium-sized enterprises must deal with orders of various shapes and parts of various facing materials, so film presses are preferred. For companies that produce RTA furniture in large quantities, the laminated finishing materials are relatively fixed, and filmless presses should be used.
But the problem does not stop here. A press is now available on the market, both for film pressing and filmless pressing. This will greatly increase the versatility of the machine to adapt to changing market demands. This is also the contribution that press manufacturers make to users, enabling them to work in two different areas of demand.
In the 1990s, a filmless cladding vacuum press was developed, but there has always been a different view of the short length of the film and the film. In fact, any technology has its strengths and weaknesses, so how to properly apply these two technologies is the key. The main factors are the design of the press, the properties of the cladding material, the nature of the adhesive and the shape of the pressed product.
1 Press and its structure
In the stereo thermoforming process, the press is the main part of Zui, which is generally considered to be the sole determinant, but it is not. The pressure can be roughly divided into positive pressure and negative pressure (vacuum), and both positive and negative pressure presses can be used for film and filmless pressing.
The lamination is a silicon film that is placed on the upper platen to cover the entire surface of the upper plate to seal the surface of the workpiece and transfer heat to the veneer to activate the adhesive. The life of this film is between 1500 and 2000 presses, depending on the shape, edge and thickness of the workpiece.
In the pressing process, the silicon film is first heated to the desired temperature; then the workpiece is fed into the press, the upper platen is closed downward, the silicon film covers the surface of the workpiece, and the film edge is also clamped for sealing. The workpiece is then pressurized or evacuated.
The structure of the membraneless press is very similar to that of a membrane press, but it does not have a membrane. The facing film itself acts as a silicon film, and heat and pressure are applied directly to the facing material.
2 Finishing film and adhesive
The filmless pressing technology mainly depends on the facing material and the adhesive, and has little to do with the press itself. Zui's new facing film materials have many more excellent properties, such as it is easier to stretch and less whiting when stretched. This makes the facing film more suitable for covering the deeper concave portion of the relief, so that the entire covering surface is ironed.
The facing material or facing film currently used has a thickness of 0.8-1 mm. However, for different applications, depending on the complexity of the profile, the thickness of the film can be as thin as 0.7 mm. Of course, the smaller the thickness of the facing film, the lower the cost of the material and the less heat required during the hot pressing process. However, the film is not limited to be thin and has a certain limit.
Adhesives also play a large role in the filmless pressing process. The pre-adhesive film simplifies the process and increases productivity. The currently used adhesives are low temperature active and have a relatively high reaction temperature. A low temperature active adhesive means that the heat required to melt the adhesive is relatively small and therefore the energy cost is low. The higher reaction temperature allows the laminated surface to withstand higher ambient temperatures, allowing the facing film to adhere firmly to the surface of the substrate.
Manufacturers of finishing films and adhesives have joined forces to develop their products, which allow the working characteristics of the facing film and adhesive to be more compatible with the pressing process. The success of membraneless compression is mainly due to this joint effort.
3 applications
Commonly used facing materials are PVC, veneer, textile fiber materials and other porous or non-porous materials. PVC is a non-porous material, while veneers and textile fibers are porous materials, which limits their use in filmless pressing processes.
Porous and non-porous facing materials can be used for film pressing because the film can form a hermetic sealing action to maintain pressure on the facing material. As for the film-free pressing, the facing material will bear the role of the film, the porous material will leak pressure or vacuum, and the working process is unstable. Therefore, filmless pressing can only be used with non-porous facing materials.
Another key issue is the thickness of the facing film used, which has a relatively long heating cycle in film pressing, which allows a wider range of thicknesses of the facing film, especially when the film thickness is as thin as 0.7 mm. As for the filmless press, the heating cycle is shorter, which is not very suitable for a thinner facing film.
4 determinants
When investing in a press, the cost of production is a major concern for Zui. Factors such as investment, product requirements, material consumption costs, and productivity are all considered together and an assessment is required to arrive at a reasonable decision. Since product requirements and production conditions often change, it is difficult to make a simple conclusion. The premise of making sound decisions is to understand the technical characteristics and constraints of each option.
Although film presses appear to be more versatile, there are many factors to consider in terms of production costs. The first is the cost of lamination. The silicon film has a certain service life and needs to be replaced regularly. The price of each silicon film is about $1,000. When clamped or in constant contact with the corner portion of the workpiece, its edges are easily torn. Although it can be repaired, the heat transfer effect at the repair site is lowered, resulting in poor stacking at the place. Replacing the lamination is costly and time consuming. These negative effects are inevitable, so they cannot be ignored.
Second, there is a longer period of film pressing than without film pressing because the film itself needs to be heated to the required temperature before the pressing process can be performed. After the pressing is finished, it is necessary to cool the lamination film, and then the upper pressing plate can be raised to take out the workpiece, otherwise the lamination film will be damaged. However, since there is no film pressing without film pressing, there is no problem of heating the film, and heat is directly conducted to the laminated surface, which reduces heating time and energy. This short cycle process results in higher productivity without film pressing.
In both forms of pressing, the consumption of the laminated material needs to be evaluated. Film pressing is suitable for any size and any number of workpieces (as long as it is within the size of the platen). It can be used for lamination of workpieces of different sizes, which means that film pressing can be adapted to various yields. The batch of products makes the stratified material consumption small. Filmless pressing requires that the size of the laminated workpiece in one cycle be fixed because the laminated facing material itself acts as a lamination. Even for a workpiece, a full-size facing film (the same size as the platen web) is required, which results in a large waste of laminated material.
5 Make a choice
The above assessment did not reveal the problem, but it provided an information framework for furniture and furniture component manufacturers to make investment decisions on stereo thermoforming presses. In general, small and medium-sized enterprises must deal with orders of various shapes and parts of various facing materials, so film presses are preferred. For companies that produce RTA furniture in large quantities, the laminated finishing materials are relatively fixed, and filmless presses should be used.
But the problem does not stop here. A press is now available on the market, both for film pressing and filmless pressing. This will greatly increase the versatility of the machine to adapt to changing market demands. This is also the contribution that press manufacturers make to users, enabling them to work in two different areas of demand.
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