May '18

For the Business of Apparel Decorating

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2 0 1 8 M A Y P R I N T W E A R || 23 through it thousands of times to leave threads through the substrate. Things will shift, sometimes significantly, and this shifting differs from garment to garment due to differences in the fabric and design to design, based on cover- age, stitch angles, and the sequence of the stitched elements. 2. What you see is never what you get. Due largely to distortion and the inac- curate way we model thread for pre- views, you'll learn that you can never trust digital previews to show you ex- actly how your output will look. The primary types of distortion are pull and push. With pull, stitches get shorter when they run, meaning a column of satin stitches will be thinner on the ma- chine than shown on screen. In push, the same column will itself be slightly longer than it appears because of stack- ing stitches toward the sides at the col- umn's end. This also means that shapes will be distorted. 3. Account for shape. Since stitches have an angle, anything round will have to be digitized as an oval to come out round in the actual embroidery, made smaller in the dimension of the stitch sides, and longer on the prevailing stitch angle. Doubled or tripled lines of group, and use effects will put you ahead of similarly experienced digitizers without vector skills. Once you learn the differences in how shapes are drawn for embroidery and why, you'll likely be a faster, more capable, and more precise digitizer just from your ability to build with shapes. DIFFICULTIES YOU DIDN'T EXPECT 1. Dealing with distortion. Embroidery is an artform defined by distortion. Your results on the machine are no exacting replica- tion of what you've created on screen. Rather, you create shapes and adjust stitches on screen to compensate for the inevitable and unavoidable distortion that happens when needle, thread, and fabric meet. Embroidery machines take a flexible, unstable sub- strate and holds it as securely as possible while driving a needle straight stitches on screen will look the same thickness no matter how many times you stitch over them. But, in the thread, the stitches roll off of each other, even if they are placed identically on-screen. This means that each time you run over a stitched line, the line becomes thicker, even though it isn't present in the digital preview. Not only do you have to account for distortion, you have to be able to look at the distorted files and know what it will look like after it has been submitted to the stresses of embroidery as you work. . Resizing is risky. There are limits to the maximum length of a single stitch to how small a satin-stitched letter can be to how close together stitches can be before they create a solidly filled area. With detailed or large designs, you must often adjust ele- ments to deal with minimums and maximums. Many designs Quickly change colors on press or open clogged mesh areas during a run, saving valuable time and money. Franmar's On Press Ink Remover is non-aerosol and replaces harsh chemicals such as Methylene Chloride without the negative side-effects and offensive odor. Works on Plastisol + All-Purpose Inks Safe On-Press Screen Cleaner Quick Color Changes • • Great Screen Opener side-effects and offensive odor. • • Works on Plastisol + All-Purpose Inks • • Safe On-Press Screen Cleaner • • Quick Color Changes • • Great Screen Opener CLEAN YOUR SCREENS ON PRESS CLEAN YOUR SCREENS ON PRESS CLEAN YOUR SCREENS ON PRESS Call us today! 800.538.5069 Find a dealer near you: C M Y CM MY CY CMY K Printwear_thirdpage_april2018.pdf 1 3/27/18 10:42 AM

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