Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
TECHNOLOGY
CONTENTS
04 CoMPAnY neWs
Cool power for demanding times
06 TECHNOLOGY
Super Orlof Intaglio III: An entirely new design that further expands the Intaglio horizon
10 11 12
CoMPAnY neWs
Continuous improvements in our After Sales Service
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TECHNOLOGY
Efficiency in Banknote Production: The driving factor behind adding value through print
CoMPAnY neWs
The making of the new South African banknote series
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TECHNOLOGY
Argentinas new $100 Eva Pern note, according to the engraver who created Evitas portrait
Banconota, the magazine about banknote design, production and circulation, is published twice a year, in spring and autumn, by KBA-NotaSys 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-NotaSys SA Banconota Magazine PO BOX 347 CH-1000 Lausanne 22 Switzerland banconota@kba-notasys.com Fax: +41 21 345 70 10 Phone: +41 21 345 70 00 Graphic design: Emilie Fargues - emkidesign Computer graphics design: Oreste di Cristino Pictures by Julio Locatelli Editorial Support: Henry Ploudy Printer: Courvoisier-Attinger Arts graphiques SA 2013 KBA-NotaSys SA All rights reserved. Reproduction in whole or in part without express permission of the publisher is prohibited.
EDItoRIAl
GERbEN VaN WIjk
Dear Reader,
After a long and hard winter, Spring has finally started in Switzerland. At the time of writing this editorial we are shortly before the Currency Conference in Athens where we will all meet again and discuss the current situation of the industry. Although we all were hoping differently the economic crisis in Europe and other parts of the world still hasnt been overcome and we still see the importance of cash demonstrated by the situation recently in Cyprus. In the aftermath of hurricane Sandy that hit the east-coast of the United States of America in October last year, cash was also the only payment instrument that people could use as the infrastructure was badly damaged and power was out for days in certain areas. Our task, as an industry, is to ensure that secure cash is available to all in an efficient and costeffective manner. In this issue of Banconota you will read about KBA-NotaSys efforts in this direction. Whether it is through efficient production methods or the support of industry initiatives. You will read in more detail about our New Super Orlof Intaglio III which offers great improvements in productivity. It also offers the printer a comfortable working environment with a high level of automation. Also we demonstrate a major project that has recently been completed, a full new production line and design of the new series of banknotes for South-Africa. An amazing transformation resulting in a beautiful series of banknotes paying tribute to one of the most influential persons of the last decades, Nelson Mandela. I wish you a lot of reading pleasure and look forward to your feedback.
CoMPAnY neWs
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In June 2012, Eric Boissonnas was appointed General Manager of KBA-NotaSys. With 16 years in the company at key executive positions, he has a thorough knowledge of the industry. He shares his ideas on the future of banknote printing, and how to successfully meet its challenges.
The best way to describe Eric Boissonnass management style is to use a very topical expression indeed: soft power. Eric is a tall, solid Basel-born Swiss citizen who looks perfectly at ease taking on the technological challenges that banknote printing faces, without the need to fret. His self-confidence is probably the result of a deep knowledge of the company and of the industry, combined with the management change experience acquired during the past 20 years. His parents, originally from Geneva - a street bears their name in the industrial sector of the city - established in Basel where his father worked as a PhD chemist for Sandoz. One of six children, Eric says he had to learn early on how to compromise with his siblings and how to fight for his ideas, but he explains he also had to learn how to share his parents attention, and how to obtain it. Possibly a head start to become a wise people manager. He studied mechanics, management and operational research at Zurichs polytechnic - the latter developed during World War II in order to optimize army logistics. After a long rail trip through the Orient, from Paris to Beijing via Moscow and Irkoutsk followed by Thailand and Burma, he returned to Zurich and settled into a 10 year-long job as information systems and change management consultant, for Accenture. As he explains, he had no idea then that he would one day work for the fiduciary printing industry but by combining his technological background with management change skills, for international companies, he was putting together all the necessary competences to be prepared for the business. In 1995 Eric got married, the couple left to Asia where he had chosen a job, however due to the economical crisis there at the time the move didnt prove satisfactory: so back to square one, but with an edge. When I returned to Switzerland I immediately contacted my network, more particularly the people for whom I had realized projects. They knew what I was able to do and soon enough, someone rang to tell me De La Rue-Giori was looking for a commercial director, he says. From 1996 until last June he has been commercial director, then added the HR director responsibilities and joined the management committee. In 2001 he got closely involved in the bringing together of Giori and KBA. After 16 years managing key departments in the company, where he was able to witness and to take an active part in its evolution, Eric must have been an obvious choice when the
Board decided to change their General Manager. There was no need to look for someone outside. My role as GM is to facilitate decision taking within the company, and in fact I think the worst that can happen to a company, is having to work with people who cant decide. I like and I respect new ideas, proposals for change or technical evolution but mostly I expect those who express them to decide the how-to, he says.
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TECHNOLOGY SUPER ORLoF INTAGLio IIi: AN ENTiRELY NEW DEsiGN THAT FURTHER EXPANDs THE INTAGLio HoRiZoN
Last year, visitors of Banknote Horizons had the opportunity to see, for the first time, Super Orlof Intaglio III in operation. However, KBA-NotaSys brand new Intaglio printing press features many breakthrough improvements which couldnt fit in a short group presentation, so now is the time for our visitors to look closer into the machine, and for those who couldnt attend our demonstration, to learn all about it. First, lets look at what one can immediately see. The streamlined body is not only easier and safer to move about, it is also quicker to clean as most of its surfaces are flat and continuous. But this is a lot more than aesthetics, because these panels hide all parts that neednt be accessed during regular operation, such as pipes, wires and gearwheels. Two stairways lead up to the gallery of the press, on each side, so printers can quickly and safely walk to the place where work needs to be done. One feature that can only be seen when standing in front of the two stairways is the perfect symmetry of the press. Alain Wrsch, Product Manager intaglio printing machines, explains that symmetry of the printing unit is critical for the stiffness of the machine, therefore for precision and print quality. In this new design, the wiping tank holding the wiping cylinder is now firmly screwed against the printing unit, an important contribution to the press stiffness particularly when one thinks of the 80 tonnes applied to the paper during printing, and the importance of the wiping of the Intaglio plate prior to impression. SOI III features a two carriage design with the collecting cylinder and the plate cylinder fitted now on two different units. In reality, this means two operators can work on the Orlof and on the inking units at the same time, as both can be moved and leave ample space for work to be done, resulting in less down time. Each cylinder in contact with ink, such as the Orlof collecting cylinder, the five chablon cylinders, is now automatically cleaned. The vapours emitted during the process are also aspirated at their source, and automatically rejected outside the print works in order to meet ever more stringent air quality regulations. As Alain Wrsch shows, one operator can now manage the whole press from one standing point thanks to its 24 inch. touchscreen, where all the necessary fine-tuning can be done. And this is where he explains one of SOI IIIs most important improvements, which cant be seen but largely contributes to the press improved efficiency, and therefore economy: because of the pressure applied during printing, intaglio plates will elongate during the course of their lifespan and, consequently, between 10 and 15% more inking surface is normally necessary to compensate for this elongation. Unless each chablon cylinder takes into account this stretching of the plates, which is now possible. From the touchscreen, the operator is
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able to fine-tune the rotation of the 5 chablon plates one by one relatively to the length of each of the 3 intaglio plates, which means that over the approximately 50000-150000 first plate cycles in normal use, 10 to 15% less chablon surface needs to be inked. And as the saying goes, tall oaks grow from little acorns, so during the printing of large series, ink savings will become substantial. Consequently, the inking of the plate cylinder can be even more precise, resulting in an improved colour registration throughout the complete surface of the sheet. At the end of every shift the wiping tank must be cleaned and this is another area where KBA-NotaSys engineers looked for ways to simplify the job, and to do it faster to boot. A double swing arm system extracts the wiping cylinder from its wiping tank in less than 2 minutes for maintenance, a complete exchange of the wiping cylinder being done in 3 minutes. The cleaning of the wiping cylinder is done using ScotchBrite strips; this synthetic fabric, basically the same as the pads used to scour pots and pans and found in most private kitchens, proved to be the most efficient and the most durable, therefore particularly economical, and it reduces the maintenance process by 15 minutes for each shift. For online inspection, a new, twin high resolution line-scan camera system can be installed. A visible camera scans the banknote sheets and alongside an infrared camera scans infrared inks. Both cameras are using LED illumination technology, providing a perfectly homogeneous light on the complete width of the sheet. Last, all gears are now lubricated with grease and not oil, contributing to a cleaner work environment. Oil sputters and this proved particularly problematic in some environments with older machines where it would drip down and smear the ground, but grease in excess will accumulate at the edges of gears, where it can be simply wiped off. To further increase the cleanliness in and around SOI III, many hydraulic actuators have been replaced with pneumatic components. Although Super Orlof Intaglio III is the most technologically advanced Intaglio printing press to date, it remains faithful to KBA-NotaSys concept of robust automation: electronics have been fitted where it improves precision, stability, quality and efficiency but should a failure occur, the press will continue to operate normally, according to default settings, because all electronics are backed by its mechanical equivalent.
The two carriage design with the chablon cylinders on the left and the printing cylinders on the right
The 3-3-3 architecture of the SOI III ensure perfect print quality The new plate elongation system saves 10-15% on the size of the chablones
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I am currently overlooking the development of our plate-length compensation feature on our new Super Orlof Intaglio III as well as the adjustable speed of the wiping cylinder. The prototype of this machine was presented last year during our Banknote Horizons event and, at the time of writing, we are going through the installation and training at our pilot customer. Both features are requirements that are developed from our many years of experiences in intaglio printing. My personal challenge in this development was maintaining the reliability of the machine as we placed emphasis on robust automation during product development. I look forward to the moment when the new Super Orlof Intaglio III will find its way to banknote printers around the world and these new developments will proof their worth.
I am really proud that it has become possible for me, through these development tasks, to look after this new machine intensively, even during commissioning at the customer. As always with prototypes we learn many things in the first weeks after installation at the customers site and these findings need to find their way into the first series. Since I will be responsible for this extensive task for some time to come I want to continue in the true spirit of the company, delivering Service and Technology as an Art.
Thomas Kersten has been involved in product development at KBA-NotaSys for the past 4 years. Prior he spent 10 years working for Koenig & Bauer AG in Radebeul, developing commercial sheet-fed offset presses. His main responsibility at KBA-NotaSys is to produce design concepts and requirement profiles and create development structures for future products.
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Michael Poluyanov/ Caroline de Bona All Russian- or Ukrainian-speaking clients: Goznak, Kazakhstan, Uzbekistan, NB Ukraine, Polygraph Combinat Kiev Other: Serbia, Bulgaria, Romania Planned: all other English or German speaking client The goal is that each client should have a direct contact in our service department, where it will be possible to communicate in the native language as well, whenever possible. The Service Administrator will be the first service contact for all issues pertaining to warranty, machine failure, training, technical support, etc. The Service Project Manager will be involved as soon as the Service Administrator needs technical assistance or if the service issue becomes complex. The Service Project Manager will handle the issue on a higher technical level between client, supplier and KBA-NotaSys. With the implementation of this structure we will be in the position to allow the Service Project Managers to visit clients more frequently, in order to handle service issues directly. The Project Service Manager will be responsible for solving all technical and commercial service issues between the client and our organisation. A part of their duty will be as well to deal with OPLs after the installation and to sort out technical problems within the company and our technical department. We have already started this new set-up during 2012 and the first customers have given us very positive feedback, so we look forward to further expansion and improving the customers experience. In support of each service group there will be a spare parts quotation and order processor in case of spare parts needed. Mr. Stefan Baumann leads and will be the technical and commercial support for all groups. He will step in case further technical support is needed.
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Front and Reverse view of the specimen note featuring an innovative use of the SPARK feature and a multicolor see-through
The Guardian substrate used is treated like paper, except it needs to be over varnished after printing. According to Blesovsky, banknotes printed on polymer will last many times longer than if printed on paper thanks to the substrates resistance, and also because they wont become soiled as fast as paper. He takes out a thick bundle of banknotes from his wallet and shows a 7 year old note: although damaged by abrasion and constant creasing, it still has the feel of a banknote and Blesovsky says that in comparison, the same note produced with paper would have degraded significantly, in fact would have been withdrawn from circulation a long time ago... But the Verne specimen pushes the limits of the substrate and of the printed security features much further than ever before. In fact, it magnifies many of them. However, basing the new specimen on the existing Jules Verne design brought many challenges. Offset and Intaglio are commonly used on polymer but one concern has regularly been the tactility of the latter, which is considered one of the most obvious security features for banknotes; on the Jules Verne note Intaglio shows great tactility, and to support the fact Blesovsky shows a range of current polymer banknotes, all printed on polymer and featuring Intaglio. The difference to the touch is indeed spectacular. The Jules Verne specimen is the first finished banknote on polymer to have a window printed with Intaglio. As Blesovsky explains, there are notes in existence that have offset printing over the edges of the windows but this has been taken a step further on the Jules Verne specimen on Guardian, with both offset and Intaglio printing through windows and half-windows. For the first time too, SICPAs innovative feature SPARK is applied in a fully integrated polymer note design. SPARK are inks that change colour depending on the angle of light, and they feature a 3-D effect to boot; its use on polymer has been the subject of conference presentations before, but it was never actually seen on a banknote that is fit for production. On the Jules Verne too, the Kurz foil is applied across the surface of the note, over areas of window, opacification and offset print: it is an industry first and a significant advance in terms of design possibilities. Last but by no means least, Guardian note designs have used increasingly complex vignettes in the windows in recent years and the Jules Verne note highlights the latest possibility, a photo quality portrait showing great tonality and depth.
The advanced offset and Intaglio designs, printed on the SUSI IV and SOI presses show the benefit of Guardian, which results in incredibly fine, well defined line structures bringing further weight to the old maxim there is no security without quality. Because polymer substrates dont deform, KBA-NotaSys presses can print on both sides with even better registration: on Verne, Blesovsky adds, the colour density is exceptionally good, in fact it is beyond KBA-NotaSys expectations. All of the cooperating partners on the Jules Verne Guardian specimen are proud of the end result; while it is an extraordinarily complex note to produce, it was successfully produced and delivers a banknote of the highest quality, highlighting the possibilities for polymer note design and feature integration, on a platform on which all partners in the banknote production process can find an appropriate base for their features to ensure the best possible banknote - aesthetically attractive and highly secure. A summary of world firsts as featured on the Jules Verne specimen overprinted windows - offset and Intaglio printing through both windows and half-windows. tactility - there is often criticism of the tactility achieved on Guardian banknotes; the Jules Verne specimen negates any such criticism. SPARK - this is the first time this innovative feature from SICPA on polymer has been seen in a fully integrated polymer note design. the Kurz foil - on the Jules Verne, it is applied across the surface of the note, over areas of window, opacification and offset print. the portrait in the window - Guardian note designs have used increasingly complex vignettes in the windows in recent years, the Jules Verne note highlights the latest possibility, a photo quality portrait showing great tonality and depth offset and Intaglio - the advanced offset and intaglio designs, printed on the SUSI IV and SOI presses show incredibly fine, well defined line structures bringing further weight to the old maxim there is no security with out quality
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THE PERCEIVabLE DIFFERENCE IS baSED ON tHREE FaCtORS: MatERIaL, PROCESS aND DESIGN
The above-outlined distinction is based on three interlinked elements. It is the material which must have a whole range of specific qualities. All these qualities will contribute to the durability, the robust function and the distinctiveness of the banknote from any other printed matter. Therefore the materials must be under strict control across the entire supply chain and may only be used for banknotes, or for specific issues and denominations. A very obvious element is the thread or the water mark. Any such material that shows up in commercial applications is immediately devaluated when used in banknotes, and it regularly disqualifies the diluted material and eventually the supplier. Similarly, the production process needs to be exclusive to the printing of banknotes. Although most printing processes were developed for commercial use, none of them could be exploited in the banknote field without the risk of massive counterfeit. Therefore, the printing processes that include the design of course, the origination (i.e. the translation of the artistic design into ultimately secure, printed elements) and the plate making have to be specific so there is no risk they might be used anywhere in commercial printing. What is obvious for the materials is even more crucial for the printing processes as they have to be maintained on a secure level not only during the life cycle of the banknote issue, but during the life cycle of the equipment to boot. It is interesting to note that in the long run, no commercial printing production process could be exploited in banknote printing due to subsequent counterfeit attacks.
DESIGN NEEDS tO EXPLOIt tHE tHREE FaCtORS DIFFERENCES tO tHE MaXIMUM POSSIbLE EXtENt
The third element is the design, which due to its importance deserves a separate mention . Neither process nor material will provide security by itself; it is always the design that enables all the possibilities intrinsic to the technical possibilities of the other two. The most sophisticated process, the best material will be useless if the design doesnt push the limits to a point where criminals will consider attacking the banknote circulation too
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expensive. Therefore, protection is never achieved by one element alone. It is always the perfect adaptation and the designs combination of material and process that enable security.
Several steps had to be improved. It started with origination. The goal was to allow the design of elements that are difficult to reverse-engineer, and are unsuitable for commercial offset machine counterfeits. The reverse-engineering of counterfeiters is done today with commercial software for the graphic industry. These powerful products (such as Adobe Illustrator) nowadays offer many smart tools which make it possible to efficiently create illustrative graphics. The banknote design software aims at originating structures that cannot be created by simple duplication or other simple geometric operations (mirror, turn, copy and paste). These structures are mainly based on fractals. These geometric shapes built with self similar elements are very tiresome to design by hand. Experts have failed to reproduce correctly in three weekssome part only of a contemporary design, The state-of-the art exposure systems at 10.800 dpi transfer images on plates with less than a 4 micron deviation from the ideal. To make this precision available in the press the whole plate mounting system and method had to be re-created. First plates are punched after exposure using the images on the plate as reference. Plates are bent within the required tolerances using the same process . The plates are then mounted on the machines with a semiautomated system that allows reproducible mounting without operator intervention. Not only has this degree of automation reduced the influence of the previous manual process, but it has also accelerated it in such a way that a full set of 8 plates can be set up in register in less than one hour.
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CoMPAnY neWs THE MAkiNG oF THE NEW SoUTH AFRiCAN bANkNoTE sERiEs
The development of a new series of banknotes is a complex process that requires harmonious synergy between security, aesthetics and functionality. In addition, such a process needs to be supported by state-of-the-art machinery to ensure a smooth evolution. Only then would one begin to comprehend the intricacies involved in moving from a current series to a new and completely different series of banknotes. It is an internationally accepted best practice to upgrade or develop a completely new banknote series every six to eight years. This ensures that newly developed, state-of-the-art security, technical and design features can continually be incorporated into the banknotes to safeguard a countrys currency. It therefore came as no surprise when the South African Reserve Bank (SARB) announced a new banknote series, considering that the last upgrade of the countrys banknotes dated back to 2004. And so the evolution process began.
Banknotes are a window to a country, its people, heritage and culture. As a national symbol, a countrys banknotes are often regarded second only to the national flag and Coat of Arms. Themes on a banknote offer an opportunity to portray national characteristics in an aesthetically pleasing manner, says Hlengani Mathebula, Head of Group Strategy and Communications at the SARB. With this, and many other things in mind, the South African Banknote Company (SABN), a wholly owned subsidiary of SARB, together with SARB began a renewal process of the countrys banknotes. With the constantly evolving challenges and threats in security printing and technology, it is of utmost importance that the security features of banknotes are abreast with current advancements in technology, to ensure that the countrys currency does not fall victim to the latest counterfeiting techniques. To this end, the SABN, which is responsible for the printing of South Africas banknotes, committed to upgrading the equipment and other facilities, such as forensic laboratories in their plant. KBA-NotaSys was then tasked with supporting the upgrade, among other things, to enable a smooth transition to the countrys new banknotes. This not only included physical installation, but also the education and up-skilling of SABN technical personnel to operate the machinery for the production of new banknotes, without disturbing the production of the current series. The team of experts from SARB, SABN and KBA-NotaSys worked around the clock, against pressing deadlines, to ensure that a new series of banknotes was launched before the end of 2012. There were a few challenges along the way, as can be expected when embarking on a project of this nature, but we executed a rigorous project plan and adhered to very strict deadlines. This culminated in the successful launch of the new banknote series, explains Joyce Kumbirai, Managing Director of the SABN. The new banknotes incorporate state-of-the-art security, technical and design features such as intaglio printing, watermarks, unique numbering, security threads, micro-lettering, fluorescent and colour-changing ink, to name but a few.
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SPECIMEN
SPECIMEN
The 200 Rand note is the highest denomination in the series
Other design features on the new banknotes include South Africas official Coat of Arms, the 11 official languages and other uniquely South African cultural symbols, such as San Rock Art. Historically, the design of South Africas banknotes has been a reflection of the countrys national heritage and unique culture. This new series of banknotes has followed in that well-established tradition.
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LaSt WORD
We received very good support from the KBA-NotaSys. The direct consultation was invaluable and we certainly benefited from knowledge and different style of thinking, adds Aboobaker Ismail, former head of SARBs Currency and Protection Services Department and now Special Adviser to Deputy Governor, Francois Groepe. The SABN now boasts a world-class printing factory that competes with the best in the world. The new banknotes have been positively received by the South African public. While there have been a few isolated reports of counterfeit banknotes, it is nothing out of the ordinary. The SARB continues to encourage South Africans to familiarise themselves with the security features of the new South African banknotes and to examine them to ensure that they are genuine before accepting them.
business to open up branches throughout the Colony, and to take over as many of the remaining private banks as was possible. By 1892, they had absorbed all but one of these, namely the Stellenbosch District Bank. Established in 1882, the Bank still exists to this day. At the time of Union in 1910, three of the imperial banks, joined by a comparative newcomer from the Transvaal, were the only survivors to issue paper money in their own name in the Cape Province.
Printing
In general, all Government issues of paper money were locally produced. This however, was not the case with the notes issued by the private and imperial banks, as well as other large banks. Most of these banknotes were printed in England. In the middle of the 1860s however, a number of banks resorted to the use of locally printed paper money, which in most instances was produced by a Cape Town printers firm called Soul Solomon & Co. Thereafter banknote forms were once again imported from England. This remained the case until 1962, when a banknote factory was established in the Republic of South Africa. Ever since, this factory has taken care of the requirements of the South African Reserve Bank.
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TechnologY ARGENTiNAs NEW $100 EVA PERN NoTE, ACCoRDiNG To THE ENGRAVER WHo CREATED EViTAs PoRTRAiT
On July 25, 2012 Cristina Fernndez de Kirchner, President of Argentina, unveiled the new $100 note featuring a portrait of Eva Pern.This new note, which boasts many of the most recent security features, was issued on the 60th anniversary of Evitas passing, and to honor her legacy.
Its development is a good example of collaboration between different cultures, as the general design was carried out in Geneva, Switzerland, by the renowned atelier Roger Pfund, who worked together with a team of designers from Casa de Moneda, Argentinas National Mint. The portrait of Eva Pern, featured on the note, was created in Lausanne by Sergio Pilosio, an engraver at KBA-NotaSys. Sergio, of Argentine and Italian citizenship, has worked for the Casa de Moneda in Buenos Aires for 14 years. As he explains, this new note has been a well-kept secret for the President, who was particularly proud to be able to introduce it unexpectedly to the Argentine people. It is in fact based upon the 1952 design and sketches of Renato Garrasi, which were going to be used for a 5-peso note of the time. However, the coup that overthrew General Pern government in 1955 meant the project was lost for nearly 60 years. The present note preserves the symbolism of the era: the passion, the enthusiasm, the emotion, the femininity and determination reflected in the reconstruction of the image of Evita, defender of the poor and the oppressed. Eva Pern has become a myth for most of the Argentines: born in1919 in a humble family, she married Colonel Juan Pern in 1945; he was to become President the following year by an electoral landslide. Until her untimely death at 33, Evita kept fighting for the rights of the poor and downtrodden, doing vast social work that included hospitals, orphanages, and tireless efforts on behalf of women and children. Some of the institutions and programs she created have survived her and are active to this day. Sergio Pilosios challenge was to interpret 1952 photographic and watercolour portraits using the latest technology, therefore engraving on a computer screen rather than on copper, as he was trained to do. Engraving is the art of interpreting lines, strokes and points. When I engrave manually I know from experience which depths should be used so that they may be printed in Intaglio, he says. Digital engraving means the computer will transform designs into algorithms, and I must admit that going from manual engraving to digital has been traumatic!, he confesses. Sergio was trained as a jewellery engraver at the Raggio school of Arts&Techniques in Buenos Aires, and he joined the Casa de Moneda in 1978 as engraving technician. At the time, he says, the Casa de Moneda was the ultimate in terms of engraving. He worked there for 14 years until he moved to Switzerland in 1991, and was hired by Delarue-Giori as banknote engraver. Some of his works include the 500,000 Dong vignette for Vietnam, in 1992; a variety of portraits and vignettes for a new series of bank-
Presentation of the 100 peso bill as a tribute to Eva Pern. Image by Casa Rosada, used under Creative Commons license CC-BY-SA
notes for India in 1994, and the design of a new series for Venezuela between 1997 and 2000.
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