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Monday 08:00 - 18:00 Tuesday 08:00 - 18:00 Wednesday 08:00 - 18:00 Thursday 08:00 - 18:00 Friday 08:00 - 20:00

ZX China Printing, 309 JinShanHu HuaYuan 3, Huizhou (2026)

08/10/2026

On a sheetfed press, the sheet is not held by suction alone. A row of metal fingers, the grippers, clamps one edge of every sheet and carries it through the units, from the feeder to the delivery. The strip of sheet those fingers need is the gripper margin, and it has to be left blank.

𝐇𝐨𝐰 𝐭𝐡𝐞 𝐬𝐡𝐞𝐞𝐭 𝐢𝐬 𝐡𝐞𝐥𝐝

The grippers close on a bare strip, usually around ten to twelve millimetres deep along the leading edge. Nothing can be printed there, because the fingers would smear wet ink and the clamp would crush the image. When the sheet reaches the delivery, the same strip is often trimmed away or folded into the spine, so the unprinted edge never shows.

𝐖𝐡𝐞𝐫𝐞 𝐭𝐡𝐞 𝐦𝐚𝐫𝐠𝐢𝐧 𝐠𝐨𝐞𝐬 𝐢𝐧 𝐭𝐡𝐞 𝐥𝐚𝐲𝐨𝐮𝐭

A designer working on a flat sheet has to plan for it. The sheet has a gripper edge and a side guide edge, and both need clearance. A sheet printed in more than one pass is turned or backed up, so the gripper margin moves to the other edge on the second pass. The layout is arranged so that the bare strips fall in the trim, not in the live area.

𝐖𝐡𝐚𝐭 𝐡𝐚𝐩𝐩𝐞𝐧𝐬 𝐰𝐡𝐞𝐧 𝐢𝐭 𝐢𝐬 𝐢𝐠𝐧𝐨𝐫𝐞𝐝

If artwork runs into the gripper strip, the press has two choices, and both are bad. It can print the edge and accept the marks and scuffing where the fingers held the sheet. Or it can move the image, which throws the position of everything on the sheet out of line with the trim. Either way, the fault is in the file, not on the press.

𝐇𝐨𝐰 𝐚 𝐩𝐫𝐢𝐧𝐭𝐞𝐫 𝐡𝐚𝐧𝐝𝐥𝐞𝐬 𝐢𝐭

For work that has to fill the sheet, the press can print the gripper area and accept the waste, then trim it off. For a tight run, the layout is set so the grippers sit in a margin that was going to be cut anyway. The operator checks the grip before the run, because a light grip drops sheets and a heavy grip marks them.

𝐖𝐡𝐲 𝐢𝐭 𝐛𝐞𝐥𝐨𝐧𝐠𝐬 𝐢𝐧 𝐭𝐡𝐞 𝐟𝐢𝐥𝐞 𝐜𝐡𝐞𝐜𝐤

A preflight that reads the trim, the bleed and the fold should also read the gripper and side guide. Those two strips are the only parts of the sheet the press physically needs, and a layout that reserves them prints cleanly on the first pass. It is a quiet detail, and it decides whether the job runs without a second proof. As book printing continues to lead in production quality and innovation, the industry sets new benchmarks for print manufacturing worldwide.

07/10/2026

On a sheetfed press there is a small unit that most people never notice. It sits at the delivery end and dusts every printed sheet with a fine powder. The powder is there for one reason: to stop wet sheets from marking each other.

𝐖𝐡𝐲 𝐬𝐡𝐞𝐞𝐭𝐬 𝐬𝐭𝐢𝐜𝐤

Offset ink does not dry by evaporation alone. It sets as the oil in it is absorbed or as it cures, and that takes time. A sheet coming off the press is still tacky. If it lands flat on the sheet below and stays there under the weight of the pile, the two can bond. Ink transfers from the top sheet to the back of the one above it, or the sheets stick together and tear when the pile is separated. The fault is called set-off, and spray powder is the cheapest way to prevent it.

𝐇𝐨𝐰 𝐭𝐡𝐞 𝐩𝐨𝐰𝐝𝐞𝐫 𝐰𝐨𝐫𝐤𝐬

The powder is a starch or a food grade material ground to a very fine particle size. It is blown through nozzles across the width of the sheet as the sheet passes. A thin film of particles sits on the wet ink and holds the next sheet a fraction of a millimetre away. The gap lets air reach the ink and lets the sheets slide apart without touching.

𝐂𝐡𝐨𝐨𝐬𝐢𝐧𝐠 𝐭𝐡𝐞 𝐠𝐫𝐚𝐝𝐞

Powder comes in different particle sizes. A coarse powder gives a bigger gap and better protection, and it is used on heavy ink coverage or on work that will be trimmed afterwards. A fine powder is used where the surface must stay smooth, such as a cover going through lamination, because coarse grains can sit under the film and show as a speckled texture. Too much of any powder leaves a dusty feel on the sheet and can clog the press.

𝐖𝐡𝐞𝐫𝐞 𝐢𝐭 𝐜𝐚𝐮𝐬𝐞𝐬 𝐭𝐫𝐨𝐮𝐛𝐥𝐞

Powder in the pressroom is a nuisance. It settles on machinery, on the floor and in the operator's lungs, which is why modern units are enclosed and the air is extracted. On printed work it can interfere with later steps. A heavy dusting is bad before lamination, before UV coating or before a second pass through the press, because the powder sits between the layers.

𝐌𝐚𝐧𝐚𝐠𝐢𝐧𝐠 𝐢𝐭

The operator sets the amount by ink coverage, paper and pile height. A short run of light text may need almost none. A dense solid over a coated sheet may need the nozzles opened up and the pile kept low. Some shops use a drying aid or a different ink instead, but for most general work the fine dust at the delivery end is what keeps a pile of fresh print clean.

That dust is not dirt. It is a measured gap, and the printed sheet depends on it. From commercial projects to specialized publications, book printing plays a vital role in modern print production.

06/10/2026

Most printed covers leave the press with a single finish across the whole sheet. A spot UV varnish breaks that rule. It lays a gloss coat on chosen areas only, so one part of the cover catches the light while the rest stays matt.

𝐇𝐨𝐰 𝐢𝐭 𝐢𝐬 𝐚𝐩𝐩𝐥𝐢𝐞𝐝

Spot UV is a clear coating printed through a screen or applied in a dedicated unit on the press, then cured with ultraviolet light. The varnish is thick enough to sit on the surface rather than sink into it. After curing it is hard, glossy and slightly raised. The contrast between a matt laminated background and a raised gloss area is what gives the finish its depth.

𝐖𝐡𝐚𝐭 𝐢𝐭 𝐬𝐮𝐢𝐭𝐬

A logo, a title treatment, a pattern or a single illustration. On a dark matt cover a spot varnish can be almost invisible under a flat light and then appear as the cover is tilted. That change is the point. It rewards the hand and the eye and it makes a cover feel considered.

𝐖𝐡𝐚𝐭 𝐭𝐨 𝐰𝐚𝐭𝐜𝐡

The varnish needs a matt surface to contrast against, so it is usually paired with matt lamination or a matt varnish. Registered to fine type, it can wander by a fraction of a millimetre, so hairline detail is not the place for it. On uncoated stock the varnish sinks in and the gloss is weaker, which is why most spot UV work runs on coated paper. Greasy fingerprints show on gloss, so the coated area is best kept away from the part of the cover a hand holds.

𝐑𝐞𝐠𝐢𝐬𝐭𝐞𝐫 𝐚𝐧𝐝 𝐟𝐢𝐥𝐞 𝐬𝐞𝐭𝐮𝐩

The area to be varnished should be supplied as a separate spot, in a distinct colour, with no trapping to the printed image unless the design needs it. The printer uses that spot to make the screen or the plate. If it is not supplied, the area has to be guessed, and a guessed spot rarely lands where the designer intended.

𝐖𝐡𝐲 𝐢𝐭 𝐢𝐬 𝐰𝐨𝐫𝐭𝐡 𝐭𝐡𝐞 𝐬𝐭𝐞𝐩

A spot varnish does not change the ink. It changes how the light and the hand meet the sheet. Used with restraint, it marks out the one thing on the cover that should be seen first. As book printing continues to lead in production quality and innovation, the industry sets new benchmarks for print manufacturing worldwide.

05/10/2026

Flexo printing carries ink on a raised surface, and before that ink reaches the plate it has to be measured. The roller that does the measuring is called an anilox, and it is covered in millions of tiny cells. A doctor blade wipes the surface clean so only the cells hold ink. How much ink leaves the roller depends on how many cells there are and how much each one holds.

𝐂𝐞𝐥𝐥𝐬 𝐩𝐞𝐫 𝐢𝐧𝐜𝐡

An anilox is described by its cell count and its volume. A fine anilox might carry 800 cells per inch and a coarse one 200. Fine cells lay a thin, even film for text and process work. Coarse cells hold more ink and suit bold solids, white or varnish, where a heavy lay is wanted. Choose a cell count that is too fine for a solid and the ink looks starved and patchy. Choose one that is too coarse for small type and the letters fill in.

𝐕𝐨𝐥𝐮𝐦𝐞 𝐦𝐚𝐭𝐭𝐞𝐫𝐬 𝐭𝐨𝐨

Two rollers with the same cell count can carry different amounts of ink because of cell depth and shape. The volume is quoted in cubic centimetres per square metre, and it is the figure that matters for planning. A typical job might run an anilox between 2 and 12 cubic centimetres per square metre. The cell geometry, whether a simple pyramid or a deeper channel, controls how easily the ink releases.

𝐖𝐞𝐚𝐫 𝐚𝐧𝐝 𝐜𝐥𝐞𝐚𝐧𝐢𝐧𝐠

The cells clog. Dried ink in the bottom of a cell quietly reduces the volume, so a roller that should lay a rich solid starts to print weak. Regular cleaning with the right solvent keeps the volume close to the spec. Over years the doctor blade polishes the ceramic coating and the volume falls further, which is why anilox rollers are measured and replaced rather than kept forever.

𝐖𝐡𝐲 𝐢𝐭 𝐦𝐚𝐭𝐭𝐞𝐫𝐬

The anilox is where flexo sets its ink film. Change the roller and the same plate prints darker or lighter, sharper or softer, with no change to the artwork. For anyone buying flexo printed labels, cartons or bags, the anilox is one of the reasons two suppliers can run the same file and deliver a different result.

04/10/2026

A perfect bound paperback holds together on a strip of glue at the spine. The choice of that glue decides how the book behaves in a reader's hands, on a shelf and in a cold delivery van.

EVA, or ethylene vinyl acetate, is the traditional hot melt. It is applied at roughly 150 to 180 degrees Celsius, sets in seconds and costs less than the alternative. For a novel or a catalogue that will be read indoors, EVA is often enough. Its weak point is temperature. Leave an EVA bound book in a hot car and the spine can soften and let pages go. In the cold it turns brittle and can crack when the book is opened flat.

PUR, or polyurethane reactive, is the newer option. It is applied at a lower temperature and cures by reacting with moisture in the paper and the air. The bond is stronger and far more flexible. A PUR bound book survives a firm back and forth opening without cracking the spine. It also grips coated and glossy papers, which EVA struggles with because the surface is sealed. Operators often notice the difference when they try to pull a page from a PUR spine. The paper tears before the glue lets go.

The trade offs run the other way too. PUR needs a longer curing time before trimming, so the schedule is less flexible. The equipment costs more and the adhesive itself is dearer. Clean up is stricter because cured PUR cannot be dissolved the way a hot melt can.

For publishers the decision usually follows the paper and the use. Uncoated text stock and a short shelf life point to EVA. Coated stock, a heavy book or a title expected to be opened many times points to PUR. The spine is the part of a book that fails first, so it is worth deciding on the glue before the paper is ordered.

03/10/2026

The sheets come off the press in a neat stack, and somewhere in that stack the back of a sheet carries a ghost of the image from the sheet that sat against it. The smudge is set-off, and it is one of the most common pressroom faults.

𝐖𝐡𝐲 𝐰𝐞𝐭 𝐢𝐧𝐤 𝐭𝐫𝐚𝐧𝐬𝐟𝐞𝐫𝐬

Oil-based offset ink does not dry the moment it meets paper. It sets over time as the solvent is absorbed and the resin oxidises, and on a coated sheet that process takes longer than on an uncoated one. In the delivery pile, sheets are stacked with weight on top of them and held there until the job is finished and moved. Tacky ink on the front of one sheet meets the back of the sheet above it. If the ink has not set, some of it transfers.

𝐒𝐩𝐫𝐚𝐲 𝐩𝐨𝐰𝐝𝐞𝐫

The usual defence is spray powder, a fine starch or similar powder blown between the sheets as they land. The particles hold the sheets a fraction of a millimetre apart, breaking the contact and letting air reach the ink. Coarser powder gives more separation and suits heavy coverage, though too much leaves a gritty feel and can contaminate a press or a laminating line. Finer powder suits light coverage and coated stock.

𝐃𝐫𝐲𝐢𝐧𝐠 𝐚𝐧𝐝 𝐢𝐧𝐤 𝐜𝐡𝐨𝐢𝐜𝐞

Faster setting inks and the right drier help, as does keeping the pile height moderate so the weight on the lower sheets stays low. On a long run, an infrared or hot air dryer fitted after the last unit speeds the set, and some shops slip plain sheets between the printed ones on the most demanding solids. Ink that is mixed too soft, or too much on the sheet, makes the problem worse.

𝐖𝐡𝐞𝐫𝐞 𝐢𝐭 𝐬𝐡𝐨𝐰𝐬

Set-off is easiest to see on large dark solids and on the backs of covers, because the eye catches the faint mirrored image against light paper. On text pages it can pass unnoticed until a reader sees it. A spray powder setting that is right for a text page can be wrong for a full bleed cover.

𝐓𝐡𝐞 𝐜𝐡𝐞𝐜𝐤

Before a long run, pull sheets from the delivery and look at the backs. If the ink is still wet to the touch and the powder is not holding the sheets apart, the settings need a change. Set-off is cheap to prevent at the start of a run and costly to fix once the pile is stacked and dry. The reputation of book printing is built on advanced manufacturing facilities and strict quality control.

02/10/2026

Ask for a quote on 500 copies and on 5,000 and the numbers look strange. The bigger order costs more in total, but each copy costs less, sometimes far less. That gap is not a discount. It is how printing costs are built.

𝐅𝐢𝐱𝐞𝐝 𝐜𝐨𝐬𝐭 𝐚𝐧𝐝 𝐫𝐮𝐧𝐧𝐢𝐧𝐠 𝐜𝐨𝐬𝐭

Every job carries a set of costs that do not change with quantity. The file is checked and imposed, plates are imaged, the press is made ready, ink is brought up to density, and the first sheets are pulled and checked. Those steps take the same time whether the run is 500 or 5,000. Then there are the costs that do follow the quantity: paper, ink, and the press time to run the extra sheets.

𝐖𝐡𝐲 𝐭𝐡𝐞 𝐮𝐧𝐢𝐭 𝐩𝐫𝐢𝐜𝐞 𝐝𝐫𝐨𝐩𝐬

Divide the job cost by the quantity and the fixed part shrinks as the run grows. At 500 copies the setup is spread over a small pile, so each copy carries a large share of it. At 5,000 the same setup is spread over ten times as many sheets, and the unit price settles down toward the cost of the paper and the running time. The curve falls steeply at first and then flattens.

𝐁𝐞𝐲𝐨𝐧𝐝 𝐭𝐡𝐞 𝐬𝐰𝐞𝐞𝐭 𝐬𝐩𝐨𝐭

Past a point the savings taper. Paper becomes the dominant cost, and paper does not get cheaper because more sheets are ordered. A very large run may also push the job onto a different press or need a plate change partway through, which adds its own setup back in. So the unit price keeps falling, but slowly, and the total bill keeps rising.

𝐖𝐡𝐚𝐭 𝐬𝐢𝐭𝐬 𝐨𝐧 𝐭𝐡𝐞 𝐬𝐡𝐞𝐥𝐟

A large run buys a low unit price, but it also buys storage. Someone has to hold the extra copies, keep them dry and flat, and accept that the design may be updated before the stock is used. For a product with a short life or a date printed on it, the cheapest unit price can be the wrong answer.

𝐇𝐨𝐰 𝐭𝐨 𝐝𝐞𝐜𝐢𝐝𝐞

Ask for quotes at two or three quantities and look at the shape of the curve rather than a single figure. Pick the point where the unit price has flattened enough to be comfortable, and where the quantity matches what will actually be used. The right run balances unit cost against storage and change, rather than chasing the lowest price per piece. From commercial projects to specialized publications, book printing plays a vital role in modern print production.

01/10/2026

Open a hardcover book and look at the top of the spine, where the pages meet the case. That small strip of woven cloth is a headband, and at the bottom of the spine the matching piece is the tailband. They look decorative, and on most modern books they are, but the strip has a practical history and still earns its place.

𝐖𝐡𝐚𝐭 𝐭𝐡𝐞𝐲 𝐚𝐫𝐞

A headband is a narrow band of woven or braided cloth, sometimes with a coloured stripe along the edge, glued across the head and tail of the text block. On a traditional book it was worked by hand, loops of thread sewn through the sections and linked to a core, so the band was part of the binding structure. On a modern casebound book it is usually a pre-made strip cut to the spine width and glued in place, and it sits just inside the edge of the spine.

𝐖𝐡𝐚𝐭 𝐭𝐡𝐞𝐲 𝐝𝐨

The old job was structural. A sewn headband filled the gap between the text block and the case at the head and tail, supported the spine edge of the sections and stopped the covering material from being pulled away when the book was opened. Modern case binding rarely needs that support, because the spine is lined and the case is built to take the opening movement. So the band is now mostly a finish. It hides the raw edge of the spine, covers the lining, and gives the book the tidy look readers expect from a hardcover.

𝐖𝐡𝐲 𝐭𝐡𝐞𝐲 𝐬𝐭𝐢𝐥𝐥 𝐦𝐚𝐭𝐭𝐞𝐫

A hardcover without a headband shows the spine lining and the folded edges of the sections at head and tail, and the gap between the block and the case is visible from the top. A band closes that gap visually and adds a line of colour that can be matched to the cover or used as a small accent. Colours are usually chosen from a stock range, or woven to match a brand colour for a run of books. The stripe pattern varies, one colour, two colours, or a subtle edge, and that choice is often made at the design stage with the cover.

𝐇𝐚𝐧𝐝𝐥𝐢𝐧𝐠 𝐚𝐧𝐝 𝐟𝐢𝐭

Because the band is glued to the text block and then hidden inside the case, the fit matters. The spine width has to be known before the strip is cut, since a band that is too wide buckles and one that is too narrow leaves gaps at the corners. The strip is set with its edge flush to the head and the tail, and the covering is turned in over it when the case is built. A hot melt or PVA adhesive holds it, and the band has to survive the opening and closing of the book without lifting.

𝐓𝐡𝐞 𝐬𝐦𝐚𝐥𝐥 𝐝𝐞𝐭𝐚𝐢𝐥𝐬

Headbands and tailbands are the kind of detail that only gets noticed when they are missing. They cost little, add speed to nothing, and yet a well made hardcover feels unfinished without them. For a run of books that are meant to last, they are the last small step that makes the spine look like it was meant to be there.

30/09/2026

Paper is made on a machine that carries a wet slurry of fibre over a screen at speed. The fibres line up with the direction of travel rather than settling at random, and that alignment is what printers call the grain. It is invisible once the sheet is printed, but it decides how the sheet folds, curls, tears and wears.

𝐆𝐫𝐚𝐢𝐧 𝐥𝐨𝐧𝐠 𝐚𝐧𝐝 𝐠𝐫𝐚𝐢𝐧 𝐬𝐡𝐨𝐫𝐭

Grain direction is named against the longer side of the sheet. In a grain long sheet the fibres run parallel to the long edge. In a grain short sheet they run parallel to the short edge. The difference matters as soon as the sheet is folded or bound, because paper folds cleanly along the grain and fights a fold across it.

𝐓𝐡𝐞 𝐟𝐨𝐥𝐝 𝐭𝐞𝐬𝐭

Fold a sheet one way and then the other and the difference is easy to feel. A fold along the grain leaves a smooth, quiet crease. A fold across the grain is rougher, and on a coated stock the coating cracks along the line. If a fold has to run across the grain, a score is added first so the fibres are compressed into a hinge before the fold is made.

𝐖𝐡𝐲 𝐛𝐨𝐨𝐤 𝐬𝐩𝐢𝐧𝐞𝐬 𝐟𝐨𝐥𝐥𝐨𝐰 𝐭𝐡𝐞 𝐠𝐫𝐚𝐢𝐧

In a book, the grain of the text paper runs parallel to the spine. A spine folds along the grain, so the pages open with less resistance and the book lies flatter. A book bound with cross grain paper is stiff, springs open at odd angles and the pages fight the binding. The same rule applies to a folded brochure, a carton flap and a folded leaflet: the main fold should follow the grain wherever the layout allows it.

𝐂𝐮𝐫𝐥, 𝐦𝐨𝐢𝐬𝐭𝐮𝐫𝐞 𝐚𝐧𝐝 𝐫𝐞𝐠𝐢𝐬𝐭𝐞𝐫

Fibre swells across its width when it takes up moisture from the air, far more than along its length. A sheet stored in a damp room bows and curls, and a sheet that has taken up moisture before printing can stretch out of register on the press. Roll paper carries the grain along the length of the web, which is one reason work printed from a roll can behave differently from the same job run from cut sheets.

𝐖𝐡𝐚𝐭 𝐭𝐨 𝐜𝐡𝐞𝐜𝐤 𝐛𝐞𝐟𝐨𝐫𝐞 𝐭𝐡𝐞 𝐥𝐚𝐲𝐨𝐮𝐭 𝐢𝐬 𝐟𝐢𝐱𝐞𝐝

Grain is set at the paper mill and cannot be changed afterwards. It is worth confirming on the paper stock list, and worth marking on the layout so the folder and the bindery do not have to guess. A three second fold test settles the question, and the sheet will keep the answer for the rest of the job. From commercial projects to specialized publications, book printing plays a vital role in modern print production.

29/09/2026

A gold title on a book spine or a mirrored logo on a carton is not ink. It is a thin layer of metal, or a pigment that looks like metal, transferred onto the sheet from a carrier film under heat and pressure. The process is called foil stamping, and it is one of the oldest finishing techniques still in daily use.

𝐖𝐡𝐚𝐭 𝐭𝐡𝐞 𝐟𝐨𝐢𝐥 𝐢𝐬

Foil comes on a roll. A polyester carrier film holds the layers, and on top of it sit a release coat, a colour or metallic layer and a heat activated adhesive. When a heated die presses the foil against the paper, the adhesive bonds to the sheet and the release coat lets the colour layer pull cleanly away from the carrier. The carrier is taken up on a spool and the foil is used once. A metallic foil gets its shine from a vacuum deposited aluminium layer, while a pigment foil carries coloured resin instead and can also be made holographic.

𝐓𝐡𝐞 𝐝𝐢𝐞 𝐚𝐧𝐝 𝐭𝐡𝐞 𝐜𝐨𝐮𝐧𝐭𝐞𝐫

The image is a raised shape on a metal die, usually brass, magnesium or copper, mounted on a heated platen. Under the sheet sits a counter, a hard surface that supports the paper so the die can press the foil in without cutting through. The three settings that decide quality are heat, pressure and dwell time, and each is tuned to the stock. Too little heat and the foil does not release. Too much and the adhesive spreads past the edge of the image and the result is a ragged halo.

𝐖𝐡𝐢𝐜𝐡 𝐬𝐭𝐨𝐜𝐤𝐬 𝐭𝐚𝐤𝐞 𝐢𝐭 𝐰𝐞𝐥𝐥

Smooth coated papers, book cloth and leather take foil cleanly because the die makes full contact. Heavily textured stocks are harder, because the surface rises and falls and the die touches only the peaks. On those a textured or matte foil often reads better than a bright mirror finish, and the pattern of the paper showing through the metal can be the point of the design.

𝐇𝐨𝐭 𝐚𝐧𝐝 𝐜𝐨𝐥𝐝 𝐟𝐨𝐢𝐥

Hot foil stamping uses the heated die and is the traditional method, with the deepest relief and the widest choice of effects. Cold foil is done on press: an adhesive is printed like an extra ink, the foil is pressed against it and peeled away, leaving the image behind. Cold foil runs at press speed and suits large areas and fine detail, but it does not produce the same raised, sculpted edge.

Foil adds cost because the die, the setup and a roll of foil are all one off, and the effect does not survive some kinds of lamination or heavy abrasion. Used where it counts, a small area of metal on a cover does work that no ink can copy. Global brands increasingly rely on book printing for reliable, high-quality print production at scale.

ZX China Printing

08/10/2026

07/10/2026

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30/09/2026

29/09/2026

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Listing takedown request

Monday	08:00 - 18:00
Tuesday	08:00 - 18:00
Wednesday	08:00 - 18:00
Thursday	08:00 - 18:00
Friday	08:00 - 20:00