Printwear

February '16

For the Business of Apparel Decorating

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72 || P R I N T W E A R F E B R U A R Y 2 0 1 6 T hose of us experienced in the decorated apparel and graph- ics industries have a common concern: artwork. From screen printing, to vinyl cutting, digitizing to off- set printing, rhinestone setting to sublima- tion, we all struggle with poor graphics, and rejoice in quality artwork. In an effort to make the art procurement process easier, we have clipart. Clipart is a term we sometimes cringe at, although we have accepted that the word no longer means what it did in the past: art clipped out of a library to assist us in burning prop- er layers onto negatives, or assigning a set of lines to cut against. Later, we began to say "camera ready," and even later, "production ready" art. Regardless of what it's called, it's important to remember how the graphic is seen by us, our equipment, and our clients, is the single most important aspect of what we do. So, it's important to get it right. GOOD VS. BAD VECTOR Not all artwork is created equal. Not even all vector art is equal. But, having a vector de- sign, or at least a starting point, is most often better than a dig- ital image, scratch drawing, or nothing at all. There are many ways we can determine the usefulness of the artwork we are starting with. If it is vector, we must consider the time it will take to move it to production. The most obvious hindrance to our art- work is the number of colors it is comprised of. For screen printers, how many colors are in a design is especially important. Our Graphic Options The Difference Between Vector Graphics and Vector Artwork "Clipart" B Y C L A Y B A R B E R A Clay Barbera has been a consistent contribu- tor to the Imprint Industry for over 9 years. He brings a technological perspective to the tasks we perform daily. Understanding our goals as business owners and graphics professionals shows its heart in every class Clay teaches. With degrees in Business Advertising, and In- dustrial Psychology (why / how people spend money) from Arizona State University he expresses efficiency, effectiveness, and the bottom line in his topics and outlines. Working with several industry leaders including Corel Corporation, Wilcom, and Action Illustrated, Clay continues to ex- pand his knowledge of not only graphic skills, but techniques to ensure his student's and clients remain prosperous. While not all clipart is created equal, having something is often better than nothing, or even client provided work.

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