GRAPHICS PRO

July '20

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G R A P H I C S - P R O. C O M 2 0 2 0 J U L Y G R A P H I C S P R O 4 5 Left: Knowing a production area's floorspace is helpful in choosing an extractor. (Image courtesy PAT Technology) Above: Producers should ensure the extractor is as close to the host machine as possible so that the blower motor isn't overworking to push air through the ductwork. (Image cour- tesy Purex Fume Extraction by BSE) off of that material," explains Snell. He also suggests those working with acrylics ensure they're using the specific filtration for that product. "All plastics except for acrylics, when you cut them, make roughly 80% particulate and 20% gas. With acrylics, it's the other way around. It's about 40% par- ticulate and 60% gas, so you'll go through your carbon filter faster than you would your particulate-arresting filter." Shops who offer dye-sublimation, wide- format, and UV printing can also benefit from fume extraction, but it takes a little extra work to find the right machine and setup. "(These disciplines) are a different animal because they have different chem- istry," Baird says. While laser fume extrac- tion involves dry chemistry, disciplines like sublimation are wet chemistry that involves moisture, so he advises shops to consult with the manufacturer to ensure they're us- ing the proper filtration. Some wide-format and sublimation printers come with a tap designed to hook up to the fume extractor. Still, parties agree that these aren't a standard feature on all brands. Consulting with the manufacturer on this apparatus is a good starting point since decorators must ensure the two ma- chines connect seamlessly.

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