February '16

For the Business of Apparel Decorating

Issue link:

Contents of this Issue


Page 115 of 118

2 0 1 6 F E B R U A R Y P R I N T W E A R || 111 encourage the salesperson. If they can access sales information on their mo- bile device while waiting in the lobby for a sales appointment, salespeople will gain a new self-confidence that will help them make the sale. (Visit www. to see an example.) 4. An easy-to-implement philosophical approach to the sale. There must be an approach and a strategy to the sale that salespeople are comfortable with, and will employ during the selling process, one that takes the emotion of the selling process and converts it to a customer buying process. 5. The ability to differentiate from the competition. Salespeople need a value proposition, value-based statements and value-based questions to genuinely engage any customer or prospect. And that value must be perceived as value by the customer. 6. Genuine, real-world, hands-on lead- ership encouragement. Salespeople want to feel the love and the support of leadership, not the pressure. Senior- level executives and sales leaders must be out on sales calls as often as possible. This way, they discover the real world of making sales to help when making the next sales plan. 7. A generous comp plan. When the comp plan changes, make sure the compensa- tion goes up. Salespeople need a mon- etary carrot in order to perform at their highest level. 7.5 Internal harmony. Whatever your internal process is, there must be a harmony between sales, accounting, shipping and any internal administra- tion that deals directly with salespeople and/or customers. I've just given you the tip of the sales per- formance iceberg. Most of the iceberg is not visible if the salesperson is fighting market conditions, customers, and competition to gain a profitable edge. Non-secret formula for sales success: Give salespeople encouragement and support and they will give you sales. the high-detail areas on a higher mesh screen and keep them from filling in even though both screens will be printed using the same color ink. We ended up with one black screen for the background with all the little lines, and another black screen for the solid type in the foreground. Because some of the detail areas cross on the original, we would have to cut those areas apart. We made a du- plicate layer of our vector image and went through the art piece by piece, removing ar- eas from one plate or the other. Looking at areas like the 'W' in 'TOMORROW' that have variations of what we call hard and soft black going through them, we selected piec- es with our ERASER TOOL and removed the lines at the unwanted intersections. On more clear delineated areas that don't touch, we simply selected and deleted. After a painful amount of time splitting our screen, we were ready for output. Be- cause of the high level of detail, a quality dual cure stencil on well-maintained, prop- erly tensioned, and work-hardened mesh was in order. Since we were printing on thick hooded sweatshirts, we first lightly flashed and smoothed the sweatshirt in an early print station using a dummy screen and roller to give us the best surface to print on; almost like a pre-ironing station. After cooling, we printed our foreground type, or hard black, on a 305/34 at 30 N/cm and then printed the background in soft black, on 380/34 wet on wet. Both had a minimal off-contact distance. We cut the blacks with a fashion extending base. All of this gave us a soft feel and drape, while easily transferring through our higher mesh with little pressure. That kept the small detail areas from closing up as well. Unfortunately, the final prints were on dark heather gray fleece, so the level of de- tail held in place was almost impossible to see. That's OK, we know it's there and we worked hard to make sure it printed. Our Master Penman will certainly be sending us more work. We love this kind of thing so we want him to keep it coming! Caps run best "bottom-up, center-out" to maintain clean registration. Though it may not be possible to get cap-specific stock, you should certainly check how much a design deviates from this maxim before deciding to run it on headwear. Proper use of underlay. Some stock digi- tizers don't use it at all, let alone correctly. Though adding underlay is one of the easier things you can do when forced to retool stock designs, the purpose of stock is to work when there's no time or budget for digitizing. If you are laboriously placing underlay or moving stitches, you should re- evaluate if digitizing would have been the better choice. Overlaps and compensation. By their na- ture, most stock designs can't be optimized for a particular material, but they should show a general knowledge of proper pull and push compensation. On a standard polo shirt, you should be able to run most stock without editing for this. However, if a design is too spot-on with intended shapes, offering no compensation for stresses in em- broidery, you know you are in for a bad run. In digital form, you should see distortion; proper distortion in the digital work makes for perfect execution on the machine. Per- fect lines and shapes in the file mean you'll see that 'missing' distortion in your run. All in all, stock designs can be an excellent addition to even the most custom-focused shop. Though B2B-heavy shops will find stock far lags behind custom logo-work, in the instances that stock designs make sense for an order, they can be an absolute life- saver. Like any other tool in the industry, it's the method of their use that defines stock designs; with proper planning and an under- standing of their limitations, stock designs can open your customers up to a world of decoration that would otherwise be pro- hibitively expensive and time consuming. With the wrong application, at the wrong size, or in ways that require extensive edit- ing, stock becomes a liability. If you know the difference and guide your customers to an educated choice, you'll be able to make stock support your business. ERICH'S EMBELLISHMENTS FROM SOFTWARE TO SUBSTRATE SELLING SMART continued from page 12 continued from page 20 continued from page 32

Articles in this issue

Links on this page

view archives of Printwear - February '16