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June/July 2012

THE GARMENT ISSUE

© 2012 Hewlett-Packard Development Company, L.P.

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DOUTHITT

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Douthitt’s self contained screen exposure systems provide the best vacuum contact and the best registration. Combined with our focused reflector metal halide printing lamps, our units offer the sharpest resolution, guaranteed coverage, shorter exposures and completely hardened emulsion.

JUNE/JULY 2012Volume 102 / Number 3

About the CoverOur annual

garment-themed issue examines grayscale seps,

team wear, print management,

and more. Cover photo courtesy of Stahls’ ID Direct.

Cover design by Keri Harper.

CONTENTS

FEATURES

18 Step Up Your Game with Team Wear Cara CherryDiscover profitable niches in the growing sportswear market.

24 Boosting Garment-Printing Efficiency Dawn M. Hohl-NowlinThese expert tips describe how to control the variables commonly encountered in garment screen printing.

28 What Printers Think About RIP Software Dan NaumovichLearn what RIP software can do for screen and digital printers.

32 Direct-to-Garment Site Preparation and the Environment Paul BoruckiThe author talks about the importance of environmental controls in getting the best results from DTG printing.

COLUMNS

PREPRESS WIRE

10 Digital vs. Screen and the Dilemma of Process Improvement Mark CoudrayCoudray reviews how digital has changed the economics of what printers do and the way graphics are purchased.

EXPERT APPAREL

12 Grayscale Magic Thomas TriminghamSee how to use graphics software to separate images and make them pop on garments.

DEPARTMENTS

4 NEWSWORTHY6 NEW PRODUCTS34 INDUSTRY UPDATE 35 SHOP TALK36 CLASSIFIEDS38 DISTRIBUTOR/DEALER DIRECTORY39 AD INDEX40 EDITORIAL INSIGHTS

SCREENPRINTING Online Communities

screenweb.com/news-trends/mesh-blogB

SCREEN PRINTING (ISSN 0036-0594) is published bi-monthly by ST Media Group International Inc., 11262 Cornell Park Dr., Cincinnati, OH 45242-1812. Telephone: (513) 421-2050, Fax: (513) 362-0317. No charge for subscriptions to qualified individuals. Annual rate for subscriptions

to non-qualified individuals in the U.S.A.: $42 USD. Annual rate for subscriptions in Canada: $70 USD (includes GST & postage); all other countries: $92 (Int’l mail) payable in U.S. funds. Printed in the U.S.A. Copyright 2012, by ST Media Group International Inc. All rights reserved.

The contents of this publication may not be reproduced in whole or in part without the consent of the publisher. The publisher is not responsible for product claims and representations. Periodicals Postage Paid at Cincinnati, OH and at additional mailing offices. POSTMASTER: Send

address changes to: Screen Printing, P.O. Box 1060, Skokie, IL 60076. Change of address: Send old address label along with new address to Screen Printing, P.O. Box 1060, Skokie, IL 60076. For single copies or back issues: contact Debbie Reed at (513) 421-9356 or Debbie.Reed@

STMediaGroup.com. Subscription Services: [email protected], Fax: (847) 763-9030, Phone: (847) 763-4938, New Subscriptions: www.screenweb.com/subscribe.

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STUDY: IN-STORE MARKETING GUIDES MOST PURCHASE DECISIONS Big news for those who print P-O-P and other types of retail displays: A recent study conducted by the Point of Purchase Advertising International (POPAI) indi-cates that 76% of purchase decisions are made in store.

POPAI’s 2012 Shopper Engagement Study used EEG, eye-tracking technol-ogy, and in-store shopper interviews to arrive at that figure. According to POPAI, nearly one in six brand purchases are made when a display with that brand is pres-ent in store. POPAI also notes that effective marketing captures buyers’ valuable attention and, in doing so, converts that interest into purchases.

Published findings report that 13% of eye fixations were made on in-store displays; 66% of all observed grabs resulted in a purchase, which POPAI says underscores the im-portance of capturing the shoppers’ attention and getting them engaged with the product.

The study involved the use of auditors who took inventory of in-store display materials present in each store each morning prior to the start of interviewing. Data included display type, location, placement, other variables, category and brand the display is advertising, static vs. motion, product vs. no product, whether it is interactive or not, and whether it has video or audio.

“Even as other emerging mediums and technologies alter the path to pur-chase landscape, this study underscores the importance of planning the in-store experience to win over shoppers where it matters most—the point of purchase,” says Richard Winter, president of POPAI.

For more information about the study, or to view complete findings, visit www.popai.com/engage.

SCREENWEB POLLHow many garment screen presses do you own?

NEWSWORTHY

www.screenweb.com

Steve DuccilliGroup [email protected]

Gregory SharplessAssociate [email protected]

Gail [email protected]

Ben P. RosenfieldManaging [email protected]

Keri HarperArt [email protected]

Mark Coudray, Rick Davis, Tim Greene, Andy MacDougall, Rick M andel, Thomas TriminghamColumnists

Linda VolzProduction [email protected]

Business Development ManagersLou Arneberg – East and Midwest US, Eastern Canada, [email protected] Stauss – West and South US, Western Canada, [email protected]

Andy Anderson, Jeff Arbogast, Albert Basse III, Reynold Bookman, Bob Chambers, Don Curtis, Dean DeMarco, Michael Emrich, Craig Furst, David Gintzler, Ryan Moor, Bob Roberts, Jon Weber, Andy WoodEditorial Advisory Board

Jerry SwormstedtChairman of the Board

Tedd SwormstedtPresident

Kari FreudenbergerDirector of Online Media

Customer ServiceScreen Printing Subscription ServicesP.O. Box 1060Skokie, IL 60076P: 847-763-4938/877-494-0727F: 847-763-9030 E: [email protected]

Free Subscriptionwww.screenweb.com/subscribeRenewals/Address Changeswww.screenweb.com/renew

SCREENPRINTING4

25% 2 31% 3 12%

4 8% 5+ 24%

Call customer service to open an account today at: Tel. +1 (213) 488-0226 Option 2Fax. +1 (213) 488-0334email us at: [email protected]

You CanOrder MillDirect!

americanapparel.net/wholesale

American Apparel brings you Swimwear for Sublimation!

Our new sexy string bikini top and bottom, designed especially for custom sublimation printing. Featuring durable black ribbed binding that is sublimation friendly and will offer a clean, finished look.

NT301S TOP S / M / L


NT307S BOTTOM S / M / L


American Apparel—Factory HQ USA747 Warehouse St.Los Angeles, CA 90021



new products

screenprinting6

Small-Format PressInkcups Now recently unveiled the R160, a screen-printing machine the company says fills a void that has long existed in the specialty printing mar-ket. The R160 is a small-for-mat, semiautomatic, one-color press that supports image sizes up to 4.75 x 7.75 in. (120 x 197 mm). Ac-cording to Inkcups Now, it addresses the challenges of print-ing images that fall between the traditional ranges of screen- and pad-printing equipment, while enabling better utilization of larger screen-printing machines. The ICN-R160 features six platens and a part detector to prevent printing on an empty platen automatically. It is equipped with a dual flash cure unit. The press supports printing speeds up to 1800 impressions/hr.

Fabric for Direct-Disperse Printing

Fisher Textiles (www.fishertextiles.com) recently added styles DD 2300 Satin and DD 7908 Suede (FR) to its line of fabrics for direct-disperse printing. This fabric line is com-patible with d-Gen Teleios, DuPont Artistri, Durst Rhotex 320, Jeti 3324 AquaJet, Mimaki JV5-320DS, Mimaki DS-1600, Mimaki DS-1800, Mutoh Viper TX, Roland HeatWave, and Roland Hi-Fi Express printers. DD 2300 Satin is 100% poly-

ester, 4.3 oz/sq yd, and 72 in. (1829 mm) wide. It can be used for roll-up banner stands, trade-show exhibits, and more. DD 7908 Suede (FR) is 100% polyester, 7.0 oz/sq yd, 122 in. (3099 mm) wide and passes NFPA 701.

Plastisol Inks

StarTex plastisol screen-printing inks from GSG (www.gogsg.com) are formulated for high productivity, wet-on-wet print-ing. According to GSG, the inks have a creamy viscosity that does not shear excessively. They offer a satin finish and are compatible with 100% cotton, cotton/poly blends, 100% poly-ester, and some synthetics. GSG notes that a low-bleed white underbase is required if printing on fabrics with polyester content to reduce dye migration. The company also recom-mends an underbase when printing on white cotton. The inks are designed to gel at 230°F (110°C) and cure at 320°F (160°C).

Screen-Printing Packages

Workhorse (www.workhorseproducts.com) recently recon-figured its start-up shop packages and now offers four new options. Starter Pack #1 features an Odyssey one-color/one-station bench printer with a Luminator exposure unit and the Super Seca 16 x 16-in. (406 x 406-mm) flash cure. The package has the capacity to print up to 36 one-color prints per hour. Starter Pack #2 adds on to Pack #1 with a vacuum platen that makes it possible to print transfers, signs, and similar flat substrates. Starter Pack #3 starts off with a four-color/one-station bench-model Odyssey, the Lumitron screen-exposure unit, an 18 x 18-in. (457 x 457-mm) Super Seca flash, a 20-in. x 5-ft (508-mm x 1.5-m) dryer, and platens for youth apparel, oversize garments, and sleeves/legs. This combina-tion is capable of producing up to 36 multicolor prints per hour. Starter Pack #4 features the Odyssey four-color/four-sta-tion floor model, a Lumitron screen-exposure unit, an 18 x 18-in. Super Seca flash, a 20-in. x 5-ft dryer, and a washout sink.

inkcups now

Fisher textiles

gSg

Workhorse products

june/july 2012 7

It also comes with the same platens as Starter Pack #3. Production capacity is up to 72 prints an hour.

CAD-Cut Material

Imprintables Warehouse (www.imprintables.com) now offers CAD-cut materials with school-mascot themes for spiritwear. Spectra Patterns can be custom printed using mascot artwork and turned into a heat-sealable material with a repeating pattern. The mate-rial comes on a 15-in.-wide (381-mm) roll and, according to Imprintables Warehouse, can be heat applied to any garment made of 100% cotton, 100% polyester, or a cotton/poly blend. The company says Spectra Patterns is very durable and wash-fast.

Signage KitsNeschen Americas (www.neschena-mericas.com) recently debuted its Signage Application Kits. They’re de-signed for window, floor, and anti-graf-fiti signage. The window kit includes SolvoPrint Paper 240 Satin and Gudy Window by Seal. A kit with SolvoPrint Paper 240 Satin and Blox-Lite 10-mil Blockout paper is available for window graphics that are printed on both sides. The floor-graphics kit includes Print Shield Floor Guard with SolvoPrint MightyGrip Removable SAV, designed for slip and scuff resistance. The anti-graffiti kit includes Print Shield Anti-Graffiti, engineered to protect im-ages from chemicals, paints, permanent marker, and acrylics. Products in the kits are offered in widths of 36-54 in. (914-1372 mm) on rolls measuring 50 ft (15 m) long.

Inkjet CanvasSihl Digital Imaging (www.sihlusa.com) has developed what it calls a premium inkjet canvas for use with aqueous inkjet printers for the most demanding pho-tographers, artists, and print shops. Sihl Illumina Semi-GlossCanvas - 3185 is a 19-mil material with a 2:1 structure and

a microporous coating engineered to dry instantly. According to Sihl, Illumina Semi-Gloss Canvas supports maximum ink loading for unparalleled density and color gamut. The material is designed to work with solvent or aqueous liquid laminates, and it can be professionally stretched, folded, and gallery wrapped.

Imprintables Warehouse

new products

screenprinting8

It comes in 40-ft-long (12-m) rolls and in widths of 24, 36, and 44 in. (610, 914, 1173 mm). Onboard print settings for Epson, Canon, and HP printers are available from the company’s Website.

Dye-Sub Ribbon AppliquéDalco Athletic (www.dal-coathletic.com) now offers a dye-sub ribbon appliqué for cheer uniforms and spiritwear. The design incorporates a script typeface that resembles ribbon to form a team name. Underneath it is a word such as football, cheerleading, or all stars—or the product can show the team name alone. A variety of foreground and background colors are available, and the appliqué can be backed with a permanent, heat-applied adhe-sive or finished for sew-down with an embroidery machine. The appliqué measures approximately 5.5 x 11 in. (140 x 279 mm) and is made of 100% polyester twill.

Heat PressStahls’ Hotronix (www.hotronix.com) bills its new Air Fusion as the most technologi-cally advanced heat press in the world. The auto-open, auto-swing press is powered by an air compres-sor and supports the programming of up to four different pressure and time settings. The press features a fully thread-able lower platen, swing-away design, and adjustable stand, touchscreen control, dual time settings for two-step applica-tions, a production-cycle counter, and more. Its 0.75-in.-thick (19-mm) heat platen measures 16 x 20 in. (406 x 508 mm).

Dalco Athletic

Stahls’ Hotronix

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SCREENPRINTING10

THE PREPRESS WIRE

In the February/March issue of Screen Printing, I talked about what’s really driving the relentless contraction of run length. For those that missed it, the quick difference is that the old graphic-communication model was based on mass production of printed units. To get the cost per unit low enough to justify a campaign, the run length was increased to lower the proportional cost of the prepress and set-up.

To remain economically viable, screen has been focusing on reduced setup times and heightened production efficiencies. This has been the way we’ve always handled it—we simply look for ways to reduce non-billable or non-value-add time within the overall transaction. We aren’t alone here. Every other analog printing method has looked to this model as well.

Back in the early 1990s, Total Quality Management (TQM) sought to create flexible manufacturing cells ca-pable of producing very small lots. This was extended in Lean Manufacturing as a method to eliminate all waste. This includes any time that‘s not directly buidable into the value of the final product.

Like TQM, Lean aims to create an economic value unit of one. This is consistent with the convergence we see with the digital model. So far, so good. We’re all on the same page when it comes to getting rid of waste. So why won’t this work moving forward for screen printing?

The real issue is the total cost of operation. There are two components here, the first being the material cost of set-up. This includes all the prepress costs: image prep, ripping, film (if not direct), screens, and screen prep labor. It also in-cludes the labor to set up the press and the associated run-up costs of getting the press sheet dialed in for color and fit.

We can’t do much about the prepress costs other than skipping the film portion and going direct to screen. The screen and mesh amortization, emulsion, and imaging costs are limited. We might be able to save some exposure time by using pure photopolymers, but this is a relatively low savings.

On the set-up side of things, the more control we have

over ink flow and press set-up, the faster we’ll come up to color and fit. The work to achieve this was done way back in the mid 1980s with high tension mesh and thixotropic UV inks. Ink shear became a very predictable model. Sadly, many companies are still fighting this battle when it should have been history two decades ago.

OptimizationWhat has kept the screen-printing industry from succeeding at optimization has to do with resistance to change. The old model is based on years of experience being rewarded in a high hourly wage rate. This high labor cost caps how much we can save through increased efficiency.

Color management was introduced as a method of control to combat this problem. The result is that ICC color management has commoditized output quality. If you’re us-ing a digital printer, and have properly profiled the press, ink, and substrate, the results will be the same if the operator is paid $25.00/hr or $2.00/hr. This means whoever has the low-est labor cost is going to get the work, unless you can change the equation. This will be a very important part of what I will address shortly.

When a market is growing there’s little motivation to curb costs or to optimize. When the market plateaus and begins to decline, the focus is on cutting costs and improving efficiency. This is an effort of diminishing returns. For screen printing the problem is that the expensive, experienced tech-nicians (pressmen) have an analog paradigm. It has always been hard to get them to embrace controls and standardiza-tion at the core of ICC, G7, or any other standards-based system.

The reason is simple, once a system is controlled, the value of having skilled technicians diminishes. Look at what has happened to litho. It has so focused on setup and cost reduction that it’s now able to compete with screen, especially in large format. The run sizes have dropped to less than 1000 sheets on presses fully capable of running 18,000

In this installment, Coudray looks at ways in which screen printers can take a leadership role in improving quality and integrating into a more digital-oriented advertising world.

Mark Coudray

DIGITAL VS. SCREEN AND THE DILEMMA OF PROCESS IMPROVEMENT

Mark A. Coudray is president of Coudray Graphic Technologies, San Luis Obispo, CA. He has served as a director of (SGIA) and as chairman of the Academy of Screen Printing Tech-nology. Coudray has authored more than 250 papers and articles over the last 20 years, and he received the SGIA’s Swormstedt Award in 1992 and 1994. He can be reached via e-mail at [email protected].

the prepress wire

june/july 2012 11

impressions/hr all day long. Electronic prepress, direct-to-plate, and full color management have driven the cost and economic run length (ERL) down, down, down. But this industry segment is still collapsing. Why? Because they need to be competitive at a unit of one.

Measuring as compared to digital Digital has fundamentally changed the underlying economics of what we do and the way graphics are purchased. It is doing this in the same way it ravaged the television, music, video/motion picture, and publishing industries. While this is a grim reality, it does not mean we have to fully accept it as our inevitable future.

Understand the entire graphic communication industry was based on mass produced advertising volume. It is push based, where the industry pushes advertising out to the market and bases its value on cost per thou-sand (CPM) views or units produced. It cannot be measured effectively. The only metrics are aggregate metrics for the entire campaign.

Digital is different. It is based on a personalized unit of one. Every-thing about digital can be measured. As a result, the underlying production model we have used for the last 150 or more years is no longer relevant. It doesn’t matter how efficient you are if you can’t deliver graphics that fit into a metric-driven, analytic, ROI model.

This is a huge difference. Push based marketing is considered an ex-pense, hence the focus is on reducing costs. This is something you cannot win. Digital is a pull-driven market where every individual instance is mea-sured for an increase in ROI. Hence, it is an investment-driven model.

This is where screen printing loses the game. When advertisers can measure results down to the individual location, they don’t care what the cost is, as long as the return on their ad-vertising investment meets or exceeds their expectation. They’re able to cus-tomize the graphics to each individual

store, location, demographic, ethnicity, inventory item, and preference. It is as close to 1:1 marketing as we can get with this model.

This means the inevitable is variable-data printing (VDP), where the graphic content is determined based on rules merged from disparate and un-connected databases. The direct-mail industry has been doing this for years. It’s not a new concept. The granular-ity, or the resolution, of the offering is what’s new. New opportunities present themselves as computation speed in-creases and data move increasingly to the cloud. Whether we can take advan-tage of them or not will depend on how open our industry is to new ideas.

As I see it, the problem is one of vision and willingness. I don’t hear many people talking about this. It’s as if owners and management are in denial with their heads stuck in the sand. It’s been easy to blame poor performance

in the last few years on a crappy economy. But that isn’t totally to blame. Times are changing and with them, so is our need to adjust.

We have some transition options available for now, but they are becom-ing increasingly limited. Run length will continue to decrease until only what is needed to drive the sale is produced. We can’t stop that. It’s an inevitable outcome. Our future lies in understand-ing what’s really going on and develop-ing meaningful and effective solutions that add value for our customers.

The future of screen will be about integration. It relies on how we integrate into a digital economy and how we integrate with other digital pro-cesses. It’s foolish and naïve to think we will remain a viable option because we have better outdoor durability, size, or substrate variety. These were all his-torical values that have been eclipsed

by digital. We still have a small speed advantage on longer runs, but as we have seen, that is increasingly irrel-evant as well.

So what are the options? What can we do to add value? Clearly, there are no simple answers. We are a ma-ture industry with established relation-ships. Our customers have come to know us and trust us. Sure, they are focused on cost, but that is what has driven everyone in the past. The vision and willingness I spoke of earlier have to do with stepping up and providing leadership.

Our customers look to us for leadership. When you take a total customer perspective, you have a responsibility to present solutions that maximize your customer’s potential through the use of what you sell them. That is the living definition of value.

Willingness means moving off the current model you are using within

your company. This is scary and a big risk. Nobody wants to make a costly mistake. No one wants to move away from what they know into the unknown. But think about this for a minute.

Your new competitors don’t have that irrelevant, historically based model holding them back. They don’t have the internal friction of a mature workforce resisting change. They also don’t have the customer base and the relationships you have.

That being said, if you fail to step-up and provide the vision and leadership to your established relation-ships, you’ve just opened the door. You’ve opened the door to a new, ag-gressive competitor who’s more agile, lower cost, and is now competing with you head-to-head. You’ve just handed over the one advantage you had.

“What has kept the screen-printing industry from succeeding at optimization

has to do with resistance to change.”

EXPERT APPAREL

Thomas Trimingham has worked in the screen-printing industry for more than 15 years as an artist, art director, industry consultant, and head of R&D for some of the nation’s largest screen printers. He is an award-winning illustrator, designer, and author of more than 45 articles on graphics for screen printing. He can be reached at [email protected].

SCREENPRINTING12

EXPERT APPAREL

GRAYSCALE MAGIC

Thomas Trimingham

Trimingham describes how to build incredible looking grayscale prints on dark garments that are light and detailed.

There are lots of ways to create separations for prints on dark shirts, but very few really make the graphic jump off of the garment with the least amount of work. The best prints on dark garments use the garment to a degree to darken the shadows in the image, and it always is a bonus if the printed area feels light to the touch.

Without printing discharge or water-based inks, the best way to create a softer feeling shirt is to change the print-ing order on some of the separations so that there is less ink going down and still a sense of brightness to the image. It is possible to achieve both of these objectives by using a style of printing and separation that many printers tend to avoid. This style is very useful particularly when printing and sepa-rating grayscale images on dark shirts because it can really help to create the deep shadows in an image with having the colors all be completely under printed with a white ink. The lower ink volume is what really gives the shirt its incredible look and feel.

The trick to building an unconventional grayscale print on a dark garment is to follow a simple three-step process. First, you extract the grayscale base part of the image. Sec-ond, you decide if you need a bump plate or color overlay. Finally, you pull out the highlighted white areas and review the work in a digital proof.

Before you startThe same process that is used in high-end, detailed separa-tions in multiple colors when you begin the file preparations is also used for quick grayscale separations. It is critical to check the file to make certain it is the right size (actual size of the final output) and a decent resolution (at least 150-300 dpi) prior to starting the separation process. If you need to adjust other things about the file, it is always better to do so prior to separation—examples include typography, edge qual-ity in the design, and the overall tonal range. Once everything is adjusted or clarified, then the separations can be started.

Probably the most common problem with submitted files is that they tend to be low in resolution and in edge clari-ty. The reason this is a concern for images that will be broken into halftones is that without a clear definition to the edges in an image, the ink tends to wander past where it should go and the whole graphic can begin to look fuzzy or indistinct. A lot of times this is something that won’t be caught until it is being printed as well, because the computer simulation

FIGURE 1 A digital picture with poor edge quality

FIGURE 2 Use the Lasso tool and then the Color Range tool to cre-ate an extra layer on top of the original image and edit areas for better edges.

FIGURE 3 Copy the original, paste and invert it, and title the channel My Gray Channel.

expert apparel

JUNe/JUlY 2012 13

will show a clear edge to graphics. This is because it doesn’t simulate the degrading of the halftones on the edges and the tendency for low end dots to become lost in the screen mak-ing process.

Remember, a 5% dot on the computer screen that creates an edge in a dark garment will likely not hold on the screen unless you use a very controlled process. Most print-ers are lucky to hold 10% dots in, especially with film. In the example image (Figure 1) the digital picture looks fine from a distance, but on closer inspection the edge quality is poor. The likely result of this is that the fur texture and eye would mash together in the final print and cause a very muddy ap-pearance.

The solution for this issue is to carefully check the density of your edge defining areas in the image and to make adjustments for areas that are too low and will probably be squeezed out in the screen creation process. A filter in Photoshop can aid this process, so I took the wolf image and created a duplicate layer of the wolf, used the Curves menu to increase the contrast of the image slightly (deepened the blacks and brightened the whites), and then ran the Poster Edges filter on a light setting of 1 edge thickness, 0 edge intensity, and 6 on posterization.

The next step was to select just the fur areas of the wolf quickly using the lasso tool (this is called a pre-selec-tion) and then use the Color Range tool and extract just the black areas (or the edges created by the poster edges effect). I could then create an extra layer on top of the original image and fill just these outlines with black and then edit them to create better edge quality where I needed it and erase extra shapes where I didn’t need them.

These steps create little outlines in the image that will aid in keeping the edge quality sharper and help to make the overall print lighter by allowing the black of the shirt to come through the image in those areas (Figure 2).

Now that the image had all the quality to a decent level, it was ready for separation for grayscale printing on dark shirts. If you were going to image on lighter shirts, you would have to reconstruct the background or go back and edit out areas to create a border for the design to blend properly.

Steps for separation on dark shirtsExtracting the grayscale underbase The first step of creating the grayscale underprint is deceptively easy when the image is created on a black background. I just created four extra alpha channels after the image channels and named the first one shirt channel and changed the Channel Options color to black. After this was completed, I copied the original file, pasted it into the next channel, and then inverted it and titled this channel my gray channel (Figure 3).

Initially, this pasted graphic will appear too heavy, but all it takes is a little bump of the contrast to make it right on target. The major concern is that the image may have quite a few areas that are very light in halftone density and may not

Figure 4 I added two color bumps.

Figure 5 Use a smooth curve in the Curves menu to blend colors.

Figure 6 The newly created image

Figure 7 Poor edge quality

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screenprinting14

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hold onto the screen for this color. A simple solution for this is to ramp up the gray base to compensate for this possibil-ity. The easiest way to do this is to use the Curves menu and push over the black point toward the middle of the graph while keeping it on the edge. You are just looking at increas-ing the lowest level of dot to at least 12% or so and then the heavier areas will need to be higher as well to compensate for the ink being gray instead of white.

Determining the need for a bump plate or overlay color A bump is most commonly used when the grayscale image has a strong color cast to it. For example, I added two quick color casts to the wolf image that required two color bumps (Figure 4). If there is not a color cast to it, then it really doesn’t apply. If there is a color cast to the image, then it is important at this point to create a color-overlay plate.

One of the best ways to do this is to find the most saturated area of the color and use either Color Range or pull a selection that you can convert into a channel using the Im-age Mode split method, where the image is split into a CMYK image from an RGB image and then the closest channel that has enough color information in it is used as a bump plate or color overlay on top of the gray color. Typically, the ink is reduced a lot so it stains the color underneath without creat-ing too much opacity.

Figure 8 Six simple steps can boost edge quality.

Figure 9 the underbase was colored slightly to add to the color cast.

june/july 2012 15

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Creating the white plate As you can see for these styles of images, the gray screen becomes the underbase screen and the white can be printed on top of the gray (flashed, of course). The huge advantage to this is that both inks can then be run through much higher mesh counts than they would normally be. The gray will be brightened by the white on top of it, and the white will be underbased, thereby allowing the use of a reduced ink that can flow through a higher mesh count. The gray can be a 200-thread/in. mesh and the white can be a 190-thread/in. mesh using a 55-dpi dot.

These settings allow the highest quality print in this style with the least amount of ink buildup. To create the white, all you have to do at this point is duplicate the original image and then Curve out the lower end and save the high-lights. Make sure to use a nice, smooth curve in the Curves menu so both colors blend well together (Figure 5). That way, the transition between the gray and white screens will appear very smooth and clean.

Practice with this style of separation can become sec-ond nature and extremely quick once you master the subtle-ties of it. Let’s look at a new image that will be created using the same method (Figure 6). The file had to be prepared properly, because again, in a close view, the edge quality was poor (Figure 7) and there were a few other issues. The leop-

ard looked a little bored, so I copied the lower jaw, moved it up and closed its mouth and then duplicated the eyebrows and tilted them slightly in so the cat would look a little more intense.

The process of boosting the edge quality was almost the same as what I used for the wolf: I increased the contrast using Curves, then I sharpened the image using the Unsharp Mask dialog (amount 78 / radius 2.7 / threshold 1), and finally,

Figure 10 The final product is bright, detailed, and still has a soft feel on the shirt.

screenprinting16

expert apparel

I duplicated the layer and ran the Post-er Edges filter (same settings) and then Color Range selected the black, created an extra layer, and filled in just the black and quickly edited it. This may seem like a lot of steps but it was only seven or eight minutes of work, which is a lot less than redrawing things or creating shapes or paths with the brush tool to define edges (Figure 8).

The separation followed the same method, except there were two overlay plates that were added to the grayscale image. These colors were reduced inks that were to be printed over the white and the gray at the end of the printing sequence. So the print was executed on press using this print order: gray, flash, white, flash, pale gold, gray blue.

The separations were produced in this order with first copying the im-age and placing it into the first alpha channel and then bumping it to make the gray underbase. This underbase was colored slightly to add to the color cast, so it wasn’t a pure gray, but more of a blue-gray underbase (Figure 9).

The next step was to again duplicate and then squeeze the origi-nal image using the Curves menu to produce the white screen, and this image was added to the next channel in the print order. The final colors were pulled using the CMYK method, where a duplicate of the image was split and then pieces of the resulting channels were merged back into the separations as a gray-blue and a pale-gold channel. This process was fully completed in less than 30 minutes, with the separa-tions and final design all ready to print. The final product was bright, detailed, and still had a softer feel because it used less ink volume on the dark shirt (Figure 10).

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SCREENPRINTING18

STEP UP YOUR GAME STEP UP YOUR GAME STEP UP YOUR GAME WITH TEAM WEARWITH TEAM WEARWITH TEAM WEAR

Read on to see how to grow your team sportswear printing business.Cara Cherry

Stahls ID Direct

FIGURE 1 Performance

T-shirt features digitally printed

and heat applied CAD-PRINTZ

number effects.

june/july 2012 19

Apparel decorators know that one of the most profitable niches for them is in the sports market. Team uniforms, jerseys, spirit wear, fan wear—the op-portunities are practically endless. With lots of dealers and decorators for con-sumers to choose from, how do you get ahead of your competition and stand out? It’s not a secret—offering great prices, a wide selection of athletic and teamwear (Figure 1), and keeping up with the latest trends will keep your business booming!

Getting startedIt doesn’t matter what the season is or what time of year it is, there is always a need for decorated team apparel and fan wear. If you’re a garment decora-tor just getting into team wear, then make certain that you take the time to do your homework. Understanding the market, the needs of the players, the coaches, and the parents will help you get ahead.

Teams tend to stick with a famil-iar supplier and aren’t always willing to consider switching to a new vendor un-less they see a valid reason for making the move. Get to know the team that you’re targeting and what they’re look-ing for. Sometimes it can be something as simple as the fit of a uniform or the style of jacket. If a team isn’t happy with their current vendor, then it opens the door for you to try out your gar-ment printing expertise. If their shirts don’t fit right, then find them ones that do. If a jacket is too short, show them a longer one. If you’re able to offer a better product, lower price, different materials, special effects, or faster turnaround then you’ve got a great shot at winning their business.

Suit upLightweight fabrics, special effect materials, and unique graphic place-ment are all extremely popular when it comes to uniforms. Technical fabrics, while still considered a trend, are becoming more standard. Athletes are looking for materials that don’t hold them back and that offer moisture man-

agement (Figure 2) fea-tures, antibacterial proper-ties, and UV protection. Performance wear has to be soft and stretchable. Basic cotton or polyester blend garments are being reengineered and restyled to meet these demands.

Tapered/form-fitting jerseys in smaller sizes are also very much in demand for women. Girls are no longer forced to buy men’s jerseys in small sizes or order youth-size uniforms, since most manufacturers offer a ladies fit (Figure 3). One of the best ways to cater to women is to stock what they want. Spe-cifically, carrying women’s uniforms and showing a va-riety of fashionable options for female athletes is key.

Top manufacturers are also fighting for their share of the market place. In January, Nike unveiled its Hyper Elite Platinum series, which was worn by nine teams during the NCAA Basketball Championship this past March. The uniforms are made from 100% recycled polyester and are tailored for optimal efficiency and movement. The uniforms feature prominent accent colors, laser cut logos, and reflective numbers as well as side panels for increased breathability and lightweight fabric.

The NFL recently debuted new fall uniforms, which were also designed by Nike. The new uni-forms are designed to be lightweight, contoured to fit the body, and breathable. In terms of the designs, most of the uniforms received small tweaks for a more modern and sleek appearance.

Adidas recently introduced TECHFIT. Worn by players in the 2011 NBA All-Star Game it features strategically placed thermoplastic poly-urethane powers bands that align core muscles and boost power to key muscle group for more efficient movement. Ultimately, TECHFIT is designed to

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screenprinting20

increase acceleration and a player’s endurance.

Pro sports and college sports influence trends in active wear in the same way that celebrities influ-ence consumer clothing choices. High school teams and recreation leagues are sure to be excited for the new jer-seys and will most likely start demand-ing uniforms similar to the pros.

Name/number-decorating optionsLong-term decorators are familiar with the traditional methods of decorating including screen printing, heat print-ing, embroidery, and sublimation. The advances in team uniform fabrics are growing and so is the technology avail-able for decorating. Applying durable materials and choosing the most cost effective method will give dealers an edge. When it comes to putting names and numbers on jerseys, there are a variety of options to consider. Each method comes with advantages and disadvantages.

Seeing through the screenScreen printing is one of the most pop-ular methods when it comes to decorat-ing large quantities of garments. Most

team dealers will put custom logos and mascots on jerseys, team wear, bags, and fan wear. However, screen printing names and numbers can become com-plicated. Since screen printing requires different screens for every number and name, some shops may limit the colors and font choices.

Tackle itAppliqué is the most expensive method and commonly used on professional and replica jerseys. It’s more time con-suming which is why it costs more. A polyester-based fabric is usually treated with a heat transfer adhesive and then cut from a roll either with a knife, laser, or water jet. The name or number is then positioned and heat applied onto a garment. Next, they are sewn onto the jersey. There are two ways to affix the names and numbers— manually on a sewing machine or with automated em-broidery equipment. Different stitches such as satin or zigzag can also be used to sew down the appliqué.

Do or dyeSublimation is another method of deco-rating that is seeing a lot of growth. Dye sublimation is a heat transfer pro-cess that uses specialty inks to embed

colors and graphics into fabric. Since the inks actually fuse with the garment, this results in a smooth print that is ac-tually a part of the garment. Since the dyes are less dense than other meth-ods, sublimation can be used as an all over decorating technique and applied over seams and in odd places.

Sublimation lettering and num-bering is also available. Various manu-facturers are now offering sublimated letters and numbers in a wide variety of colors and fills. Decorators can even order custom colors or create multi-layer looks that are more lightweight than twill lettering.

Hot optionsHeat printing is probably the easiest and most economical option when it comes to decorating uniforms. Small- to mid-sized shops can add heat transfers to their business with a minimal investment in equipment and supplies. Every decorator should have a heat press.

Heat presses (Figure 4) are available at different price points depending upon budget, volume, and space availability. They range in size from portable presses that start out around $500 for mobile decorating to

Figure 4 (TOP) A 16 x 20-in. heat press equipped with touchscreen technology that features patented draw and swing-away for a heat-free workspace.

Figure 5 (rigHT)Stock die-cut letters and numbers featuring thermo-FiLM heat transfer material applied onto a men’s moisture-control polyester jersey.

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air-operated presses for commercial use that can run up to $4,500. Heat printing offers great benefits includ-ing the ability to produce personalized apparel, short runs with quick turn-arounds, and even print on demand. With minimal education and training and patented technologies such as touch screens, automatic open presses, and digital pressure gauges, heat presses are faster and easier to use than ever before.

Team orders typically range from ten pieces for a team to several hundred for a league. Heat-applied transfers are ideal for the short-run orders, especially those that require personalization. They are especially popular for teams on a budget. Simple names and numbers can be applied for a very low cost.

Heat transfer materials are available in a several different formats. Decorators can choose from stock let-ters and numbers (Figure 5), custom cut options, or they can purchase mate-rial by the roll and cut it themselves. Most manufacturers ship stock letters, numbers, and even custom graphics within 24 hours, which allows for a fast turnaround. Keeping an inventory of stock letters and numbers on hand also allows for fast, on-site personalization.

Heat transfer materials are avail-able in a wide range of textures and finishes. Decorators who own vinyl cutters can purchase rolls of materials and cut designs for quick custom ap-plications. There is also a high demand for neon, reflective, metallic, glitter flakes, and other special effect types of material, especially in the cheer market. Durability is another important factor and many heat transfer materials are guaranteed not to crack or peel and are designed to withstand tough on the field action.

Ken Chadwick, GroupeSTAHL representative in New England, has been advising team dealers who own a cutter to offer player numbers on cleats, gloves and bat bags. It makes it much easier for players to find their bags or cleats in the locker room.

screenprinting22

Trying to gain more business from an existing customer is also much easier than trying to cultivate a new one.

Another method that is catch-ing on in heat printing, thanks to pro teams and big name brands like Nike, and Under Armor, is digitally printed names and numbers. This method uses digital printed heat transfer material and eco-solvent or thermo-resin print/cut systems to print full color images, fills, or effects directly onto the digital media. Decorators can offer custom fills featuring school mascots or sport-specific patterns like footballs or soc-cer balls in the design.

Sign cutters who already have print/cut systems need to purchase a heat press and the digitally printable material, and they can add garment decorating to their range of services. Decorators who aren’t ready to invest in the equipment can also order direct-ly from manufacturers. Online ordering and fast shipping options make it easy for decorators to offer custom person-alization with fast turnarounds.

Add-on salesToday, more dealers offer complete outfits and are becoming full-service providers. In addition to customizing the uniforms, they are increasing their

add-on sales by sup-plying coordinating bags, jackets, sweats and caps. With the advances in full-color digital printing, deal-ers can also profit with banners, wall graphics, window decals and custom helmet decals. The key to add-on sales is to provide your custom-ers with ideas and solutions designed to help them stand out and get noticed.

Backpacks, tote bags, and travel bags are ideal add-on sale items plus they offer tons of opportunities to per-sonalize. New options in heat transfer vinyl as well as digital transfers created from solvent inks allows decorators to customize virtually any type of bag from woven nylon to polyester. These materials even allow for decoration to run down the straps, around zippers and even over seams.

Showing samples to customers is one of the easiest ways to increase sales. Anytime you sell a piece of ap-parel such as a jersey, be sure to create additional pieces that demonstrate what you can do. Customers generally aren’t aware of all the products avail-able that their logo (Figure 6) can be applied to or that can be customized for them.

A great example of using samples to increase your add-on sales is to cre-ate something extra for the coach or the person who places the order as a thank you. If they ordered little league T-shirts, then include a jacket, duffle bag or cap with the logo heat applied on it for the person who placed the order. If you take the time to find out their size and give them something specifically selected for them then it gives them another product idea and

demonstrates your appreciation for the sale. It can also lead to increased opportunities for creating fan wear. Once they wear it to a game, parents and grandparents might like to order one too.

According to Patrick Seward, company representative for New York and New Jersey, knowing what is popular locally is what helps him determine which products are im-portant to show to team dealers. For example, team names, graphics or player numbers on the back window of cars is very popular in New Jersey. He often takes samples into the dealers and suggests they offer them to their customers. It makes for another great add-on sale as well.

Regulations and resourcesKnowing what does and doesn’t work on uniforms is a critical element in team decorating. Schools, associations or teams usually dictate the uniform style, colors, materials, and accessories that are worn. The National Federation of High School Associations (NFHS) and the National Collegiate Athletic Association (NCAA) both publish rulebooks that contain policies associ-ated with uniform design. In addition, league rules may vary, so it’s important to check with the appropriate organiza-tion in terms of logo placement, letter-ing sizes, or name layout.

The opportunities and options that are available in decorating team uniforms are virtually unlimited. Keep these methods in mind and you’ll find that decorating team uniforms and ap-parel can equal big profits.

Cara Cherry is a PR manager for Stahls’ ID Direct, manufacturer of heat-applied graphics and equip-ment. She has a Master of Arts degree in Public Relations and Organizational Communications and is a member of the Public Relations Society of America (PRSA). She has written articles for various industry publications.

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Eliminating problems and managing variables in garment screen printing lead to real improvement in quality and efficiency. This article focuses on five top culprits that slow the process down: screen tension, stencil expo-sure, stencil drying, squeegee quality, and flash curing.

Screen TensionScreen printing is next to impossible to control without proper and consis-tent screen tension. To deal with ten-sion at all, you need to use a calibrated tensionmeter as part of a daily routine of managing tension on screens. Ten-sion should be measured on every screen every time you stretch, reten-sion, or pick out a screen to enter into the production cycle.

Higher tension levels produce better print results, improve registra-

tion, and increase production speeds. Appropriate tension levels for a par-ticular mesh count and thread diam-eter vary based on the fabric strength, frame type, and—in some cases—stretching device. Most meshes used for garment printing can be tensioned easily to 25 N/cm and higher. Tension should not be considered a goal unto itself. Choose tensions that that can be consistently achieved and maintained given your shop’s conditions.

High-tension screens have less resistance to knocks and pokes and will break more easily, and therefore need to be handled with more care. Off-contact distances must be reduced when higher screen tensions are introduced to the press. Failure to lower off-contact accordingly can result in the mesh breaking on press. When raising tension levels, it is a good idea to increase op-

Boosting Garment-Printing

Effi ciency

SCREENPRINTING24

Use the following tips to control the variables most commonly encountered

in garment screen printing.

Dawn M. Hohl-Nowlin

erating tension gradually, and establish timely communication with the press-room so appropriate adjustments are made.

Screen-tension uniformity refers to consistent tension within one screen. Maintaining tension uniformity is im-portant for preventing image distortion and registration problems. Uneven warp and weft tension can create inconsistent registration, unpredictable ink deposit, and destructive moiré. For best results, variations should be within ±1.0 N/cm.

Tension measurements should be taken in at least five places on the screen. This is known as a five-point measurement method. To establish your measurement locations, divide the screen into four equal quadrants, each with a corner joining at the center (Figure 1). Measurements are taken in the center of the four quadrants and in the center of

JUNE/JULY 2012 25

the screen. Warp and weft measurements should be taken in all five points.

For multicolor prints, selecting screens with similar tensions will help ensure consistent printing results. This issue is especially important when printing four-color-process work or on any job where the quality requirements are high. Tension differences screen to screen can result in inaccurate registra-tion, as well as different printing effects on the image. As a rule of thumb, varia-tions of no more than 1.5 N/cm screen to screen will help ensure registration and print quality on multicolor work.

Stencil exposureUnderexposure is one of the most com-mon problems in the industry today. Incorrect or inconsistent exposure can create costly problems in production, including stencil breakdown on press, excessive pinholes, sawtoothing, loss of detail, inaccurate image reproduction, and reclaiming difficulty.

An exposure calculator simulates between up to ten different exposures with incremental neutral-density filters, all on the same piece of film (Figure 2). A single exposure can give us all the information we need to determine the correct exposure for a given set of conditions. Chances are you have an exposure calculator in your screen room right now, and chances are it is rarely used.

Successful screenmaking requires the use of this tool on a regular basis. Each stencil/mesh combination must be tested. Exposure times vary with stencil thickness, stencil brand/type, mesh count/thread diameter, exposure lamp, and exposure distance. Each combina-tion will yield a different result. Even after establishing a correct exposure time, regular tests should be made to double check accuracy and confirm exposure-lamp operation.

Screen dryingShortcuts taken to rush a screen to press lead to improperly dried screens being exposed, creating a whole host of problems on press including pinholes,

stencil breakdown, poor edge defini-tion, and reclaiming difficulty. Conse-quently, the so-called shortcut becomes a costly, long delay. Consider the fol-lowing tips for optimizing screen-drying conditions.

Increase air temperature with a heater. Evenness of the heat is also important. The heater must be directed properly inside the cabinet or drying space to minimize hot spots and wide temperature swings. Do not exceed temperatures of 105°F (40°C) as higher temperatures can pre-harden unex-posed stencils.

Install a dehumidifier in the dry-ing area. At a relative humidity of 100%, the air can hold no more water. Once the maximum drying temperature is reached, the only way to reduce relative humidity is with a dehumidifier. This should be standard equipment in every screen room.

Create an air exchange system for effective airflow. Moving the air around with a fan is not as effective as exhausting the wet air and providing an intake of new air into the dryer. Blow-ing the same humid air around will do little to improve drying times. Creating the proper airflow conditions can be much more effective than just increas-ing temperature or reducing humidity to dry the screens. Don’t use a dirt-caked fan directed at the screen to create airflow. In this case, instead of airflow, you create a dirt blower that will create pinholes in great quantities. Installing air filters over all air exchanges can help keep the dust down (furnace filters work well).

A screen vacuum can help speed the screen-drying process along consid-erably. They can easily be assembled by purchasing a wet/dry shop vacuum and adding a specialized aluminum screen vacuum nozzle in place of the regular vacuum nozzle (Figure 3). These screen nozzles are available from screen making suppliers and are de-signed to eliminate damage to stencils and mesh. Vacuuming off excess water on degreased mesh and exposed sten-cils makes for faster dry times. Note

2 3

45

1

Five-Point Measurement Method

Figure 1 Divide the screen into four equal quadrants, each with a corner joining at the center, to establish reliable tension measurements.

Figure 2 An exposure calculator enables you to conveniently evaluate the effectiveness of several exposure times.

Figure 3 A specialized vacuum nozzle on a wet/dry vacuum can help speed the screen-drying process along considerably.

screenprinting26

that stencils must be exposed properly and the screen nozzle must be kept clean and free of dings and burrs.

Squeegee qualityThe squeegee’s importance cannot be understated. Its interaction and interdependence with screen tension is absolute. Without a quality squeegee and a properly tensioned screen, the ink transfer will not happen correctly, resulting in a whole list of problems.

A square squeegee blade is preferred for most printing, and the edge of the blade is critical to a good print. While a dull squeegee will still push ink through the screen, it requires excessive pressure and a slower stroke to do so. Poor edge quality can also cause print streaking and uneven ink deposits.

It is impossible to keep your squeegees sharp without a basic squee-gee sharpener (Figure 4). The edge of the squeegee wears down during the friction of printing, and needs to be sharpened on a regular basis. Replacing squeegee material is costly, so putting in a new blade in place of sharpening is not a cost-effective option. Here are a few squeegee-sharpening recommendations:

1. Always allow the squeegee to rest for 12-24 hours before attempt-ing to sharpen. Swelling from inks and solvents will soften the blade and can cause it to get chewed up during sharpening.

2. Use an appropriate grinding grit for the amount of material that is to be removed. In other words, select a coarse grit for removing a lot of material, and a fine grit to just polish the edge.

3. Remove as little material as possible at a time so as not to melt and distort the polyurethane squeegee, and to extend the useful life of the squeegee blade. Use multiple passes on grinder type sharpeners, using smooth slow motion with minimal pressure.

4. Make sure the squeegee edge is straight and that free height is even to the handle along the squeegee’s entire length.

5. Always sharpen new blades after they are inserted in a squeegee handle/holder. In most squeegee hold-ers the blade becomes distorted from the clamping screws and uneven place-ment. The new blade must be sharp-ened to ensure the length is trued and parallel to the holder.

6. Implement a regular schedule and procedure for sharpening squee-gees. Don’t wait until print problems stop production to address this critical maintenance issue. Also, maintain your squeegee sharpener according to manu-facturer recommendations.

Repeated sharpening will slowly shorten what is called the free height of the blade. This refers to the dimen-sion of the blade extending out of the holder. As the free height is reduced, it cannot flex as well and becomes stiffer to print with, regardless of durometer.

A squeegee in this state will act like a harder (higher durometer) blade, mak-ing it more difficult to print with and changing ink deposit and print quality.

Inks, solvents, environmental conditions, and time will slowly harden the squeegee material, increasing its durometer and reducing its suppleness. The increase in stiffness will neces-sitate excessive squeegee pressure and will lead to poor print quality. Squeegee replacement should be scheduled on a regular basis and the cost factored into your operations. As a rule of thumb, polyurethane squeegee blades have a useful life of one year or less depend-ing on their formulation, use, and maintenance.

Thoroughly cleaning your squee-gees (and holders) immediately after printing will minimize ink contamina-tion during printing. Having streaks of other colors show up in white ink dur-ing printing creates misprinted shirts and will cost valuable production time as you stop the press to deal with the problem. Having some squeegees desig-nated for only white can help avoid this situation as well.

A buildup of ink from inadequate cleaning can also lead to squeegee marks and streaks from dried ink stuck to the squeegee’s edge or flaking and falling into the ink during printing. Do not allow squeegees to soak in any type of solvent for extended times. The polyurethane will swell and can perma-nently lose its resilience.

Figure 4 You need at least a basic squeegee sharpener to maintain the edges of your squeegees.

Figure 5 Some non-contact thermometers feature lasers that help ensure proper surface-temperature readings.

june/july 2012 27

Flash curingFlash or spot curing is used to set or dry to the touch one or more ink layers before printing the next. Flashing is nec-essary for creating an underbase layer, controlling dye migration, printing light inks on dark garments, printing multiple colors on nylon, solidifying multicolor prints, and printing special-effect inks.

Flashing is also a crutch for many printers, used to compensate for improperly prepared artwork, incorrect color/print order, poor registration, poor ink preparation, incorrect mesh counts, and poor screen tension. Ink problems such as screen buildup and smearing with butt-registered colors are often addressed with flashing as well. In these cases, flashing simply bandages the problem and can be an efficiency killer.

Flash time, distance, and tempera-ture are the primary control points with a given flash unit. Together, these three variables dictate the heat exposure on the ink. Finding the most efficient balance can help a printer save count-less hours, reduce scrap and improve production speed.

Flash time or dwell is the main adjustment for flash curing inks. Once the flash distance and heat level are setup, the flash time is the fine tuning to bring the ink just to gel stage. The term flash curing is misleading because the goal of flashing is not to cure the ink. Flash curing is only used to bring the ink to 160-275°F (71-135°C), depending on the ink.

While common practice, exces-sive flashing not only wastes produc-tion time, but it also can create other problems. Over flashing, or fully curing, an underbase layer can hinder adhe-sion of the subsequent colors. It will also overheat the platens, which can cause ink to start gelling in the screens. The high heat can make fabrics shrink, scorch, and cause the platen adhesive to melt. Additionally, over flashing synthet-ics can trigger dye migration into the ink film, and some inks may shift color if the flash heat is excessive.

Flashing plastisol ink is influ-enced by the same variables as fully curing the print and is not a one-time-fits-all situation. Variables include fabric type and weight, shirt color, ink color, ink thickness, ink modification, room temperature and relative humid-ity, and platen temperature. As these change, your flash dwell will need to be adjusted accordingly to maximize efficiency.

Flash distance is measured from the bottom of the panel to the surface of the garment. The closer the distance is set, the higher the cure efficiency and production rate. It is also impor-tant to level the panel over the platens and to ensure the platens are leveled one to another.

Flash temperature can be con-trolled, provided the flash unit has a heat controller/regulator. Those flash units without this option run at the same temperature all the time. Gener-ally, temperature is not frequently ad-justed unless the fabric type is sensitive to heat. The distance and dwell time are the chief means of regulating flash exposure.

Measuring flash temperatureMeasuring ink temperature during flashing is best achieved using a non-contact infrared thermometer immedi-ately after the print exits the flash unit. These hand-held devices measure the infrared radiation coming off an object. Aimed a few inches away, they report readings as surface temperature. La-sers are available to ensure the sensor is properly aimed at the desired object (Figure 5). Small, inexpensive models with lasers sell for less than $50 and are quite effective.

To get a good reading on the flashed ink, set the thermometer to max temperature mode, then simply aim the reading sensor on the ink im-mediately after you rotate the platen from under the flash unit. Units with lasers are particularly useful to confirm you hit the ink itself and not just the

shirt. The display will show the highest temperature read on the ink. Because ink will cool very quickly after being re-moved from the flash unit, the reading can not reflect the true temperature the ink reached. However, if the reading remains at or below 275°F (135°C) the ink is usually not being over flashed.

Best practices are to first adjust the flash settings so gel just occurs on the ink, then use the non-contact thermometer to measure the ink tem-perature as it comes out of the flash. This becomes your baseline for that set of conditions. Many variables come into play, so this temperature will be a bit different for each circumstance. Fi-nally, check ink temperature during the run and adjust the flash time so the ink does not drastically exceed the base-line temperature originally measured.

Press platens progressively heat up as a run continues when flash units are in use. Warm platens preheat the plastisol ink before it is flashed, reduc-ing the needed dwell time. Until the platens warm up, a longer flash time will be required during starting up. The best option is to pre-heat platens under the flash with four revolutions. If this is not possible, the flash time should be checked and adjusted once the platens are warm.

ConclusionThe five issues we have discussed here are just some of the variables that influence the garment-printing process. Perform an audit of these areas in your operation. Don’t assume they are run-ning effectively. Take action to imple-ment solutions to any problems you find. I guarantee you will see improve-ments in your print quality, efficiency, and production flow.

Dawn Hohl-Nowlin is a technical trainer and consul-tant on screen printing. Her industry experience in-cludes 18 years with SPTF/SGIA, overseeing screenprinting workshops, developing training resources, and conducting process-related research. She is a member of the Academy of Screen Printing Technol-ogy. She can be reached at [email protected].

When a new technology is intro-duced into an industry, there is usually a small band of innovators who hop on board first. They invest their time and money in hopes of leveraging it to improve productivity and gain a competitive advantage. Over time, as the technology becomes increasingly accepted in the industry, the competi-tive advantage largely disappears and new users must adopt it simply to keep pace. As an example of this, Mark Bagley—a consultant and owner of Digital Marketing Solutions in Orlando, FL— believes that RIP software is currently in that life cycle stage where screen printers need to have it simply to exist.

“The screen printers who are have been in business for more than a couple of years are being forced to bring on more technology that will al-low them to compete with direct-to-dig-ital market. New screen printers may still limit themselves to printing one or two colors, but in time it will make it tougher to survive. After that, they start to look into RIP software,” he says.

A generation ago, a small mom-and-pop shop could get by simply of-fering simple one- or two-color prints. With the rise of the digital age, artists and consumers have become aware of the options available online for customized, limited run products that feature multiple colors and even photo reproduction. When they visit their local screen printer, they’re expect-ing similar quality and price points. RIP software is a critical tool towards achieving that capability using afford-able inkjet printers.

RIP technology

For those unfamiliar with RIP technol-ogy, its function as commonly used in the screen printing industry is fairly basic. An acronym for Raster Image Processor, the software takes files from graphic programs by running them through Postscript and convert-ing them to halftone dots that can be recognized by an inkjet printer, while also allowing the user to dictate the

screenprinting28

What PRInteRs thInk about

softWaReLearn what rIP software can do for screen and digital printers.

Dan naumovich

june/july 2012 29

number of passes the jets will make. (Inkjet printers are designed to print everything in color and absent a RIP, it would likely attempt to print the half-tone as a shade of gray.) It has allowed screen printers to move away from expensive image setters and gives them ability to print high-quality films using affordable inkjet printers, rather than pricey laser printers.

Bagley has been closely involved with the development of RIP software over the years. In terms of recent incar-nations of the technology, he says that many of the advancements have arisen in an attempt to achieve results similar to direct-to-digital printing. On such advancement is the ability to use the software to choose the size of ink dot that the printer lies down on the film.

“The reason this came about is because of the direct-to-garment (DTG) side of things, and they’re able to print smaller dots. They’re going directly on the shirt, and it doesn’t have to sit on the emulsion that’s on the fibers of the screen, so they’re able to fire smaller dots. In the screen print world we’re trying to get them closer to a similar type of output. By using the FM screen-ing, it gives the user control over what dot they’re using, depending on which screen mesh they have, and be able to get rid of some of those standard rosette patterns that you’ll see. This improves the quality,” Bagley says.

Another fairly recent develop-ment is the ability to use black ink in multiple cartridges on certain printers, resulting in higher quality films and faster output.

“Most of the RIP software gives you the ability to choose exactly how many channels of ink you can pull black from. For example, you could choose from one to eight, depending on how many ink channels you have,” he says.

User friendliness has become a focus, especially in terms of being able to select default settings. For example, users can dictate their desired angle and have the setting hard-coded into the software. With some products,

Figure 1 Buyarip Epson 1400 package

Figure 2 T-RIP

the settings can be controlled in the graphic software during output. The proprietary nature of RIP software has also given way to a more universal solution.

“In the past, a lot of the RIPs were focused to specific distributors of equipment and supplies. So the RIP would come with a density curve specific to the film that was being sold. Now a lot of the RIPs come with mul-tiple types of density curves already built in to it. So it gives users the ability to source different types of film and figure out which one truly works the best for them,” Bagley says.

While RIP allows for the use for small, inexpensive inkjet printers, users with more money to invest might be better served with a hybrid printer that can output a greater amount of work. Hybrid printers allow for the use of two different types of ink, so that it can print both film positives and other mediums such as dye sublimation transfers. To maximize the benefits of these printers, Bagley developed the concept for MultiRIP Hybrid software.

“The hybrid RIPs allow users to take advantage of more expensive or industrial printers, instead of the smaller printers that require smaller cartridges, or a bulk feed ink system which can be a challenge to maintain,” he says.

RIPs In T-shIRT PRInTIng

Scott Fresener has been involved with screen printing since 1970. Today, Fre-sener says the challenge for RIP devel-opers is keeping up with the changes in other technologies—the graphic programs and operating systems—that the software must integrate with to produce a high-quality output.

“RIPs don’t really get better; they just keep up with technology. When [graphics-program developers] bring out new software, guys like me cringe. We know they will dish out sloppy code. The RIP will choke, and the customer will blame us. RIPs have a pretty basic function—to make a cheap printer with no brains produce a thing

of beauty—but RIP developers have to keep one step ahead of the latest and greatest software and operating systems,” he explains.

Changes In RIP

An additional challenge is keeping up with the latest and greatest in printers, a product line that seems to evolve even faster than the software side.

“Most RIPs work on Epson print-ers (Figure 1) and you know Epson, they aren’t happy if they can’t roll out a new printer every six months,” he says.

Fresener’s current product is called T-RIP (Figure 2). The Windows-based application is compatible with all

screenprinting30

versions of CorelDRAW, Adobe Illustra-tor, and Adobe Photoshop. It works with a variety of inkjet films and offers a complete workflow for film output. A free, 15-day trial version is available at www.T-BizNetwork.com.

At ErgoSoft, whose TexPrint RIP is optimized for high-end digital textile production, improving workflow is always a priority when they upgrade their software offerings.

“What we have been focusing on, and what we’ll continue to focus on, is automating work flows. Using the processing powers of computers with multiple gigs of RAM allocated to RIP servers, the user can drive many wide-format printers off of one RIP station,” says Jonathan Read, manager of North American sales for ErgoSoft.

High-quality output is obvi-ously the biggest selling point of RIP software, but Read believes that user friendliness is one important way that his software distinguishes itself with some of the other products.

“The biggest thing is usability. If it’s too convoluted, it’s not usable. We’ve always had the mindset that if you make something simple, people will use it. So something as basic as re-linearization, which is critical to color consistency, we have a very stream-lined work flow and customers can go in there and do re-linearization in a matter of minutes,” he notes.

Dan Reid, president of RPImaging and a color-management consultant, sees the integration of G7 into RIP software as a significant development. G7 is a print-calibration process recommended for sheet-fed printing, but it is also being used successfully in screen printing.

“Most of the improvements in re-cent years have been incorporating the G7 calibration method as part of the RIP-calibration routine. Also iterative color calibration has improved consis-tency in printing and color match to reference print processes like GRACoL and SWOP. Screen printers are slowly adopting the G7 method with success. Of course those with higher end clients and budgets for improvements are the first adopters,” Reid explains.

Reid’s company is a dealer for Caldera, Onyx, and EFI software. He believes that future upgrades will impact the use of color in direct-to-garment printing.

“Improvements on the horizon are better color measurement devices that record color with improved ac-curacy. The current crop of measure-ment devices does not measure optical brighteners accurately to predict how the substrate will shift color under dif-ferent light sources,” he says.

In terms of future innovations in the ability to print film separations, Bob Drake doesn’t see much in store. This isn’t because the software is being edged out by other options, but because it is doing its job about as well as it possibly can.

Drake is the owner of Per-formance Screen Supply located in Manalapan, NJ, and is a dealer of AccuRIP software (Figure 3). While RIP software must keep up with new technologies in terms of compatibility, he believes that improvements in print quality have become almost immate-rial as it applies to the needs of screen printers.

“Epson is coming out with new printers all the time, but the resolu-tion these printers print at is so much higher than we’ll ever use or need, it’s really immaterial for screen printers. I

just had a customer; I sold him an $89 Epson Workforce 1100 factory refur-bished printer. He puts that together with the right ink, the RIP and the film, and he’s printing imagesetter-quality work. And printing beautiful film posi-tives,” he says.

At this point in time, Drake doesn’t believe the screen printing industry is impacted by a digital divide when it comes to RIP software. Not only has it become more of a necessity than a luxury, but we’ve also entered the age where just about everyone entering the industry grew up in the computer generation, and have little problem adapting to new technologies

“As the old generation of screen printers move on, all of the new guys who get into it are up on computers. It’s very easy and we’re able to talk people through it. Set up takes just a few minutes and then they’re up and running,” he says.

If RIPs have indeed reached optimal performance, then software providers will need to find new ways to differentiate their products. The demand for RIP software is strong and many developers will be looking for a piece of the pie.

“RIP is my number one, fastest growing product segment. I’m shak-ing my head at how fast this market is growing. People are converting over to inkjets with RIPs at an amazing pace. A lot of that is because we finally have inexpensive, large-scale printers. That’s huge. Entry cost is the driving factor for the screen printing market. The large printing shops will always have the best and greatest stuff, but these small print shops—and there are tens of thousands of them out there—it’s all about how affordable it is to get this RIP software,” he says.

Dan Naumovich is a freelance journalist and copy- writer. He contributes stories to newspapers and trade publications, and also provides marketing copy to businesses and organizations. Before embarking on a career as a writer, Naumovich had spent ten years working in a family-owned screen-printing shop. He can be reached at [email protected]

Figure 3 Accurip

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near zero, to the rainy months of spring when humidity can be almost 100%. These abrupt climatic changes directly impact the printing ability of DTG machines.

Controlling the environment starts with intelligent planning as to where the equipment should be placed within a printing operation (Figure 1).Consistency in the environment is key when finding the best location for the machinery. This is especially impor-tant in multi-shift operations, where conditions can change to extremes from noonday direct sun to no sun late at night. Wide variations of conditions can explain why the machinery can operate flawlessly and then be incon-sistent from one shift to the other.

Many desktop models can be placed within a confined space where humidity, temperature, and airflow can be controlled. Larger models may need to be situated in a much more substan-tial manufacturing area, where condi-tions are difficult to control. When placing a smaller DTG machine, even in an office-type environment, you still must be aware of simple issues that can cause changes in the environment.

Beware of the open door. If a

Direct-to-Garment Site Preparation and the Environment

screenprinting32

This article points out the importance of humidity and temperature control when using DTG printers.

Paul BoruckiKornit

door is left open, the air moving across the printheads can lead to ink dry-ing on and in the printheads. This is especially important in an industrial situation where large overhead doors sometimes remain open. This will eliminate any control over the envi-ronment and ultimately result in poor print quality.

Many people assume that the area is being controlled already, but open doors, open windows, heaters, and fans are all culprits in causing con-ditions that can harm a DTG machine. A machine placed by a door that is being opened and closed throughout the day will change the temperature and level of humidity near the machine by allowing the moist air to escape and then slowly change back to your desired humidity range settings as the humidifiers work to add moisture to the air.

Unless the machines are kept in a controlled atmosphere with limited access, where the humidity is no less than 40% and up to as high as 80%, the dry surrounding air can cause the ink to dry inside the piezo printhead, causing it to plug, resulting in streaks in the printed image. In the worst case

Direct-to-garment (DTG) print-ing can be integral part of a garment decorator’s production process when operators maintain necessary envi-ronmental conditions for optimum operation. To shed some light on the delicate nature of DTG machines, each machine manufacturer can use a wide variety of printheads to apply ink to a garment.

These printheads use piezo technology to deliver drops of ink measured in picoliters. A picoliter is one trillionth of a liter. The drops of ink can range from a small, 3.5-pl drop on an Epson printhead to a large (by industry standards) 85-pl drop used on the Dimatix Spectra Nova 256 print-head. This information is important as we try to understand the impact that the surrounding environment has on these minuscule droplets of ink.

What to controlThere are three simple, but important, issues to control in DTG operation: humidity, temperature, and airflow. As we make the change from winter to spring, everyone can feel the change in the weather from the dry and cold air of winter, when humidity can be

Direct-to-Garment Site Preparation and the Environment

Manufacturers of Direct-to-Garment Inkjet Printers

AnaJet Inc.anajet.com

Arakisarakisinkjet.com

BelQuette Inc.belquette.com

Brother Int’lbrother-usa.com

ColDesi Inc./DTG Digital Garment Printersswfeast.comdtgdigital.com

Durafosdurafos.com

Kornit Digitalkornit-digital.com

Lawson Screen & Digital Products, Inc.lawsonsp.com

M&Rmrprint.com

Makki USAmakkiusa.com

OmniPrint Int’lomniprintonline.com

scenario, a damaged printhead cannot be recovered by purging or cleaning after being plugged with dried ink. The goal is to provide controlled moisture surrounding the printheads to keep the inks moist and flowing.

First signs of low humidityThe first signs of low humidity and other less than perfect conditions may be when the unit produces a less than sharp print, where the piezo inkjet nozzles are firing but may be partially blocked, resulting in the ink being projected on angles and not projected perpendicular to the print surface. The best practice to get into is to print a nozzle test each day to see how each head and nozzle is firing and if any is-sues are beginning to develop.

Whether in an office area or on the shop floor, heaters and fans can be the death knell for a digital printhead. In an attempt to keep your employees warm, a machine located underneath or near a heater will have hot, dry air flowing down on the machine. On the opposite side of operator comfort, in a less than perfectly controlled area, an operator who moves a fan in front of the machine to keep cool has now cre-

ated a condition that will also dry out the printhead as the flow of air moves across the machine.

Where a large conveyer belt dryer is being used, be sure the dryer is not forcing hot, dry air into the work-ing area. Adjust the dryer’s exhaust system so it has ample airflow to remove the hot air from the dryer to the outdoors with little or no impact to the work area. Many high-volume operations build special rooms where the infeed of the dryer extends into a controlled room that contains the digi-tal printers and the heat sections and outfeed are in the large shop area.

One of the best investments a digital garment decorator can do is purchase a data logger to get a real time record of temperature and humid-ity surrounding the machine. A data logger can be inexpensive and still record thousands of data readings so you can see exactly what is happening 24 hours a day around the machines. This information can mean thousands of dollars in additional profits from a properly controlled environment.

Paul Borucki is V.P. of operations at Kornit Digital.

JUNE/JULY 2012 33

FIGURE 1 Careful placement of a direct-to-garment inkjet printer is critical to the machine’s operation and overall print quality, particularly when combining screen and digital print-ing in a production workflow—or adding inkjet technology to a screen press, as shown here—because many screen shops prefer open floor plans to smaller, isolated workspaces.

screenprinting34

industry update

Neschen Americas Socializes on FacebookNeschen Americas is now on Facebook in an attempt to increase its ability to interact with new and existing custom-ers. Product announcements, training information, videos, and more will be showcased to demonstrate Neschen Americas’ latest products.

“Incorporating more social media into our marketing strategy allows us to enhance our customer relationships and gives us the ability to monitor and manage our brand,” says Angela Mohini, VP of marketing, Neschen Americas.

RhinoTech Moved Production and Shipping

Eagen, MN-based RhinoTech has moved its production and shipping facility to an expanded space, while retaining its cen-trally located headquarters. The new base of operation also offers an area where customers, instructors, students, and dealers can practice hands-on training and product demos.

EFI Recognized by PostNetEFI has received the 2011 “Outstanding Supplier” honor from PostNet, a neighborhood business center.

EFI was selected to receive the award because of the educational support their staff has provided at PostNet regional meetings and annual conferences. The award is given annually at PostNet’s Thrive Conference to the supplier that best supports PostNet’s franchisees. PostNet uses EFI Fiery technology for digital printing.

“EFI offers world-class technology, and their com-mitment to educating PostNet franchisees has allowed our

INX International Ink Co. appointed Ken Fergu-son as technical manager for distributors nation-wide. Kent, OH-based KAPCO added Suresh Murugesan as senior chemist and new prod-

uct development manager. Lawson Screen & Digital Products, Inc. appointed John Cook sales manager. Xaar added Richard Barham as sales and marketing director.

centers to utilize those tools to provide quality digital print-ing to our business customers,” says Brian Spindel, PostNet’s president and COO.

MACtac Receives UL RecognitionUnderwriters Laboratories (UL) recognized MACtac Printing Products for Flint Group inks when used with its durable film product line, including 3.4-mil white vinyl, 2.6-mil white poly-propylene, 2.0-mil white and clear polyester, and 2.0-mil bright silver polyester labels. Upfront UL Recognition reduces con-verters’ cost and time spent qualifying substrates with UL and allows customers to enter new markets faster, MACtac says.

Prep Underway for Print Forum The Integrated Print Forum, held in October 29, 2012, at the Printing Industries of America’s (PIA) headquarters in Se-wickley, PA, has begun engaging attendees with the Integrated Print Forum Blog and social media (Twitter, LinkedIn, and Facebook). Printers will get together at the event to discuss how to integrate printing effectively into the market mix of social media. Digital marketing has become one of the top priorities and one of the top challenges for printers in light of new technologies like tablet computers, smart phones, and other mobiles devices. For more information, visit www.print-ing.org/integrated print.

Screen USA Opens Technical CenterRolling Meadows, IL-based Screen USA has created a new technical center for performing printing demonstrations and process testing. The 1817-sq-ft facility is housed within Screen’s software engineering division in Irvine, CA. The intention is to complement the recently expanded demon-stration center at Screen’s corporate headquarters in Rolling Meadows.

“The technical center is designed to help print-service providers acquire high-level technical knowledge about Screen Truepress inkjet presses, as well as deliver customer solutions under different operating condition s on a wide range of substrates,” says Sean Dawson, large-format and workflow-production manager.

The technical center consists of 1400 sq ft of demon-stration space, in addition to a separate conference room and spare office totaling 417 sq ft for use by customers and visiting Screen team members. It also has the Truepress Jet2500UV, a hybrid printing system that accommodates roll-to-roll media up to 98.4 in. wide and rigid materials up to 1.96 in. thick.

EarhamMurugesan

SENd US yOUR NEwS! Please send your news releases and photos announcing new products, changes in your business, awards, appointments, and other noteworthy developments to: [email protected].

JUNE/JULY 2012 35

I didn’t have to look very far to find examples for this column. My desk is covered with them. Can you say ubiqui-tous? There are two pens—one from a telecommunications company, the other a gift from the local college—a pin from ASPT, a sticker from SGIA, a dispenser from a private inves-tigator, some guitar picks. There’s my coffee in a mug from Theime. I have a whole wall covered with metal and plastic beer signs and a shelf stuffed with Canucks paraphernalia. What are these screen-printed things? Promo products!

ASI’s Website says that promotional products, make up a nearly $18 billion per year industry and are used by every business in North America, as well as schools, organizations, and governments. Why? Items like mugs, pens, stickers, and T-shirts are memorable, usable, and provide a better cost-per-impression for advertisers than most major marketing efforts.

Early graphic and industrial screenprinting grew out of the pennant industry, which sprang up in the 1890s provid-ing a mobile North American public a collectible array of colorful promotional items touting colleges, sports teams, special events, and tourism destinations. More than 100 years later, the promo industry is still going strong worldwide and still using screenprinting, pad printing, digital printing, laser engraving, subdye transfers, and hot stamping to mark an array of items.

According to ASI surveys, the most commonly owned promotional products among U.S. respondents are writing instruments (46%), followed by shirts (38%) and calendars (24%). Bags produce the highest number of impressions in a month (more than 1,000). In our community, where many of the stores don’t give out plastic grocery bags, the switch to reusable shopping bags with logos all over them is in full force. Males are more likely than females to own shirts and caps, while females are more likely to have bags, writing instruments, and calendars.

Nearly two-thirds (63%) of respondents from Great Britain have received and kept a pen in the last 12 months. In the U.S., writing instruments are used the most often, an average of 18.2 times per month. Los Angeles has the highest average number of promo items owned, at 12.7 per person.

In the U.S., at $0.005, the average cost-per-impression (CPI) of an advertising specialty item is less than nearly any other media. According to data obtained by ASI the CPI for a national magazine ad is $0.045; for a newspaper ad, $0.029; for a prime-time TV ad, $0.018; and for a spot radio ad, $0.058. The beauty of a logoed promo product is it isn’t a one shot deal. They get used over and over, and recycled and passed along. Unlike other advertising, most promo items actually have a function, so they deliver a benefit to the customer, along with an advertising message, creating a positive brand impression.

Andy MacDougall is a screen-printing trainer and consultant based on Vancou-ver Island in Canada and a member of the Academy of Screen Printing Technol-ogy. If you have production problems you’d like to see him address in “Shop Talk,” e-mail your comments and questions to [email protected].

As a screenprinter, there’s a good chance you may be already involved in this industry if you run a textile shop. If you are a graphic printer, most of the work printing adver-tising specialties goes to one of the ASI’s member supplier companies, who then sell to the thousands of dealers in their network. If you want to break into this supply chain, as a manufacturer or a distributor, you can contact the ASI and join up. Any printer looking to expand their product range can start selling thousands of different items immediately.

Some of my most memorable printing jobs were pro-motional. We were pretty good at building jigs and had a rep as the place of last resort for weird print requirements—i.e. 3D items that wouldn’t fit under or through a normal offset or flatbed screenprinting press. With no magic digital machines available, we did what screenprinters have done since the early 1900s: we put a durable image on a hard-to-print surface.

One day, I got a call from a print broker. He had some fancy Italian wine openers, and tried hot stamping them, which wouldn’t hold up to washing. Now they were stuck with thousands of openers and a client who turned out to be one of the bigger winery distributors in western Canada. We did a test to check adhesion, and our inks stuck great. Next we figured out how to jig up to hold the opener so we could print it. We had to unwrap and open each device to expose the print surface, but it all worked fine, and the wine company loved the end result. The main issue after that was matching what we needed financially to print the thing with what the customer was willing to pay. This was complicated because a price had already been set for the hot stamping, which was less than the price for screenprinting.

Negotiations brought up the idea of cash plus barter, which led to the back door of a warehouse filled with thou-sands of cases of some of the best wines I have ever tasted. Our wine company client was enthusiastic as he stuffed car-tons with special reserve estate wines, recommending certain ones and filling our van with enough boxes of wine to keep us stocked for more than a year.

After 20 years, I still have that corkscrew. The print has survived the ravages of the junk drawer in our kitchen, and I remain loyal to their brands when I buy a bottle of wine. Score 3 out of 3 for promotional advertising!

Andy MacDougall

ProMotionAl Printing

shop talk

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April/May 2012

Digital Finishing Updates: Hardware and Softwarep. 18

Growth Applications with Inkjet p. 22

Understanding UV LEDs

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Displays Go Deep with

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Equipment / Materials / Services

An advertising service for local or regional screen printing distributors/dealers and national companies with branches and/or distributors. The Products & Services (P&S) Codes and the Business Classification Codes in each listing are defined as follows:

1 Art, Photography, Cad Graphics2 Curing & Drying Equipment3 Finishing Equipment4 Printing Equipment & Accessories5 Screen and Stencil Making Equip. & Supplies6 Inks, Coatings & Chemicals7 Board & Paper, Foam Center board, Block Out Board.8 Garments & Piece goods

9 Glass & Containers10 Nameplates, Dials & Sheetmetal11 Plastics, Rigid & Flexible12 Pressure Sensitive Materials13 Misc. Substrates: Magnetic, Binders, Banners, etc.14 Testing & Instrumentation15 Computers, Color matching/Business, Hardware & Software16 Embroidery Equipment & Supplies

A Distributor B DealerC Branch of National

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U.S. Distributor & Dealer DirectoryFor Directory Rates or Information, please contact Victoria Wells

E: [email protected] P: (800) 925-1110 ext. 393 F: (513) 744-6993

An advertising service for local or regional screen printing distributors/dealers and national companies with branches and/or distributors. The Products & Services (P&S) Codes and the Business Classification Codes in each listing are defined as follows:

1 Art, Photography, Cad Graphics2 Curing & Drying Equipment3 Finishing Equipment4 Printing Equipment & Accessories5 Screen and Stencil Making Equip. & Supplies6 Inks, Coatings & Chemicals7 Board & Paper, Foam Center board, Block Out Board.8 Garments & Piece goods

U.S. Distributor & Dealer Directory

SCREENPRINTING38

› INDIANA

Atlas Screenprinting Equipment & Parts, Inc.31 N. Davis St., Dublin, IN 47335. (765) 478-9481. (800) 533-4173. Fax: (765) 478-9462. E-mail: [email protected]. Website: www.atlasckg.com.Marketing area served: National. Product Codes: 2,4,5.

› LOUISIANA

Reece Supply Co. of Louisiana, Inc. 1017 Dealers Ave., Harahan, LA 70123. (504) 733-7799. Contact: Ronnie Garic. Marketing area served: Regional. Product Codes: 1,2,4,5, 6,7,10,11,12,13,14.

› MASSACHUSETTS

Garston Screen Printing Supplies, Inc.8 Parkridge Rd., Haverhill, MA 01835. (800) 328-7775. Fax: (978) 374-9777. Contact: Dean Garston. Business Class: A,B. Marketing area served: Regional. Product Codes: 1,2,3,4,5,6,7,10,11,12,13,14.

› MINNESOTA St. Paul

Midwest Sign & Screen Printing Supply Co.45 E. Maryland Ave., 55117. (651) 489-9999. (800) 328-6592. Fax: (651) 489-0202/ Fax: 800-328-6599. E-mail: midwest@midwestsign .com. Contact: Jason Knapp, Dan Fleming, Pete Weinberg, Ryan Warner, John Hermes, Kevin Wood. Business Class: A. Prod-uct Codes: 1,2,3,4,5,6,7,11,12,13.

Rhinotech2415 Pilot Knob Rd., Mendota Hts., MN, 55120. (651) 686-5027. (888) 717-4466. Fax: (651) 686-9745. E-mail: [email protected]. Website: www.rhinotechinc.com. Contact: Todd Michaels. Business Class: A,B,C. Mar-keting area served: National. Product Codes: 2,4,5,6.

› MISSOURI Kansas City

Midwest Sign & Screen Printing Supply Co.1806 Vernon St., Kansas City, MO 64116.. (816) 333-5224. (800) 233-3770. Fax: (800) 233-3771. Fax: (816) 333-5446. E-mail: midwest@midwestsign .com. Con-tact: Junior Costigan, Patti Fairchild. Business Class: A. Marketing area served: Regional. Product Codes: 1,2,3,4,5,6,7,11,12,13.

St. Louis

Lawson Screen Products Inc.5110 Penrose St. 63115. (314) 382-9300. (800) 325-8317. Fax: (314) 382-3012. Contact: David Landesman. Business Class: A,B. Marketing area served: National. Product Codes: 1,2,4,5,6.

› ARIZONAPhoenix

Advanced Screen Technologies, Inc.619 S. Hacienda Dr. #5, Tempe, AZ 85281. (480) 858-9804, (877) 509-7600 Website: www.advanced-screen.com. Contact; Tom Bays. Business Class: A,B. Marketing area served: Regional. Product Codes: 1,2,3,4,5,6,14.

› CALIFORNIA

SaatiPrint15905 S. Broadway, Gardena, CA 90248. (800) 992-3676. (310) 523-3676. Fax: (310) 523-3610. E-mail: [email protected]. Website: www.saatiamericas.com. Business Class: A. Marketing area served: Regional. Product Codes: 2,4,5,6,14.

Los Angeles

NuSign Supply, Inc.1365 Darius Ct., City of Industry, CA 91745. (626) 961-7688. Toll Free: (877) 6NU-SIGN. Fax: (626) 961-7225. Contact: Tony Le. Business Class: A,B. Marketing Area served: Local, Regional, National, International. Product Codes; 4,6,12,13.

San Francisco

Midwest Sign & Screen Printing Supply Co. 21054 Alexander Court, Hayward, CA, 94545-1234. (510) 732-5800. (800) 824-2468. Fax: (510) 732-7624. Fax: (800) 824-2474. E-mail: midwest@midwestsign .com. Contact: Marilee Fox-Cichon, Paul Louie, Kevin Todd, Steve Michel. Business Class: A. Marketing area served: Regional. Product Codes:1,2,3,4,5,6,7,11,12,13.

› COLORADODenver

Midwest Sign & Screen Printing Supply Co.5301 Peoria St., Unit F, 80239-2319. (800) 332-3819. (303) 373-9800. Fax: (800) 332-3820. Fax: (303) 373-9700. E-mail: [email protected]. Contact: Al Menzie, RAMON FONTANES, Aaron Remsburg. Business Class: A. Marketing area served: Regional. Product Codes: 1,2,3,4,5,6,7,11,12,13.

› ILLINOIS

SaatiPrint2050 Hammond Dr., Schaumburg, IL 60173 (800) 368-3243. (847) 296-5090. Fax: (847) 296-7408. E-mail: info.US@saatiprint. com. Website: www.saatiameri-cas.com. Contact: Jan Bill. Business Class: A. Market-ing area served: Regional. Product Codes: 2,4,5,6,14.

› NEBRASKAOmaha

Midwest Sign & Screen Printing Supply Co.9313 “J” St., 68127. (402) 592-7555. (800) 228-3839. Fax: (402) 592-5267. Fax: (800) 228-3886. E-mail: midwest@midwestsign .com. Contact: Trish Nelson, John Schnackenberg, Dan Thomas. Business Class: A. Marketing area served: Regional. Product Codes: 1-2-4,5,6,7,11,12,13.

› NEW YORK

SaatiPrint247 Route 100, Somers, NY 10589.. (800) 431-2200. (914) 232-7781. Fax: (800) 829-9939. E-mail: [email protected]. Website: www.saatiamericas.com. Contact: Paul Cylenica. Business Class: A. Marketing area served: Regional. Product Codes: 2,4,5,6,14.

New Hartford

Reich Supply Co., Inc. 2 Campion Rd., New Hartford, NY 13413. (315) 732-6126. (800) 338-3322. Fax: (315) 732- 7841. E-mail: [email protected]. Website: www.reichsupply.com. Contact: Neil Reich. Business Class: A,B. Marketing area served: National. Product Codes: 1,2,4,5,6,7,11,12,13,14.

› OREGON Portland

Midwest Sign & Screen Printing Supply Co. 5035 N.W. Front Ave. 97210-1105. (503) 224-1400. Fax: (503) 224-6400. 800-228-0596. Fax: 800-278-0596. E-mail: [email protected]. Contact: Karen Walker, Pat McNamara. Business Class: A. Marketing area served: Regional. Product Codes: 1,2,3,4,5,6,7,11,12,13.

› TEXASDallas

Reece Supply Co. of Dallas, Inc.3308 Royalty Row, Irving, TX 75062. (972) 785-0212. (800) 938-8330. Fax: (972) 785-0512. Contact: Kelly Leonard. Business Class: A. Marketing area served: Regional. Product Codes: 1,2,4,5,6,7,10,11,12,13,14.

El Paso

Reece Supply Co.1530 Goodyear Dr., Suite J, 79936. (915) 592-9600. (877) 776-0128. Fax: (915) 592-9050. Contact: Aaron Wieberg. Business Class: A. Marketing area served: Regional. Product Codes: 1,2,4,5,6,7,10,11,12,13,14.

JUNE/JULY 2012 39

Houston

Reece Supply Co. of Houston, Inc.2602 Bell St., 77003-1753. (713) 228-9496. (800) 776-0113. Fax: (713) 228-9499. Contact Labon Tatum. Business Class: A. Marketing area served: Regional. Product Codes:1,2,4,5,6,7,10,11,12,13,14.

San Antonio

Reece Supply Co. of San Antonio, Inc.4960 Eisenhauer Rd. Ste 110 (78218). (210) 662-6898. Fax: (210) 662-6945. (800) 776-0224. Contact: Ricky Brown. Business Class: A. Marketing area served: Re-gional. Pro-duct Codes: 1,2,4,5,6,7,10,11, 12,13,14.

› UTAHSalt Lake City

Midwest Sign & Screen Printing Supply Co. 1160 So. Pioneer Rd., Ste. 2, 84104. (801) 974-9449. (800) 497-6690. Fax: (801) 974-9442. Fax: (800) 497-6691. E-mail: [email protected]. Contact: Sean Hession. Business Class: A. Marketing area served: Regional. Product Codes: 1,2,3,4,5,6,7,11,12,13.

› WASHINGTON Seattle

Midwest Sign & Screen Printing Supply Co. 401 Evans Black Dr., 98188-2912. (206) 433-8080. (800) 426-4938. Fax: (206) 433-8021. Fax: (800) 426-4950. E-mail: [email protected]. Contacts: Jeff Macey, Todd Colvin. Business Class: A. Marketing area served: Regional. Product Codes: 1,2,3,4,5,6,7,11,12,13.

Vancouver

Ryonet Corporation11800 NE 60th Way., Vancouver, WA, 98682. (360) 576-7188. (800) 314-6390. Fax: (360) 546-1454. E-mail: [email protected]. Web Site: www.silkscreen-ingsupplies.com. Contacts: Jeff Held. Ryan Moor. Business Class: A. Marketing area served: National, International. Product Codes: 2,4,5,6,8,11,12,13,14,15.

› WISCONSIN Milwaukee

Midwest Sign & Screen Printing Supply Co.16405 W. Lincoln Avenue, New Berlin, WI 53132. (262) 641-8550. (800) 242-7430. Fax: (262) 641-8555. Fax: (800) 242-7439. E-mail: [email protected]. Contacts: Tom Robinson, Craig Gray, Marty Campell, Fred Horn. Business Class: A. Product Codes: 1,2,3,4,5,6,7,11,12,13.

› ONTARIO

Cosmex Graphics Inc.390 Deslauriers St., St. Laurent, Quebec, H4N 1V2, (514) 745-3446. Fax: (514) 745-3449. Contact: Enzo Di Gneo. Business Class: A,B. Marketing area served: National. Product Codes: 1,2,3,4,5,6,12,14.

SaatiPrint1680 Courtney Park Dr. E., Units 1 & 2, Mississauga, Ontario L5T 1R4, (905) 564-5388. (800) 567-0086. Fax: (905) 564-5391. Contact: Alfred Guinness. Busi-ness Class: A. Marketing area served: Regional. Prod-uct Codes: 2,4,5,6,14.

Markham

Sias Canada Ltd.3400-14th Ave., Units 37 & 38, L3R OH7, (905) 305-1500. Fax: (905) 305-1501. Contact: Karl Bakker. Business Class: A. Marketing area served: National. Product Codes: 2,4.

Canadian Distributor & Dealer Directory

June/July 2012

FREE INFORMATION FROM ADVERTISERSwww.screenweb.com/productinfo

Advertiser PageAdvertiser Page

Air Control Industries Limited 23

Alpina Manufacturing LLC 37

American Apparel LOC, 5

Brother International 9

Douthiff Corporation 1

Dynamesh Inc. 7

FESPA 23

Franmar Chemical Inc. 17, 37

George Knight & Co. 21

Gran Adell Mfg. 21

Hewlett-Packard IFC

Lawson Screen & Digital Products OBC

Mimaki USA 17

Mutoh America Inc. 14

Northwest Screen Systems Co. 8

OKI Data Americas IBC

OYO Instruments 16

Roland DGA Corporation 3

Screenweb.com 31

ST Book Store 8, 37

Tricor Systems Inc. 37

Ultraflex Systems 15

EDITORIAL INSIGHTS

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SCREENPRINTING40

This has been a great issue to put together. Every article had something to say about printing garments for sports or pleasure. Working on it made me think about where logos, sayings, and printed images have come from.

Remember the rattlesnake image that Benjamin Franklin’s Pennsylvania Gazette printed? Franklin suggested that the colonists should ship a cargo of rattlesnakes to St. James Park, Spring Garden, and other places of pleasure in England. In 1778, the same paper printed the picture of a snake as a commentary on the Albany Congress. The snake was divided into pieces, each one marked by the initials of each colony. Below the image of the snake, the warning, “Join or Die,” said it all.

Later, the first Navy Jack flag adapted the rebellious stripes created at the time of the Stamp Act with a rattle-snake stretched across it diagonally and a logo at the bot-tom: DON’T TREAD ON ME.

Logos and mottos have been popular for lots of reasons. Today it’s not a newspaper print or flag that flies so much as an image on a T-shirt that we wear like a human signpost. When Bella, my grandchild, first said, “Just do it,” I thought that she had repeated a phrase that her mother used when trying to get her to pick up toys. Then I noticed the Nike logo and realized that it represented the indomitable spirit required to compete in sports.

There are lots of reasons why people like T-shirts with pictures and printed words. They can identify a group or loyalty, a memory, a sense of humor, or some aspect of a person’s personality.

I visited Austin, TX, last month and found a certain tolerance that made me feel as if I’d slipped back into the 1960s in some strange time warp. Let me give you some examples. While I walked down a clean, tree-lined neighbor-hood one morning, a man trotted past me on a horse. “I’m drunk and I’m not getting another DUI,” said his T-shirt. “So I’m driving a horse.”

It gets better. The music coming out of Austin’s multiple festivals, such as South by Southwest, Austin City Limits, Armadillo Bazaar and others, is fabulous. The food at Central Market and Whole Foods headquarters cannot be more upscale, fresh, and hip. There’s also a collection of bats that have settled in the area and you can take a boat to view them under a bridge. All of these are promoted in T-shirts of every description.

The more I learn about Austin, the more I like it. The University of Texas and being the state capital probably contribute to the intelligent diversity and tolerance. Before hopping on a plane to leave, I bought two T-shirts that read, “Keep Austin Weird.”

One of my favorite T-shirt success stories is that of the Life is good Inc. (www.lifeisgood.com), a private company out of Boston, MA, founded by brothers Bert and John Jacobs. In 1989, the brothers design and sold their first T-shirts in the streets of Boston out of an old van at colleges and street fairs. In 1994, after one of these roadtrips, they threw a party. On the walls of their apartment, the brothers asked their friends to comment on the drawings and sayings posted on their walls. The one drawing that got the most attention was a beret-wearing stick figure, much like a child would draw in grade school, with a smiling face and the phrase, “Life is good” written below it.

Now, Life is good sells T-shirts, hats, PJs, and all types of printed garments and souvenirs. More than 4500 stores carry the merchandise. The firm raises money for children’s charities and other events. There’s a quiet optimism, a soft sense of humor, and a wonderful printed image of Jake, the contagiously optimistic stick figure, having fun on all of their merchandise. I have a few of their T-shirts, too.

Printed T-shirts can identify a group or loyalty, a memory, a sense of humor, or some aspect of a person’s personality.

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