Kaway Group adds numbering, variable data, chip encoding, security features and finishes at the plant in Dongguan, on the same run that prints the card.
Applied in the artwork pass, so fifty thousand different cards are still one production run.

Numbers printed on every card, running in sequence or taken from a list you supply. They go down in the same pass as the artwork, so numbering is part of the print run rather than a separate job afterwards.

Printed on each card in the symbology your system reads, linear or 2D, with module width and quiet zone set to your scanner. The same link can go on a compatible NFC chip as an NDEF URL.

UID reading, sectors and blocks, and hotel keys for VingCard, SALTO, dormakaba, Onity and Saflok, encoded at the plant where the chip, the system's requirements and its authorisation allow it.

HiCo or LoCo, laminated into the body rather than stuck on afterwards, so the stripe cannot lift at the edge. Encoded here on the tracks your system uses. PVC only, and it cannot go on wood.

A coated white area that takes ballpoint and pencil without smearing or wiping off. Printed as part of the card back, so it sits flush with the surface and does not catch when the card goes through a reader.

An opaque layer over a printed code, taken off with a coin. Used on gift cards for PIN delivery and activation codes, where the card has to prove that nobody read it before the holder did.
Five features that make a copy costly to produce and quick to spot. They combine on one card.

Ink that is invisible in daylight and shows only under a UV lamp. A copier and a phone camera both see nothing, so the mark cannot be reproduced from a photograph of the card.

Text printed small enough to need a loupe. It survives the press but not a scanner, so on any copy it degrades into a grey line, which makes the forgery obvious to anyone who knows where to look.

The fine interlaced line work used on banknotes, built into the artwork rather than added on top. Scanning it and printing it again breaks the pattern into moire, so the copy announces itself.

A metallised patch or a full laminate that shifts as the card tilts. It is checked by eye in a second, with no lamp and no loupe, which is what makes it the practical one at a busy desk.

Metallic foil pressed into the surface with heat and a die, not printed on top of it. No office printer produces it, and the die itself is a barrier to anyone trying to copy the card.
Cut, finished and textured on the same line as the printing: one order, one approval.

Any outline up to 200 mm on the longest edge, cut from tooling held at the plant. Break-apart cards, key tags and shapes that never started from CR80 are cut on the same machine as a standard card.

Clear or part-clear bodies, with the artwork built around the window rather than laid over it. The chip and the antenna have to be positioned into that layout, so this is the finish to send artwork for early.

A surface that kills glare under reception lighting and does not hold fingerprints. It also wears better than gloss, which is what matters on a card handled several times a day for a year.

Gloss laid on one element of a matte card, a logo or a band, so it catches the light while everything around it stays flat. It can also run across the whole face where the artwork wants shine.

Raised characters pressed through the body from behind, read by a finger as much as by an eye. Used where a number has to stay legible with no reader and no power behind it.

A mark cut into the surface rather than printed on it, so it cannot rub off. Used on wood and bamboo, where the burn opens the grain, and on ABS key fobs, where a printed mark would wear away.
What a factory needs to quote, and the five artwork mistakes that cause a reprint.
Read the guide →The three routes from blank plastic to a working credential, and who holds the keys.
Read the guide →Classic, Ultralight and DESFire answer the same reader and are not interchangeable.
Read the guide →Ask for a free sample in your material and chip.