The majority of counterfeiters, as one federal investigator told me, are meth heads who, after three nights without sleep, suddenly get the bright idea to scan a $20 bill, bleach a bunch of $5 bills, and print the image of the $20 on that same paper. Even the most senile merchant can usually spot these shams.
But with his scrupulous craftsmanship, Kuhl placed himself among a rarefied class of counterfeiters who can produce truly high-quality fakes. They possess sophisticated knowledge about paper and dyes, and they have expertise in printing machinery and banknote security features such as watermarks and color-shifting ink.
With a cigarette in one hand and a money- marking pen in the other, Kuhl began his quest to conquer the dollar by thumbing through thick binders of paper samples. Money-marking pens draw a black line on paper made with starch but not on stock that lacks starch, such as the ultrafine cotton-linen sheets manufactured by Crane & Co. of Dalton, Massachusetts, the sole provider of US dollar substrate. He contacted a dealer in Düsseldorf, hoping to buy some of Crane’s special blend of 75 percent cotton and 25 percent linen, but he was told that selling it was forbidden. Eventually Kuhl connected with a dealer in Prague who supplied him with starch-free paper that felt and weighed about the same as the Crane’s.
Kuhl’s intricate production process combined offset printing with silk-screening (see “How to Make $100″). The hardest features to forge with any level of sophistication are on the front of the note: the US Treasury seal, the large “100″ denomination in the bottom-right corner, and the united states of america at the top. Real US currency is printed on massive intaglio presses (intaglio is Italian for engrave). The force with which the presses strike the paper lying over the engraved steel plates creates indentations that fill with ink, giving the bills a delicate 3-D relief and a textured feel. Its absence is a telltale sign of a counterfeit. For Kuhl this was the most critical puzzle piece: how to create that texture convincingly without the benefit of actual engraving. “I had an idea,” he says, “and I was itching to try it.”
His idea was to apply a second layer of ink, creating sufficient relief to mimic intaglio-pressed paper. But looking under a microscope, Kuhl saw that this second coat slumped as it dried, giving the image a blurred appearance. This problem stymied his progress until he read about UV-sensitive clear lacquer, which dries instantly when exposed to ultraviolet light. That, he says, was when everything clicked. “The ink wouldn’t have time to slump,” he says.
He ran a sheet of paper through the silk-screen press again, this time applying the lacquer and then drying it under UV light. “You don’t see the UV varnish—that is the key. You only feel it,” Kuhl says. This invisible coating atop the raised US Treasury seal and large “100″ in the lower-right corner of the bill was his masterstroke. One official told the German news magazine Der Spiegel that Kuhl’s dollars were “shockingly perfect.”
His method may have been ingenious, but it was excruciatingly slow. Working to a soundtrack of the Rolling Stones and Dave Brubeck, he spent the better part of two years wearing white latex hospital gloves and breathing chemical fumes. He couldn’t even open the windows because he worried that neighboring businesses would see or smell something that might cause suspicion. At times he would tell himself, almost as if in a trance: “Ich muss meinen Dollars machen” (I must make my dollars).
by David Wolman, Wired | Read more:
Photo: Jaap Scheeren
