March '17

For the Business of Apparel Decorating

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Page 103 of 106

2 0 1 7 M A R C H P R I N T W E A R || 95 SCREEN-MAKING EQUIPMENT APPLYING THE HOOP Now that the hoop is pre-tensioned, we can start the actual hooping process. Start by placing the hoop and backing in the fixture. Then pull the garment all the way onto the board using the documentation explained earlier. Now, use the features on the hooping device like the top shape of the board that is similar to the shoulder shape of a person. This will help square the shirt just like it would be worn. If the shirt has a placket, make sure it is straight with the fixture and hoop. Again, use different parts of the hooping device to help you determine that the placket is straight. Once the garment is straight, press the top hoop down and hoop the shirt. It is best to place the palms of your hands right around the center part of the hoop when pressing it down. If you hold the hoop towards the edges, it will not be as easy to press the hoop through the garment. If the hoop doesn't want to go through the garment, or seems too loose, start over. After the garment is hooped, take it off of the hooping device and turn the shirt over to check the backing material. The backing should cover the entire hoop, and be nice and taut. At this point, make sure that the outer ring is pressed onto the inner top hoop just a little further than flush. Some hooping devices do this for you. This recess will help hold the gar- ment with a more consistent tension and ensure that the garment, not the outer ring, will ride on the needle plate of the machine. If the outer ring is lower, it will cause the garment to bounce or "flag" while sewing. This can cause problems with registration and bird's nesting, which is a buildup of thread on the top or under the garment. Once you have checked the garment and backing tension, the shirt is ready to load in the machine. You will constantly encounter new hooping challenges, but if you practice the above steps, you will find it gets easier with more experience. continued from page 74 and the image is sprayed, revealing the stencil underneath. You should be care- ful not to spray your screens too much, or else they will degrade. Alternatively, the screens are placed in the dip tank for a short period to remove unwanted emulsion. It shouldn't sit in the water for long, or it may break down the cured emulsion and destroy the stencil. Although washout booths and tanks prevent ink and chemicals from getting into the rest of the shop, anyone work- ing in the area should wear safety gear such as gloves and face shields since these areas are also used to remove ink from screens and reclaim them. Orr advises that proper training and handling of the equipment and chemicals in the area is a must. Operators should have a thorough understanding of the Safety Data Sheets (SDS) for the chemicals used in the area, which is required by law to be available to anyone. MAKE THEM LAST Having to replace worn out screens af- ter using them for a long time is tedious. However, it's inevitable—mesh does not last forever. Orr advises that maintaining clean frames and mesh will improve the screen's longevity, but monitoring the age and tension of your screens is criti- cal. Should screens lose their tension and become baggy, it will affect registration and your overall print quality. Once screens get too difficult to clean, have consistently poor tension, or are torn, it is time to rip out the mesh and either re-stretch them yourself or send them to a screen re-stretching service. Just like any other profession, screen making requires the use of tools designed to enhance the job and the quality of your printed apparel. Whether your shop operates in a warehouse or on a sin- gle-station manual press in your garage, it is crucial to use these tools consistently to ensure top-quality prints and satisfac- tion from your clients. continued from page 57 four times to get to the bottom of the rea- son. That will be the real reason. Let's say you selected the reason: My boss is a jerk. OK, why? "Well, for one thing, he's constantly on me to produce." OK, why? "Well, because he says I'm not seeing enough people, nor am I closing enough deals." OK, why? "Because it's harder to make sales. People aren't buying." Sounds like it isn't the boss after all; it's you. That's not a boss issue. That's a train- ing, sales skills, and intensity issue. REALITY CHECK Before you start looking for a new job, ask yourself: • What are you really looking for? • If you're going to switch, will this move you up or forward? • Can you fix what you have? • What would you really like to be doing? • If you leave here, where will you go? • What risks do you take by leaving this job? • How will a new job get you closer to your real career goals? • How will a new job get you closer to your real monetary goals? If you decide to leave, don't leave for the wrong reasons, and don't leave the wrong way. To make sure you leave on good terms, and with good references for then next time you make a move, follow these rules: Leave professionally. Give notice. Tell the truth. Leave ethically. Give back everything. Don't "take" anything with you—especially customer lists or any trade secrets. Leave positively. No bad words or law- suits. Just go peacefully. Leave with your reputation in tact. To leave or not to leave? That is the ques- tion. Your job is to find the answer. Your own answer. It's a big decision, an advance- ment decision, and, yes, a money decision. My advice is to make sure you know the real reason, and make sure you do it in a way that would make your mother proud. continued from page 12 SELLING SMART HOOPING & PLACEMENT

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