November '14

For the Business of Apparel Decorating

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20 1 4 N ov e m b e r Printwear | 111 peeled cold or hot. Also, keep in mind whether the film features an adhesive backing. Adhesive liners allow for cut- ting much finer detail. Weeding is a little harder with adhesive liners, but the extra security is important for more intricate designs. OTHER PRINTING OPTIONS Screen-printed heat transfer ink technolo- gy has improved considerably, and many custom heat transfer manufacturers offer a variety of processes for applying graphics to technical and athletic fabrics. Products are available with low-melt ink technolo- gy and powdered adhesives that lower the application temperature and time. The lower temperature helps prevent fabric dye migration during the application. This is important with athletic apparel because rayon and acrylic are often used. There are also inks designed for perfor- mance fabrics and other moisture-wicking apparel. These inks print at much low- er application temperatures and prevent melting and scorching. Considering the significant trend toward polyester-based fabrics in athletic apparel, dye sublimation ink is another option that produces a vibrant, photo-quality image. Several new wide-format sublimation ink- jet printers have been introduced to the market. At 44" and 64", these printers are designed for the cut-and-sew produc- tion of seam-to-seam, full-color polyester garments. High-end athletic wear, sports jerseys, and swimwear are mass custom- izable or individually personalized using a sublimation printer and large-format heat press. Listing at $40,000-plus, this kit is not for the faint of heart. When Benjamin C. Russell, founder of Russell Brands, acquired Southern Manu- facturing Company and took the printed jersey to market in 1938, he couldn't have imagined the enormous opportunity in decorated athletic apparel at the scholastic, club, and youth level that exists today, but it's certainly become a lucrative market for today's apparel decorators. continued from page 26 ly compensate particular individuals for their contribution to our success—not to create more problems. Perhaps I haven't been clear enough in expressing what I expect from each of you and exactly how I define 'a significant contribution' to the company." Schwimmer coined the phrase "me- ta-talk"—from the Greek "meta," mean- ing "to go above and beyond"—suggest- ing that you pay close attention to body language, facial expressions, and tones of voice rather than simply the words others use to express their opinions. When you look past the literal meaning of the words, you can better express empathy for what others are feeling. Schwimmer recommends using the last two techniques—limit setting and stating consequences—judiciously. Limit setting simply means stating your expectations clearly and concisely. For example, try saying, "Although I can- not now go back and adjust paychecks, I'll be happy to share with each of you, indi- vidually, the formula by which I determine what you are paid and what you must do to earn a merit raise or promotion. That way, there shouldn't be anyone who feels short-changed. I certainly wouldn't want to discontinue pay adjustments simply be- cause they cause more trouble than they're worth." CONflICT RESOluTION: NOT A PIECE Of CAkE Few issues can rip at the heart of a business like unresolved conflict. Mastering the art of conflict resolution isn't easy. In addition, there is no guaranteed, foolproof way of dealing with it. At minimum, though, managers must learn to recognize when conflict exists, and then try to employ as many of the sugges- tions made here as possible and practical. As in most managerial approaches, taking sound, proven risks while attempting to improve your leadership effectiveness usu- ally results in a favorable outcome. Good luck! continued from page 23 Finally, we repeated the process on the other side and made a new layer above the other two. Again, we made a box, but this time, the middle of the image was slightly wider than the width of our zipper plack- et gap. We moved the other layers left and right until the image felt suitable. Output was a simple 55 lpi, 22.5-degree angle in an elliptical shape. This allowed for just enough detail and clean transitions without being difficult to hold together on the screen. The screens stayed simple, as well. Per our formula in a basic or simple simulated process, we used a white printer on 156/54 tpi/u with the balance on 230/48 tpi/u. All dyed mesh was retensioned and work hard- ened at 30–35 N/cm with a 12–15 percent emulsion over mesh. A CuSTOm SOluTION The challenge with printing zipper hood- ies is, of course, the zipper. Because the zipper interfered with the print, we needed the zipper to drop into a slot to rest at the same height as the print surface. For this, there are manufactured platens designed to improve the printing quality over zipper assemblies. While we own some manufac- tured platens, the geometry of the recessed slot didn't match these particular zipper sweatshirts. Instead, we built special platens for the project. Using the manufactured platen as a model, we modified the geometry to match the zipper and placket with a couple 4' X 8' sheets of 3/16" Masonite. We cut 32 pieces and mounted them carefully to match the art and garment spacing. Additionally, we placed neoprene in the slot to cushion the zipper's layers to match the placket width. Once we finished the platens, we proper- ly placed them and the screens so that the zipper tab was positioned off the front of the platen. We learned that the hard way after breaking an entire set of screens and destroying a round of expensive zipper hoodies. We set up several different images using the same formula. Now we have the equipment built to run the reorders with ease. Well, not ease but with success. continued from page 18 pw pw pw From Software to Substrate Your Personal Business Trainer Graphics Hot Spot

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