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screenweb.com
August/September 2012

Solutions for
Color Management p. 20

The Influence of Mesh

p. 14
Sizing Up Sportswear
p. 26
Dye Sub for Garments
p. 30
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 AUGUST/SEPTEMBER 2012
Volume 102 / Number 4

CO N T E N T S
C OL UMN S
About the Cover
The cover shows PREPRESS WIRE
color-management
tools in action as a
spectrophotometer 10 Strategies for Navigating the Regulatory Maze Mark Coudray
reads color patches. Coudray looks at the rules and regulations for screen printers and how to deal with them and
Turn to page 20 in those who enforce them.
this issue to find out
more about color-
management aids.
DIGITAL DIMENS IONS

Cover design by
Keri Harper.
12 New or Used? Rick Mandel
See what experts say about new equipment and the economics of buying used printing equipment.

FEATURES

14 Thin Is In Art Dobie

Learn about thread diameter and how it influences a variety of printing applications.

20 Color-Management Aids Tony Quinn

This article highlights numerous solutions and processes for color management.

26 Performance Equals Profits Ryan Moor

Moor talks about ways you can increase your business’s profitability by including performance apparel in the mix.

30 A Look at Dye-Sub Printing for Garments Syd Northup

Learn how to get started in dye-sub-decorated wearables.

D E P A R T ME NTS
4 NEWSWORTHY 38 US & CANADIAN DIRECTORY
SCREENPRINTING 6 NEW PRODUCTS 39 ADVERTISING INDEX
Online Communities 34 SHOP TALK 40 EDITORIAL INSIGHTS
36 CLASSIFIEDS

SCREEN PRINTING (ISSN 00369594) is published bi-monthly by ST Media Group International Inc., 11262 Cornell Park Dr., Cincinnati, OH 45242-1812. Telephone: (513) 421-2050, Fax: (513) 362-0317. No charge for subscriptions to qualified individuals. Annual rate for subscriptions to non-
qualified individuals in the U.S.A.: $42 USD. Annual rate for subscriptions in Canada: $70 USD (includes GST & postage); all other countries: $92 (Int’l mail) payable in U.S. funds. Printed in the U.S.A. Copyright 2012, by ST Media Group International Inc. All rights reserved. The contents of this
publication may not be reproduced in whole or in part without the consent of the publisher. The publisher is not responsible for product claims and representations. Periodicals Postage Paid at Cincinnati, OH and at additional mailing offices. POSTMASTER: Send address changes to: Screen
Printing, P.O. Box 1060, Skokie, IL 60076. Change of address: Send old address label along with new address to Screen Printing, P.O. Box 1060, Skokie, IL 60076. For single copies or back issues: contact Debbie Reed at (513) 421-9356 or Debbie.Reed@STMediaGroup.com. Subscription Services:
SPTG@halldata.com, Fax: (847) 763-9030, Phone: (847) 763-4938, New Subscriptions: www.screenweb.com/subscribe.
 Do the Math
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* based on printing 30 shirts in 1 hour per workday **OAC based on 60 month lease
 NEW S WO R T H Y
www.screenweb.com

BELATED REFLECTIONS ON DRUPA

Steve Duccilli, publisher of Screen Printing magazine, finds that the printing
industry has yet to experience an analog-to-digital transformation. Steve Duccilli
Group Publisher
I was fortunate to attend DRUPA in May steve.duccilli@stmediagroup.com
along with 300,000 or so others from the
Gregory Sharpless
graphic-arts industry all around the world. Associate Publisher
As always, the show provided a tantaliz- gregory.sharpless@stmediagroup.com
ing glimpse of the printing industry that
Gail Flower
might await us five to ten years from now. Editor
Yet I had an incredible sense of déjà vu as gail.flower@stmediagroup.com
I walked the mammoth exhibition center
Ben P. Rosenfield
in Dusseldorf (with a near-sellout in all 19 Managing Editor
halls), taking me back to my first trip to Landa’s nanographic printing system de- ben.rosenfield@stmediagroup.com
DRUPA 17 years earlier. buted at DRUPA. Photo courtesy of DRUPA
Keri Harper
The 1995 show had been hyped as Art Director
the Digital DRUPA, primarily for the widespread computer-to-plate technology on display keri.harper@stmediagroup.com
for offset printers. The talk of the expo was Indigo, with a toner-based digital offset
Mark Coudray, Rick Davis,
printer debuted in a jaw-dropping theatrical display with company founder Benny Landa Tim Greene, Andy MacDougall,
acting as the ultimate emcee/showman. Rick Mandel, Thomas Trimingham
Fast forward to DRUPA 2012. Master showman Benny Landa was once again the Columnists
talk of Dusseldorf, this time debuting a new inkjet technology for commercial printers
Linda Volz
that he calls nanographic printing in an even more elaborate, futuristic theater that looked Production Coordinator
like nothing so much as the set of a Star Trek film. And the Indigo I first saw 17 years ago linda.volz@stmediagroup.com
was very much alive and well on the stand of HP, which by 2005 had acquired it. It seems Business Development Managers
a fair question, then, to ask to what degree the promised transformation of analog to digi- Lou Arneberg – East and Midwest
tal printing has taken place in the 17 years that separated these two landmark shows. US, Eastern Canada, Europe
The answer is that so far, it hasn’t. lou.arneberg@stmediagroup.com
Ben Stauss – West and South US,
In his presentation, Landa cited industry statistics showing that digital printing has
Western Canada, Asia
captured only 2% of the total annual volume of commercial printing applications on paper. ben.stauss@stmediagroup.com
This despite rapidly falling run sizes, increasing demand for custom messaging, and all of
the other trends Landa correctly predicted in his Indigo presentation 17 years ago. Andy Anderson, Jeff Arbogast,
Albert Basse III, Reynold Bookman,
Wide-format graphics aren’t quite as easy to gauge, but frequently quoted statistics
Bob Chambers, Don Curtis,
from InfoTrends suggest that inkjet printing now commands about 35% of the market for Dean DeMarco, Michael Emrich,
out-of-home and retail graphics—a considerable number, but also a misleading one. Data Craig Furst, David Gintzler,
from numerous sources, including U.S. government records on printing shipments, as Ryan Moor, Bob Roberts,
well as studies done by NASMA, show that the peak year for non-textile screen printing Jon Weber, Andy Wood
Editorial Advisory Board
in this country wasn’t 1990 or 1995, but 2007—the year before the Great Recession began.
Inkjet hasn’t displaced screen and offset technology in these markets, but rather created
entirely new ones through applications and capabilities that were impossible through
analog printing.
If the plain fact of the analog-to-digital transformation is that we’re still waiting for Jerry Swormstedt
it to happen, the signs at DRUPA 2012 suggest that it’s tantalizingly close. The nanograph- Chairman of the Board
ic technology shown by Landa may have commanded the most attention at this DRUPA Tedd Swormstedt
(though realistically it’s also at least 18 months from launching), but other breakthroughs President
in inkjet and toner-based printing systems for commercial applications were on display
Kari Freudenberger
throughout the exhibition. In wide-format printing, the most prevalent trend was the Director of Online Media
number of fully automated production lines shown (including substrate loading and
unloading). Not new technology, but together with the advancements made in print speed Customer Service
and quality over the past four years, it presents a realistic alternative to screen printing Screen Printing Subscription Services
P.O. Box 1060
even for longer runs—a choice high-volume printers in these markets arguably haven’t Skokie, IL 60076
had before. P: 847-763-4938/877-494-0727
It will be fascinating four DRUPAs from now to see if the analog-to-digital transfor- F: 847-763-9030 E: SPTG@halldata.com
mation finally does pan out as predicted for so many years. That will be 2028, if the show Free Subscription
stays on its current schedule. I’m hoping to be there. www.screenweb.com/subscribe
Renewals/Address Changes
www.screenweb.com/renew
4 SCREENPRINTING
 new p r o d uc t s

Screenmaking System for says can accommodate two regular-size T-shirts across the
Water-Based and Discharge Inks conveyor belt. The dryer has an infrared/convection drying
Kiwo (www. system that can cure up to 400-500 shirts/hr. Users can add
kiwo.com) says 3 ft (0.9 m) of in-feed or out-feed with an optional extension
it now offers that facilitates loading and unloading during peak periods.
an economical, Powerhouse 5208 features a flash phase-cure booster that’s
three-component engineered to speed production by raising garment and ink
screenmaking temperatures more quickly. In addition, heated air recovery
system that saves draws preheated air from beneath the dryer’s belt and returns
time and money it to the oven area. Other features include adjustable oven
and maximizes doors, a removable oven hood, and four-point belt tracking.
performance
Kiwo and workflow. Bulk-Ink Adapter
Kiwocol 300 WR is a high-solids emulsion that’s formulated Mutoh America’s (www.mutoh.com) 4-l ink-pack adapter that
for water resistance, quick buildup, and support for high-res- accommodates four 1000-ml Eco-Ultra ink bags (CMYK). The
olution printing. Blockout WR is a water-resistant blockout Eco-Ultra ink bags are compatible with the ValueJet 1324,
used to touch up pinholes and block out screens. Accord- 1624, and 1638 printers. According to Mutoh, adapter users
ing to Kiwo, using Blockout WR helps to get screens into will see an increased cost savings in just a few uses, with up
production faster by eliminating the need to use emulsion for to a 27% savings, depending on cartridge size. Mutoh also
touching up screens—a process that requires an additional notes that minimal material use and increased capacity of the
round of exposure. Hardener WR is a stencil-hardening fluid 1-l bags, compared to smaller cartridges, means less materials
that’s designed to enhance a stencil’s water resistance. Kiwo used and, as a result, a more environmentally friendly work-
says stencils made with Hardener WR remain completely ing environment.
reclaimable.
Digital Add-On for Screen Presses
Wide-Format UV Inkjet Printer

EFI

EFI (www.efi.com) calls its VUTEk HS100 a high-speed

digital imaging system that represents a true replacement for
Kornit
analog equipment with the productivity of screen printing and
image quality that approached offset. The 10.5-ft (3.2-printer
features EFI’s Pin & Cure imaging technology, driven by the Kornit (www.kornit-digital.com) recently introduced the
Orion OS platform, which is engineered to deliver precise ink Paradigm Printer, a digital add-on solution for manual and
lay-down for critical color accuracy and consistency, gloss automatic carousel screen presses. According to Kornit, Para-
control, and an increased color gamut. The VUTEk HS100 Pro digm is capable of handling a large variety of textile applica-
supports print speeds up to 100 boards/hr and comes with tions, variable data, four-color process, spot combinations,
true grayscale printhead technology and up to eight colors, and more. The unit is equipped with Spectra Polaris print-
including white and special colors. heads. It uses pigmented solvent or water-based ink, supports
a maximum image size of 16 x 20 in. (406 x 508 mm), and
Garment Dryer images at resolutions up to 630 dpi. Compatible substrates
Workhorse (www.workhorseproducts.com) bills its new Pow- include cotton, cotton-polyester blends, lycra, viscose, silk,
erhouse 5208 as a great solution for a manual garment-print- leather, denim, and more. Paradigm can also be operated as a
ing shop that wants to add an automatic or a second manual standalone digital printer for short runs.
press to the production floor. The garment dryer is 8 ft (2.4
m) long and 52 in. (1321 mm) wide, a size that Workhorse

6 screenprinting
DO I NEED
TO DO MORE
FOR LESS?
EVERY DAY.
DO I HAVE A
COOL WAY
TO DO IT?
D NITELY.
EFI VUTEk GS3250LX
LED UV-CURING PRINTER

Presenting the first production-level, LED printer.

Our EFI™ VUTEk® GS3250LX with “cool cure”
technology lets you produce jobs faster and more
efficiently at reduced cost while printing on recycled,
thinner and less expensive substrates. No VOCs.
Less consumables and waste. Reduced energy
consumption. No warping or head strikes. Give
your customers a greener printing solution as
you make more green of your own.

Scan or visit vutek.efi.com/DefinitelyLED3

to learn how. Or call 1-800-875-7717.
 new p r o d uc t s

Customized Pad-Printing Presses edge-to-edge printing, queue, saturation control, hot folder,
multi-sheet (with optional Multi-sheet Loader Kit), and more.

Media for Digital Imaging

MACtac Graphic Products (www.mactac.com) has expanded
its line of sustainable media for digital printing with IMAGin
Verde VM2229P and VM3209R. Both are chlorine-, phthalate-,
and PVC-free films. They can be used for product-identifi-
cation labels, short-term OEM decals, and more. VM2229P
and VM3209R also can be used with MACtac’s Permacolor
Verde VL1000 series laminates to protect the printed graph-
ics. IMAGin Verde VM2229P is a 4-mil gloss, white, top-coated
polyolefin film. It has a clear, permanent, acrylic pressure-
sensitive adhesive and is intended for wide-format UV inkjet
printing. The unprinted outdoor durability of VM2229P is two
Pad Print Machinery of Vermont years. IMAGin Verde VM3209R is a 2-mil, clear, polyester film
that’s designed to resist scratching and features a top coating
Pad Print Machinery of Vermont (www.padprintmachinery. for wide-format UV printing.
com) announces that its standard pad printers can be adapt-
ed to other printing applications by adding multiple color Aluminum Honeycomb Platens
configurations, custom software and automation, conveyor
systems, and more. One example, a KP08 multicolor pad
printer that was customized to print onto coins, was equipped
with a camera and a single holder mounted on a 360° rotating
fixture. Its linear shuttle conveyor positions the coin under
the camera and, using a programmed template guide, centers
the coin to the correct print position. The coin then travels
under each of the five color pads for printing. The KP08 is op-
erated via a PC touchscreen and can be controlled remotely.
The printer has an automatic pad-cleaning device and can MHM
be programmed during any time of the print cycle. Multiple
printing programs can be stored and recalled at any time. MHM’s aluminum honeycomb platens, available from Hirsch
Int’l (www.hic.us), are engineered for light weight and to
Wide-Format UV Inkjet Printer offer durability and effective heat dissipation. According
to Hirsch, the platens feature high-tech construction that
ensures extreme flatness with none of the warping that can
occur with traditional platens. the honeycomb platens come
with mounting brackets and are designed to work with an
automatic release button, a standard feature on MHM screen-
printing equipment. Specialty platens for jackets, umbrellas,
single-sleeve applications, and socks are available—as is a
HP
vacuum platen for transfers and signage materials.

HP (www.hp.com) says its HP Scitex FB7600 offers quick Pressure-Sensitive Laminating Film
ROI by creating more opportunities for digital printing. The Seal Print Shield Base Textured Matte is a new 3-mil, vinyl
UV inkjet printer supports imaging resolutions up to 600 dpi overlaminate from Neschen Americas (www.neschenameri-
and a maximum print speed of 5382 sq ft/hr (500 sq m/r) or cas.com). The company says the pressure-sensitive film is
95 full-size (65 x 126-in., 1650 x 3200-mm) sheets/hr. The six- cost-effective and specifically designed to offer outstanding
color (CYMKLcLm) system accommodates media up to 1 in. protection against dirt, moisture, and abrasion. It is textured
(25 mm) thick, including foam PVC, PVC sheets, polystyrene to exhibit a semi-matte finish that reduces glare from direct
(HIPS), fluted polypropylene, polycarbonate, polyethylene, lighting. Print Shield Base Textured Matte can be used for
synthetic paper, SAV, paper, foamboard, corrugated card- indoor and outdoor applications. It is available in 200-ft (61-
board, and others. Other features include layout, step-and- m) rolls and in widths of 38, 51, and 54 in. (965,1295, and 1372
repeat, color management and file sizing and cropping, mm). Sample rolls are available.

8 screenprinting
Printable Mesh of 30, 54, and 60 in. (762, 1372, and 1524 Send us your news!
Rio 6 oz. Event Mesh is a new offering mm). PVDF Graffiti Free Laminate is an
Please send your news releases
from Value Vinyls (www.valuevinyls. adhesive-backed, 1-mil product that’s
and photos announcing new
com) that the company says is intend- designed to enable removal of spray
products, changes in your business,
ed for use at major events and con- paint within seven days by wiping with
awards, appointments, and other
certs. According to the company, Rio isopropyl alcohol. The laminate comes in
noteworthy developments to:
6 oz. Event Mesh is compatible with a roll that’s 54 in. x by 150 ft (1372 mm x
gail.flower@stmediagroup.com.
UV and solvent inks and meets NFPA- 45.8 m).
701 test standards where additional
fire-code jurisdiction is required. Rio
6 oz. Event Mesh is engineered with
approximately 70% openness for maxi-
mum audio clarity in front of speakers.
It is available in widths of 126 and 196
in. (3200 x 4978 mm).

Thermal Film
Drytac’s (www.drytac.com) new MHL
High Gloss Silver is a thermal, metallic
base film that’s designed to mimic the
look of metallic inks or foil stamping
when white inks are partially or totally
knocked out. The company says the
film is compatible with most flatbed
UV inkjet printers. MHL High Gloss Sil-
ver is a 1.5-mil film that can be applied
using a heated roller laminator and,
after it is applied, printed to achieve
a variety of effects.

Inkjet Media
Kapco (www.kapco.com) recently
unveiled four substrates. The 8-mil
Microporous Gloss Polypropylene Film
is a white, inkjet-printable, recyclable
product designed for water resistance
and with a microporous coating that’s
engineered for quick drying. It’s avail-
able in an adhesive-backed version.
Rolls are 100 ft (30.5) long and come
in widths of 36, 42, 50, and 60 in. (914,
1067, 1270, and 1524 mm). The com-
pany’s 140-g High Resolution Matter
Paper is designed to offer high density
and vivid colors, fast drying, universal
compatibility, and exceptional hot- and
cold-laminate receptivity. Rolls are 100
ft (30.5 m) long and come in widths
of 24, 36, 42, 50, and 60 in. (610, 914,
1067, 1270, and 1524 mm). Cast Vinyl
Laminate is a 1.2-mil product that
features a UV-protection additive for
vehicle wraps and graphics. Rolls are
150 ft (45.8 m) long and come in widths

august/september 2012 9
 T H E P R E P R E S S W IRE

STRATEGIES FOR NAVIGATING Mark A. Coudray is president of Coudray Graphic Technolo-

THE REGULATORY MAZE gies, San Luis Obispo, CA. He has served as a director
of (SGIA) and as chairman of the Academy of Screen
Printing Technology. Coudray has authored more than
Mark Coudray 250 papers and articles over the last 20 years, and he
received the SGIA’s Swormstedt Award in 1992 and 1994.
In this column, Coudray shares lessons learned He can be reached via e-mail at coudray@coudray.com.
from years of dealing with regulations and those
sent out to enforce them.

L ike any business owner, the regula-

tory aspect of business is a pain in the
(SGIA). They are a tremendous re-
source when it comes to government
happening. The first is that regulators
are completely overworked and over-
you-know-what. As much as we would regulation and navigating the gauntlet. whelmed in their jobs. Their budgets
like it to go away, that simply will not Marci Kinter heads the Government have been cut and everyone is being
happen. Noncompliance is not an op- and Business Information department asked to do more work. On top of this,
tion, but this doesn’t mean you have of the Association. She is a respected the work is technical and requires
to submit to every arbitrary whim and authority both within the industry and constant updating on their part. The
directive that’s thrown at you. You the regulatory segment of government. updating frequently does not get done,
have two choices when dealing with This is your central source for regula- and we pay the price.
regulators and inspections: comply on tions affecting screen printing. The second item is driven by the
your terms or comply on theirs. Your best defense and strongest first. There are now fees for every-
The column this month will be a position when dealing with regulators thing. Inspections are driven by per-
bit different from what I usually write is to know the rules. Specific knowl- mits and the associated fees. There are
about. This month, I’d like to share edge is something the local and state fees for the permit and review. Annual
some of the hard-learned lessons of regulators generally do not possess. It’s inspection fees are tacked onto your
dealing with regulations and those that very common for them to show up at business license. If you’re determined
are sent out to enforce them. your doorstep with generalized guide- to handle hazardous or toxic materi-
When I first started in business, lines. They’ll often try to apply statutes als, there are fees for those as well.
I was under the impression I had to that are completely inappropriate for Knowing what fees apply and how
obey authority and follow the rules as your business, and that don’t apply at you’re being classified can make a
they were told to me. That is just the all. If you’re unprepared and unknowl- great deal of difference in how much
way it was. For the most part, it was a edgeable, you have few options. you pay, or if you need to pay at all.
reasonable assumption based on rules Local regulation generally Knowing these two key pieces of
that were in place to protect the good comes from either the fire department information, your strategy should be
of the people. My parents had raised or building and safety department of to make the inspector’s job as simple
me to respect authority and the rea- your local city or county. In today’s and straightforward as possible. Any
sons why we had laws and regulations. economic environment two things are value you can bring to them that will
That was a very naïve assumption, and accomplish this will lessen the impact
I was quickly awakened to the real on your business. You should also set
world and how regulators can easily You have two out to minimize the size and number of
abuse their enforcement power. fees that apply to your business. You
This led me to develop several choices when will not be able to eliminate them, but
very effective strategies that over dealing with you can definitely reduce them.
time moved me from being in the pile
of those being regulated to one of a regulators and The details of preparation
trusted authority. How did this happen inspections: Business inspections typically focus on
and what were the consequences? health and safety. The most common
Let me state straight out: If you comply on your areas of interest are fire extinguishers,
have a business of any size at all, and terms or comply flammable and toxic materials, electri-
you are serious about growing your cal, egress, and access.
business, you need to belong to the on theirs. Fire extinguishers need to be the
Specialty Graphic Imaging Association proper size for the building and located

10 SCREENPRINTING
 t h e pre pres s w i r e

within the required distance from each point on, your business will be under
other. This is usually 75 ft. The loca- Regulations and the magnifying glass.
tions need to be clearly labeled and The second point is also very,
readily accessible without obstructions
inspections are very important. If you build without
(boxes, garbage cans, etc.). They also definitely not going a permit and inspections, and there is
need to be current on pressurization a fire or other catastrophe, you will
(recharge annually). By noting when
away. If anything, be held liable and your insurance will
you receive your annual inspections, they’ll be increasing not cover your losses. If you have ever
schedule the recharging of your extin- taken the time to read the fine print
guishers one month earlier than the
in the future. of your policy—hardly anyone does—
inspection date. you will find all kinds of ways for the
City and fire typically misclassify The issues of egress and access insurance company to avoid having
screen printing based on old-school focus on how easy it is to get in and out to pay your claims. These clauses and
flammable inks and solvents. Almost of a building. All exits need to be prop- disclaimers include being properly
all inks and solvents used today are erly labeled as EXIT or NOT AN EXIT. classified and permitted for the type of
either nonflammable or combustible. Aisles need to be free and cleared of business and type of policy you have.
This is a big change. Combustible obstructions. This is a big problem There is so much to cover when
materials are classified the same as for most small shops. We have a lot of it comes to dealing with government
cardboard or filing folders. In other boxes, and they take up a lot of space. regulations. While it may be tempting
words, screen printing is much less of The best you can do is be aware and be to avoid them by pleading ignorant,
a fire concern presently. as careful as you can. you are only kidding yourself. The
Make certain you have current Also, for access, the Americans time and grief you bring upon your
MSDS for all of your materials, and With Disabilities Act (ADA) has be- business will far outweigh the costs of
have them in a binder that is clearly come a major challenge for many busi- doing it right the first time.
marked and accessible by anyone in nesses. This has to do with wheelchair That being said, anything you
the shop. We normally keep the binder access, ramps, door widths, signage, can do to help make the inspection
next to one of the fire extinguishers. and railings. Some locales will grandfa- process easier by being knowledge-
This makes it easy for the inspector to ther existing structures and others will able and organized will help. There is
access two things at once. not. If it comes down to an ADA issue, simply too much for an inspector to
Electrical issues are another make certain you know whether it is learn about each specific business.
area of concern. The most common your responsibility or the landlord’s Something as simply making a copy of
violation is excessive use of exten- for who is responsible for the retrofit a current safety article or article about
sion cords. It is permissible to use and compliance. This is something you evolving ink technology will be helpful
them, but only when the item is being want your attorney to check for in your for the inspector and will be viewed
used. Items like blowout guns that are lease or rental agreement. as being supportive on your part.
in constant use need to have exten- The more you know about green and
sion cords of 6 ft or less. Ideally, you Permits sustainable trends, reducing waste,
want items like this to plug directly As I travel around the country, I often and minimizing hazardous and toxic
into a receptacle. What inspectors are see bootlegged construction of screen- substances the better.
looking for are unused items like fans rooms, break areas, offices, and so Regulations and inspections are
that are plugged in but not being used. forth. Some of these modifications are definitely not going away. If anything,
Extension cords must also be properly minor; others are significant. If you’re they’ll be increasing in the future. We
grounded, and if possible use twist- going the route of avoiding permits also know the costs associated with
lock connectors like those found in the and inspections, beware. Building these activities are going to increase.
construction industry. inspectors have the right to require To keep your costs and distractions
Other electrical violations include you to remove any unpermitted work. to a minimum, use the system to your
circuit-breaker boxes that are obstruct- In addition, you will pay a penalty/ advantage by being positioned as an
ed. You need 3 ft of clearance around fine and be required to go through the advocate for workplace health and
any electrical panel. They are also look- permitting and review process if you safety. Let the inspectors know you
ing for breakers that are not labeled, intend to rebuild. While it is rare to go can be a source for information that
missing breakers, panels not prop- the full route of removal/fines/permit- will help them with their jobs and you
erly secured, or panels with excessive ting, you will have done immeasurable will be in the best possible position.
breakers for the rated amperage. These damage to your business. You’ll be red
are both electrical and fire hazards. flagged as a violator, and from that

august/september 2012 11
 T H E D I G I TA L D I M EN SI O N

NEW OR USED? Rick Mandel is president/owner of the Mandel Company, a 120 year old,
family-owned graphics firm. He is CEO of the Screentech Division, special-
Rick Mandel izing in large-format color separations prepared for the
screen printing industry, large-format color separations for
the P-O-P industry and large-format digital printing. He has
been a speaker for SGIA, SPTF, and POPAI and is a member
Mandel looks at the pros and cons of buying new of the Academy of Screen Printing Technology. He is a
or used printing equipment in his interviews with 20-year member of SGIA.
well-known industry experts.

W e have chosen a profession that is by its nature a capital-

intensive industry, and that can present a problem.
costs for debt service and service contracts can be a huge nut to
crack, though offer fantastic throughput if the work is consis-
Graphic software to take in clients’ files requires on tently there.
average a thousand dollars of upgrades every other year, and
the actual workstation (Mac or PC) needs to be replaced every Thoughts on used equipment
three or four years. Naturally, the newer software is optimized Because digital is constantly changing, buying used probably
on the newest boxes. You can almost hear the cost accumulat- puts you two generations behind the latest and greatest. From a
ing: cha ching! service and support viewpoint, if it is your first piece of equip-
Secondly, printing devices range from $20,000 to a couple ment, used is likely to be a disaster. If you are adding to an exist-
of million dollars in cost. This cost does not stay stagnant, and ing fleet of presses or replacing a press, adding a used press of
digital equipment should produce a return on investment (ROI) the same make and model would seem to be a safer bet.
within three years. Devices may become out of date or too “Basically, I would frame the decision around a business
expensive to maintain after that time frame. strategy,” says Bob Travis, owner of Inkworks. “If I am a new
Lastly, the service costs can pile up for all printers. Yet entrant to digital printing, expecting to capture new opportuni-
being without a service contract is similar to playing roulette ties, I would suggest new equipment. It is difficult to be compel-
with your client. Even if we put together a third-party service ling with second or third generation technology. If the strategy is
network to take care of printers, problems arise. to convert existing business or expand current digital business,
So, how can you maximize your investments on equip- investing in used equipment that matches existing capability,
ment and service, while maintaining a level of expertise and would allow for a seamless implementation at lower cost.”
production? As you can imagine, beauty is in the eye of the A monthly nut for the addition of a $250,000 device would
beholder. Original equipment manufacturers (OEMs) have the be approximately $15,000 (debt service, service contract, one ad-
statistics and logic behind new equipment purchases, while ditional employee). This could equate to an additional $300,000
smaller printers often take a used equipment direction. The of sales yearly to deal with this expense. Per month, this would
importance of knowing what you are getting into is important equate to 250 sheets of 4 x 8-ft product. For a smaller company,
for both approaches in this economy. down time could be a scary cash drain, though larger companies
could handle the peaks and valleys of such choices.
What experts say about new equipment Chip Basse, president of Albert Basse Associates, directs
Buying a new digital printer has the advantage of current tech- his thoughts to the client, “Our clients are demanding higher
nology, a warranty time frame to work out the bugs, and access quality than the quality that some of the older machines are
to techs within the OEM, though hefty service contracts are capable of, so that is part of our decision making.”
required on the high-end production devices. Buying new equipment has many positives, as John Heiser,
Bill Kujawa, president of BK Marketing, says, “Buying president of Heiser Sign and Graphic Services, has said. With
new is a difficult ROI unless you have a client or a contract. Buy- new equipment, warranty support is usually better. New equip-
ing new will also make you paranoid because a newer, faster, ment, the latest technology (and refinements), and reliability
better presses will soon be in the market.” Therefore, buy new follow. Negatively, the price and uncertainties of your return on
for specific needs of a client or clients. Build it and they will investment are also part of the buy new decision.
come is a philosophy that’s long gone. Rather, build it when the The actual make up of the company and the personality of
need is present. the ownership plays a large part in the new vs. used choice. Mike
Joe Shondel, past president of SGIA, echoes Bill’s mes- Altreuter, VP with Global Imaging, elaborates: “Having sold both
sage that relate to high-speed digital presses. “Unless your new and used digital equipment during the last seven years, I rec-
business is profitable and growing, these types of fees (service ognize the benefits of both. New buyers tend to be risk averse,
contracts) are very difficult to amortize over the course of a they need to have guaranteed service response time, want the
year and still many repairs are still not covered 100%.” Monthly latest features to stay ahead of the competition, want a tight rela-

12 SCREENPRINTING
 the digital dimension

tionship with a manufacturer in order to has settled in. Most issues that companies mium because they require a guarantee
develop niche end products or get unique face with a new printer happen in the for response time from the manufacturer
matched component warranties or the first 30-60 days. A used piece has already and it makes sense for their volumes
like by working with a manufacturer and gone through that. If you save $50,000 and business model. However, most
partner companies.” to $150,000 on the purchase price, and companies would be better off paying
Opportunities for large format, there is a possibility of needing to spend straight Time and Materials, he asserts.
used, digital equipment are vast. The $10,000 to $15,000 in repairs, is it a good He suggests that to put the monthly cost
variables rely on the personalities of the deal? My answer is a resounding yes, but of a service contract in the bank, as there
decision makers, service, and replace- not everyone sees it that way. The key is will be the inevitable repair. At the end
ment parts issues, cost, reliability, image for buyers to be honest with themselves.” of the year, a significant savings should
technology and more. The perfect Ford Bowers, VP at Miller Zell con- be expected. The downside is that the
circumstance for a used equipment curs. “If you are looking to add redundant response rate may be less for time and
purchase is when it is the second device production presses and want them to material clients, and you are at the pric-
to be on hand, ready when more capacity have like print quality/productivity, then ing whim of the slowest tech. That in it
is required. buying the same machine you purchased self could get frustrating.
Operators know the good, bad, and last year, even though this time it’s used, Because there are so many differ-
ugly already. “I say yes to used equipment is sometimes a better option. You are ent devices within even the same OEM,
as long I have the back-up from the man- already familiar with it and can assess its it has been a long, slow road for any
ufacturer and the manufacturer can give condition better.” national company to organize support of
you the equipment’s history,” says Ralph used equipment. Most of the best support
Rhein, VP of operations at Duracolor. A Points on service conracts and service comes from past manufac-
detailed history must be provided. OEMs Service contracts go hand in hand with tures’ employees operating as small
tend not to be in the used market, just as the decision to buy used or new. Even service contractors. These arrangements
you might see in the automobile world. It continuing the service contract from war- are harder to find, though.
is just too risky. ranty status is in question. Will the OEM The economic realities of service
Regarding service scenarios, the take on a service contract of a used de- are a real issue in running a printing
consensus is that an internal person vice, and at what cost? Many will create business. Joe Shondel chimes in: “Our
should be used to absorb maintenance a service contract, though the equipment printer’s yearly contract was $50,000.
and/or simple fixes. At Albert Basse, a must be certified before the contract is Unless your business is profitable and
qualified maintenance technician is on written. This may cost $5,000 to $10,000, growing, these types of fees are difficult
staff to primarily service screen equip- depending on the printer. Many OEMs to amortize over the course of a year
ment, facilities, etc. The technician is will not continue a warranty when sold and still many repairs are not covered
especially good with electronics for test- to a third party. The printing equipment completely. A viable alternative to direct
ing and controls. With proper training and may be performing perfectly on the factory service is needed to bring these
knowledge, the house technician can gain seller’s floor, but it may have issues upon costs down to realistic levels.”
more knowledge and be key to repairs. delivery. “The level of comfort with do-it-
The pre-owned market does have Responses regarding service yourself staff and their experience really
its challenges. According to John Heiser, contracts for used equipment elicited the determines if you would go with third
the marketing of used equipment is dif- most emotion. Rhein does not believe in party help,” Bowers says. “The more
ficult because prices are too high. This service contracts because, in his opinion, experience, the more likely a shop will
is usually for equipment that is well used they are all over priced: “In my 13 years try to save money. Whether warranties
and the owner has recouped the invest- of owning many digital machines, we are voided from using other techs or inks
ment and depreciation many times over, never had a higher repair cost than the is a big issue.”
yet still expects to recoup a large amount yearly fees of a service contract. We The availability of software
of the original price when selling it. More never exceeded half the cost of a con- upgrades, and patch/fixes, when service
operations that currently have thought tract. You need a well-trained person on contracts are not used can affect the pro-
about additional equipment would pur- your staff to handle minor repairs. In this ductivity. Variation in digital equipment
chase used equipment if it were reason- way, you can save money by not buying a is equal to the perception regarding used
ably priced. service contract.” and new large-format, digital printers.
Mike Altreuter likes the used direc- Mike Altreur agrees. Typically, The personality of the origination seems
tion. “I would personally purchase 90% of a service contract on a piece of digital to be the deciding factor. Savings can be
my digital equipment as used. One reason equipment is roughly 10% of the list price had, though you need a staff that can deal
is that buying a used piece that has been of the machine, he adds. There are many with service.
in production generally means the printer companies that will gladly pay this pre-

august/september 2012 13
 THIN IS IN
THIS ARTICLE EXAMINES THE ROLE OF THREAD DIAMETER ON
A VARIETY OF PRINTING CHARACTERISTICS.
Art Dobie
Sefar, Inc.

L ower numbers are always fancied when talking about

age and price tags. We like our laptops, waist lines, and
Additionally, filament diameter size has the most influ-
ence on mesh thickness. When the diameter is reduced, over-
televisions when they’re thinner. It is no different when it all mesh thickness becomes thinner. Larger thread diameter
comes to mesh-thread diameter. increases mesh thickness.
Filament diameter (thread or wire), in its intimate As we can see in the overhead view in the top por-
relationship with mesh count, dictates the mesh param- tion of Figure 2 showing similar mesh counts, the smallest
eters that most define our print results. The association filament diameter indeed provides the largest mesh aperture
of filament diameter and mesh count directly determines size, providing greater open area. The cross-sectional view
mesh opening size, open area porosity, mesh thickness, of the mesh weaves shown in the lower half of Figure 2
and a handful of other significant mesh parameters. In depicts the reduction in mesh thickness resulting from thinner
turn, the combination of mesh thickness and open area at thread diameter. The red blocks represent the open columns
tension provide the dominant influence on the thickness of in the mesh through which the ink must transfer. The taller,
our printed wet ink film. chimney-like column on the right is a result of a thicker, more
closed mesh, due directly to a larger diameter at similar mesh
Influence of thread diameter on mesh parameters count. The increased thread-surface area, taller mesh, and
When mesh count remains unchanged, choosing a smaller smaller opening size make for more difficult ink flow and
filament diameter opens up the mesh and renders it much transfer from screen to substrate.
less obstructive to ink flow. This is readily apparent in the
representative illustration in Figure 1 of 380-thread/in., Influence of thread diameter on ink profile
low-elongation polyester mesh, incorporating three different Mesh thickness, as a direct result of thread diameter, can
thread diameters (27, 31, and 34 microns Ø). have an impact on the surface profile of the printed ink film.
The increased open area of mesh types with reduced In rheological terms, most printing inks are formulated to
thread diameter at similar mesh count equates to less fila- be pseudoplastic or shear-thinning. When a shear stress is
ment surface area within the print cavity. As ink passes applied to a pseudoplastic ink (stirring, or spreading with a
through a screen’s print cavities, it is in direct contact with squeegee, for example), the viscosity of that ink drops notice-
the threads. By reducing the thread surface area, mesh will ably, making the ink more fluid during the period the shear
release easier at the moment of ink transfer. is applied. This rheological property is used to assist the ink
Smaller diameter thread at the same mesh count creates to flow in and out of the screen mesh easier during the print
higher open area by increasing the size of the mesh apertures. stroke. However, we all like to hold sharp detail in our prints,
Larger mesh openings allow for easier transfer of higher so we need this decrease in ink viscosity to stop, and in fact
viscosity inks, or inks that have relatively larger particle size reverse course, when the print stroke and ink transfer are
or high solids content, often desired to achieve special effects complete. Fortunately, part of the pseudoplastic materials
and to help give the color some visual pop. formulation is that they return to their at-rest viscosity once

14 SCREENPRINTING
application of shear stress is ceased.
The viscosity reduction of most
printing inks during the print stroke
can vary based on a number of factors,
including the specific ink formulation,
and the amount of shear stress applied
to the ink during the print stroke. Some
materials shear thin more than others.
Some inks may shear thin very little
or not at all. Depending on the how Plain weave 380-thread/in. mesh Plain weave 380-thread/in. mesh Plain weave 380-thread/in. mesh
much the printed ink flows, some inks with 27-micron thread diameter with 31-micron thread diameter with 34-micron thread diameter
are more prone to leaving evidence of
FIGURE 1
printing in the way of mesh marks or
Low-elongation polyester mesh with 380 threads/in. and thread diameters of 27, 31, and 34 microns.
imprints of the mesh filaments in the
surface profile of the ink.
As depicted in Figure 3, mesh
with larger diameter thread size is more
likely to leave a rougher surface topog-
raphy on printed ink film compared
to mesh with thinner thread diameter.
Ink shear (and viscosity drop) ceases
once the ink is cut by the squeegee into
the mesh apertures. While the printed
ink begins its recovery back to rest Plain weave 380-thread/in. mesh Plain weave 380-thread/in. mesh Plain weave 380-thread/in. mesh
viscosity, any bigger imprints left by with 27-micron thread diameter with 31-micron thread diameter with 34-micron thread diameter

larger filament sizes may not flow out FIGURE 2

completely, remaining in the ink profile. In similar mesh counts, the smallest filament diameter provides the largest mesh aperture size.

Influence of thread
diameter on stencil quality Plain weave 380-thread/in. mesh with 27-micron thread diameter
The taller weave of mesh with larger
diameter and lower open area can also
affect several important characteristics
of the stencil coating. The taller profile
of mesh having larger thread diameter
makes it more difficult to maintain a
smooth stencil profile (lower Rz value) Plain weave 380-thread/in. mesh with 31-micron thread diameter
when coating with direct emulsion. As
the wet emulsion layer dries into the
mesh, the resulting surface topography
of the coating is greatly influenced by
the mesh profile underneath. The dried
profile of the stencil coating takes on
that of the mesh which supports it from Plain weave 380-thread/in. mesh with 34-micron thread diameter
below.
Figure 4 shows two stainless-
steel screen types, one with 25-micron
wire diameter and the other having a
wire diameter of 16 microns. The top
set of photos show the emulsion stencil
FIGURE 3
topography on both mesh types when Ink-film profile vs. mesh thickness (as a result of thread diameter size)
the direct emulsion stencil thickness is

AUGUST/SEPTEMBER 2012 15
 just 7 microns. The lower set of photos Historically, lower tension capa-
contained in Figure 4 show the identi- bility was one of the main drawbacks
cal two mesh types when the EOM to smaller diameter/higher open area
(emulsion over mesh) is increased to 18 mesh types. Screen tension is vital in
microns. The mesh profile underneath achieving proper ink transfer in the
influences the coating surface profile screen-printing process. Ink transfer in
16-micron stainless-steel wire diameter, particularly when the coating EOM is screen printing is different from most
7-micron stencil thickness
thin, but is more apparent when the other printing processes. Offset, gra-
mesh is thicker as a result of larger vure, and letterpress printing all carry
diameter size. the ink on the outer surface of what
As diameter increases and open comprises the printing plate compo-
area becomes more closed, the wire nent of those respective imaging meth-
weave displays a taller profile. When ods. These printing methods involve
wire diameter decreases, open area intimate contact between the printing
increases and the weave profile is lower plate and the substrate. The ink transfer
and smoother. Because stainless-steel doesn’t actually occur until the moment
mesh is shiny and reflective, the lower the printing plate and the substrate
weave profile of mesh having smaller separate from each other. Inkjet print-
wire diameter and increased open area ing does not use direct contact with the
can in many instances be more advanta- substrate, instead incorporating a print
25-micron stainless-steel wire diameter, geous when screen imaging. head to propel ink droplets onto the
7-micron stencil thickness Figure 5 displays two stainless- substrate surface.
steel wire screens, both coated and The screen is the printing plate of
imaged identically with the exact same the screen-printing process. The ink is
stencil system, artwork, equipment and applied to the surface of the screen fur-
procedures. The 18-micron wire mesh thest from the substrate and must then
shown in Figure 5 has 42% open area, pass through patterned openings in the
while the 16-micron wire mesh has printing plate in order to make contact
60% open area. The weave profile of in those areas with the substrate.
the smaller diameter/higher open area While recognizing that the ink
mesh is lower, while the larger diam- transfer occurs at the moment of
eter/lower open area mesh has a higher separation of the screen from the
weave profile. This higher weave profile substrate, we also must contend with
of the larger diameter wire size resulted the common rheological properties
in irregularities along the edge of the of most printing inks to shear thin
16-micron stainless-steel wire diameter,
18-micron stencil thickness screen image due to reflection of UV when squeegee motion is applied, and
light off the taller wire profile during recover to rest viscosity when the shear
screen exposure. This phenomenon is stress is ceased. This suggests that it is
much less apparent with smaller wire best to have that separation of screen
diameter, higher open area wire cloth. from substrate occur before the ink
has completely returned to its higher
Filament diameter idle viscosity. Considering, it would
vs. mesh tension be most desirable to have the screen
We know when mesh thread diameter and substrate separate progressively
becomes smaller while maintaining and immediately behind the moving
similar mesh count, the open area of squeegee, rather than waiting for the
that same mesh increases. Higher open entire print stroke to complete and then
area percentage advises that there is attempting to separate the two. At that
lower mesh content within the mesh point, the ink viscosity is increasing
25-micron stainless-steel wire diameter, area. When the amount of mesh content and it will be difficult to get the mesh to
18-micron stencil thickness
within a fixed area is reduced, the ten- cleanly release from the print without
FIGURE 4 sion capability of that mesh type is also leaving some print flaws such as voids
Two stainless-steel screen types, one reduced when all else remains equal. and mesh marks.
with 25-micron wire diameter and the
other with a wire diameter of 16 microns.
16 SCREENPRINTING
CAPTIVATE
When do images come to life?

www.VYCO M P L AST I C S .co m /ce l te c

When they are printed on

GRAPHIC DISPLAY
MATERIALS

WHERE QUALITY
MEETS PERFORMANCE 1 8 0 0 2 35 8 3 2 0
 Count #/ Diameter Opening open area Thickness Tension••
Mesh Designation TIV•
inch (μ) (μ) (%) (μ) (n/cm)
PET 1500 305-34PW 305 34 45 29.6 55 16.3 27
LFM 305-32 PW 305 32 46 30 50 15.2 27
PET1500 305-40 PW 305 40 37 20 64 12.8 37
PME 305-35 PW 305 35 42 25 52 13 42
PET1500 335-34 PW 355 34 31 19.3 55 10.6 29
LFM 335-32 - PW 355 32 32 20.6 49 10.1 29
PET1500 380-34 PW 380 34 23 12.1 55 6.7 32
LFM 380-32 PW 380 32 28 17.3 48 8.3 32
•TIV = Theoretical ink volume ••Maximum recommended value
18-micron stainless-steel wire diameter,
10-micron stencil thickness FIGURE 6
Comparison of some standard mesh types to alternative mesh types with advanced filaments

screen to separate and lift up from the helping to maintain smoother ink film
substrate directly behind the traveling and stencil surface profiles. The result-
squeegee line, much like peeling a piece ing estimated ink-film thickness remains
of tape up from a table top. This rela- basically unchanged to ennsure opacity
tively immediate screen lift or screen and color aren’t substantially altered.
peel, allows the mesh to be removed The most significant parameter
from the print deposit before the ink is tension value (Figure 6). It is here
can completely return to higher rest we can recognize the biggest ben-
viscosity. The small amount of elastic efit of these smaller, higher strength
16-micron stainless-steel wire diameter, property retained in the mesh permits filaments. The tension capability of
10-micron stencil thickness this repetitive deflection action for these new filament mesh types meets
continued use. or exceeds that of its standard mesh
FIGURE 5 For separation of screen and counterparts, even though their diam-
Two stainless-steel wire screens, both substrate to occur, the counter force eter size is significantly smaller. These
with the exact same stencil system,
provided by mesh tension and off- higher modulus filaments create a
artwork, equipment, and procedures.
contact gap must exceed the hold down more stable mesh, helping to maintain
force provided by ink tack. It is more dimensional accuracy while the higher
desirable to increase counter force tension capability combined with small
Fortunately, screen-printing (when necessary) by using higher mesh diameter size and increase open area
mesh is woven with yarn or wire having tension rather than increasing the off- allow for better ink transfer. Thin is
appropriate tensile strength, and can contact gap. Deflecting the screen into in, and you no longer need to settle for
be tensioned to a reasonable tightness contact with the substrate from a higher lower screen tension.
while still maintaining a small amount distance has a greater chance of initiat-
of elastic property. Assuming the screen ing dimensional distortion, and likely Art Dobie is technical marketing manager for Se-
frame is dimensionally stable enough creating image registration concerns. far, Inc., Depew, NY. He has been with Sefar for
more than 30 years since receiving a bachelor’s
to maintain the mesh tension level, we Higher screen tension creates desirable degree in graphic communications, special-
can artificially generate the necessary screen peel activity while maintaining a izing in screen-printing technology, in 1980 from
separation between the screen and sub- lower off-contact distance to minimize California University of Pennsylvania. Dobie is
strate to allow for ink transfer by fixing image distortion. a Life Member and Fellow of the Society of the
the tensioned screen in a parallel and International Microelectronics and Packag-
ing Society and was the 2006 recipient of the
elevated position above the substrate, Stronger, small filaments IMAPS John A. Wagnon Technical Achievement
and deflecting the mesh down into a The smaller diameters associated with Award for outstanding technical contributions
single line of contact with the substrate advanced filament mesh types provide to screen-printing technology as related to
using the squeegee. for increased open area percentages microelectronics. He is a member of the SGIA’s
Mesh tension acts as a counter which aid in easier ink passage. The Academy of Screen Printing Technology and
received the 2010 Swormstedt Award for the best
force against the downward squeegee mesh thickness is noticeably thinner published article or technical paper written for
deflection of the screen, allowing the on these advanced mesh types as well, any aspect of the screen-printing industry.

18 SCREENPRINTING
 Color-Management Aids
Take a look at the many aids available to evaluate, analyze,
and correct the color in a printing environment.
Tony Quinn
Nazdar

H ave you ever bought a new computer and then a month

later you see a better model with more features for two-thirds
of the price you originally paid? We all have! The same situ-
ation can arise when evaluating color-management aids or
tools. The way to avoid falling into this pitfall is to find the
right solution for the specific job. Ensure that the hardware or
software you intend to get will help you to meet the set goal.
The purpose of this article is to give insight into the
many options available for color-management tools. This is a
big topic; therefore, it would be impossible to mention every
tool, piece of hardware or software. Most color-management
aids and tools cross over between digital and separation
workflows.
A color-management aid or tool is normally classified
as a software package or an instrument. If it is software-
based, an instrument to capture color data is required. You
have to get the color data into the software to complete the
evaluation. Many instruments have the ability to report color
data back to the user, eliminating the need for computer
software. However, if capturing data for future reference is
the goal, software-based color-management tools would be
recommended.
Before you invest in a color-management aid, first,
clearly define what you’re trying to achieve. Ask, why do I
need a color-management aid? What am I trying to accom-
plish? Good examples of color management goals requiring
an aid or tool are:

• Develop a control point in production to gauge print

consistency and repeatability.
• Compare the printed color to an industry specification.
• Evaluate print-color consistency from printer to printer.
• Gauge print consistency from the color-approved press
sheet through the end of the production run.
• Create media configurations for new materials in digital
printing.
• Develop press curves to achieve gray balance control.

In each of the color-management goals listed, it’s

nearly impossible to complete any of the goals without some
form of tool or aid. Imagine working as a plumber and the
only tool you had was a pair of needle-nose pliers when the
job called for a pipe wrench. The same mindset can be used

20 SCREENPRINTING
when it comes to color-management aids and tools. Pick the
right tool for the job. It is amazing to see how many printers
are using needle-nose pliers when the job calls for something
else entirely.

Color-data capture
Spectrophotometers measure the intensity of wavelengths in
a spectrum of light and then compare that measurement with
the intensity of light from a standard source. When using a
spectrophotometer, color data can be reported back in several
formats, but typically L*a*b* color space is used.
One of the most common spectrophotometers in the
field would be is the i1 Pro by X-Rite (Figure 1). X-Rite
recently introduced the new i1 Pro 2. Like the i1 Pro, the i1
Pro 2 is a hand-held device, which relies on computer software
to capture the color data. X-Rite also has an i1iSis spectro-
photometer, which captures color data one page at a time.
The i1iSis is normally faster than a hand-held portable device,
capturing the color data of 1500 patches in less than eight
minutes, but limited to a paper thickness of 0.08-0.45 mm. So,
if you have a material thicker than 0.45 mm, make certain to
get a portable hand-held spectrophotometer.
Barbieri has introduced a hand-held spectrophotometer
called the SpectroPad (Figure 2). This device is portable and
includes a touchscreen. The SpectroPad does not require a
connection to a computer to capture print data. The device can
connect to a computer via Wi-Fi. The SpectroPad has a 6 mm
aperture, which makes reading in low-resolution print data
much easier. Because this device rides on top of the material,
there are no limitations to material thickness.
When it comes to controlling color in press, the densi-
tometer has been the device of choice for many years. A good
densitometer is really still a must-have item for press control.
Densitometers have matured to include the ability to read spec-
tral data. It’s important when looking to purchase a densitom-
eter to understand exactly what the device can do. The ability
of the device will greatly affect the price of the instrument. For
example, an X-Rite 508 device reads density and dot gain. For FIGURE 1 (TOP)
X-Rite i1 Pro 2, a portable
overall color control on press, density and dot gain are suffi-
spectrophotometer used to capture print data
cient. But, if you print a ton of spot colors and need the ability
to compare the color to a spot book or sample, then you need FIGURE 2 (BOTTOM)
to make certain the device reads colorimetric (L*a*b*) data Barbieri SpectroPad, a portable
too. The 500 series from X-Rite gives you options. If you need spectrophotometer with 6 mm aperture

AUGUST/SEPTEMBER 2012 21
 Figure 3 (Left)
P2P Target, primary
target used with Curve2
software

Figure 4 (RIght)
Chromix Curve2, curve
data generated from
Curve2

spectral data, make IDEAlliance defines G7 as: “A method defined by the

sure to move up to Print Properties and Colorimetrics Working Group of IDEAl-
either a 528 or 530 liance. The application of this method enables printers to re-
device. produce a similar visual appearance across printing types and
It’s im- substrates. Today, through the PPC Working Group, experts
portant to fully from across the spectrum of printing disciplines contribute
understand what to this important IDEAlliance Methodology. G7 specifies the
measurements the components of an image that define a similar visual appear-
instrument can de- ance to the human eye.”
liver. For example, Print data is input into Curve2 and the software makes
Techkon makes a decisions as to what values need to be modified in the separa-
spectrodensitometer called the SpectroDens. Like the X-Rite tions to achieve gray balance. In order to get the color data
500 series, the SpectroDens comes with different configura- into Curve2, you must print a P2P target (Figure 3). Using a
tions. The Techkon SpectroDens comes with three types of spectrophotometer, the P2P color data is captured and saved
performance packages: Basic, Advanced, and Premium. Each as a text (.txt) file. Once you have the data, Curve2 will give
tier delivers different functions. The basic version delivers you feed back as to how to modify the separations (Figure 4).
essential density functions, while the Advanced and Premium IDEAlliance certifies systems to ensure the system
versions increase the functions of the device, all the way to meets industry tolerances for excellence and are capable of
colorimetry (L*a*b*) and color libraries. calibrating a printing device to meet established tolerances
My goal when talking about these devices is to make for G7 grayscale definition.
sure you understand that one device may look exactly like Currently three systems are certified by IDEAlliance,
another device, but have different abilities. A good note about Fujifilm Taskero Universe ColorPath Sync, Heidelberg Pri-
newer densitometers is that most of the time you can upgrade nect Color Toolbox, and Chromix/HutchColor Curve2.
the device via firmware. Upgradability is another important Print analysis, trending, and capturing okayed print
thing to check for when evaluating an instrument. If the data are very important. When things are working perfectly,
device has the ability to be upgraded, you could start out with capture the print data. Analyze the print and store the data
a base model and then as the color requirements grow in your for future reference. If you have data to fall back on, when
facility, you could easily upgrade. things fall apart (not wishing bad luck on anyone, just a real-
ist), you will have data to help you evaluate the fail point in
Software production.
When it comes to color-management software, defining the If a client were to ask, “How would you guarantee
goal expected of the software is extremely important. What the color consistency of the print, after the color has been
overall end result do you expect the software to deliver? okayed?” How would you answer? Answering the client’s
There are many color-management software systems avail- question would be very easy if you had the ability to capture
able. Some software gives you immediate feedback, allowing print data during a run and then compare the run data to the
you to make a decision. Other software tries to eliminate the OK sheet.
decision making process and gives you feedback as in what Nazdar Consulting Services (NCS) developed software
to do to with a print to make that print conform to a specifi- that monitors the print process. Data Capture System (DCS).
cation or specific color aim. DCS is a system that captures print data from a color bar
In a separation workflow, Chromix Curve2 is an ex- (Figure 5). Once a print job has been approved, successive
ample of software that will deliver color-by-color curve data. press sheets can be read into the DCS system. It evaluates
Curve2 calculates G7 calibration curves. the current printed color data to the color data previously

22 screenprinting
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 Figure 5 (Above)
DCS Color Bar, default color bar for DCS

Figure 6 (MIDDLE)
DCS density-comparison data

Figure 7 (BOTTOM)
ICC profile gamut comparison

ColorThink Pro from Chromix has tons of functional-

ity. One of the easiest checks using this software is to com-
pare one ICC profile to another. Since all CMYK ICC profiles
have the same shape, you can compare the ICC profile cre-
ated during the media configuration process to an industry
standard ICC profile. If the profile has the same basic shape
as the target ICC, not necessarily the same gamut, the media
configuration was successful. Many times the custom ICC
profile will have a smaller or bigger gamut than the target
ICC. This is due to differences in materials, printers etc.
Once again, look for the shape of the ICC to be similar to the
industry standard ICC.
Figure 7 shows a ColorThink Pro evaluation of two
ICC profiles. The goal with this media configuration was gray
balance so GRACoL2006_Coated1v2.icc profile was used
as the target (GRACoL2006_Coated1v2.icc outlined in red,
Roland profile multi-colored). The printer profile was created
from a Roland custom media configuration. The Roland ICC
profile is larger than the target ICC.
Knowing the custom printer ICC is larger than the
target ICC immediately identifies the media configuration
should be able to achieve the majority of the colors in the
target color space. Also, the shape of the custom ICC profile
entered. Figure 6 shows DCS density comparison between is close to the same shape as the target ICC. By no means is
two data sets. The dotted lines in the graph represent the the shape exactly, perfectly the same, but it’s in the ballpark.
original print data, while the colored lines represent the cur- When a custom ICC profile has a dramatically different shape
rent print data. Other examples of print-data-analysis soft- compared to the target, you know you have a problem. In cer-
ware include SpotOn!, Alwan Print Standardizer, Measure tain instances, the ICC patch data may be corrupt or wrong.
Color, and ColorMetrix If the data is read in backwards or the wrong row is read into
Having the ability to evaluate an ICC profile can really the collection software, this will generate bad data and cor-
make or break a digital department. If you start from scratch rupt the shape of the ICC.
and create a media configuration—individual ink-channel Instruments, spectrophotometers, densitometers, data-
limits, total ink limits, linearization curve and ICC profile— collection software, curve software, and ICC-profile-analysis
the final step before testing the configuration should be eval- software all have one thing in common. These are the aids or
uation of the ICC. The custom ICC profile created during the tools used to achieve the most accurate color with the least
media configuration process is a snap shot or picture of how amount of headaches. Have you ever tried to play darts with
a specific printer, substrate, resolution etc. work together. your eyes closed? If your overall approach to color manage-
Using software to evaluate the ICC gives you immediate feed ment, regardless of the type of printing you are doing is visual
back on how well the media configuration process worked. only, or eyes closed, get ready for longer make ready times,

24 screenprinting
more wasted material, increased labor
costs, and customer rejections, just to
name a few of the resulting problems.
Having the right color-manage-
ment aids or tools in combination with
a defined color management game plan
should help improve your profitability
and throughput. With so many color
management options available, which
way should one turn? Define the goal.
Once the goal is defined, finding the
right color-management aid or tool is
not that complicated.
I started this discussion by giving
some examples of color-management
goals. Before you decide on a new
software package or instrument, take
a look at what you’re trying to achieve.
Ask the printers what would help them
get a job through the facility with fewer
headaches or what the most difficult
part of their job is. One would be
surprised how often the person running
the equipment can tell you where the
holes in production live.
I said I was a realist, so once
again: There is a big difference between
productive, problem solving compared
to flat out complaining. Most people
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goal, and then pick the aid or tool for
the job. Don’t get stuck with a pair of
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for a pipe wrench.

Tony Quinn is a Nazdar Consulting Services

(NCS) consultant, a certified G7 Expert, and a
Color Management Professional (CMP) Master
Trainer. He started his career in graphic arts
after nine years in the US Air Force working on
F-16 fighters. He has 20 years of experience in
the graphic-arts industry and has been a lead
consultant on more than 50 screen, digital, and
offset G7 qualifications. He has taught color
control and prepress at the SPTF Process Color
Workshop and in the Nazdar Masterprint semi-
nars. He is one of the lead trainers for the SGIA
Color Management Boot Camp.
Call us at (800) 525-6766 or visit www.heatpress.com to
see the most technologically advanced heat presses, with the
best warranties & support at surprisingly competitive costs.

august/september 2012 25
 PERFORMANCE Equals
PROFITS This article examines the variables associated with
decorating activewear and apparel for atheltics.

Ryan Moor
Ryonet

T he screen-printing industry has forever changed the

way I look at clothing. There is no more: “Wow, that’s a cool
As I began to write this article, I thought to myself:
There are dozens of tech papers and YouTube videos about
shirt!” There is only: “What type of ink did they use? Is it in screen printing on poly or athletic apparel, but knowing how
registration? How many colors? I wonder if I can reverse this to do it is only half the battle. Knowing what to try and when
process?” to try it, and how to sell it—that’s the key. I saw something
If you’re a screen printer, then you know what I mean. just a little different in that Nike sweatshirt that made me
This has its disadvantages, of course, but the advantage is want to dig. This article reviews what I uncovered about the
that things sometimes catch your eye and spark an idea. This imprinted-performance-apparel market.
idea can help form new relationships, invent new markets,
inspire new products, and, well, give you something to write SOME BACKGROUND
about in an article! A few months back I was sitting with my A little bit of history: Nike made its first swoosh shirt in 1971,
wife Amanda at breakfast after we had been running. She but it wasn’t until the mid-1990s that what we now know as
was wearing a green Nike Performance sweatshirt with a performance apparel appeared. To this point in time, sports-
Nike 6.0 logo on it (Figure 1). wear was mainly embroidered (Figure 2) or printed with
Being used to seeing the Nike swoosh everywhere, thick plastisol inks. The apparel was constructed of cotton
I didn’t pay much attention to the logo, and something it or poly and did not lend itself to a comfortable feel during
caught my eye. This wasn’t just any swoosh, it was dimen- exercise, especially when factoring in perspiration.
sional—it stood off the shirt using high-density ink. Yes, it Performance apparel is now one of the fastest growing
was simple and just one color, but it was definitely unique. It markets in the apparel industry and is currently estimated at
made me think of something Steve Job’s once said: You can’t $ 6.4 billion, which is up 19.4% over the last four years, and
just ask customers what they want and then try to give that is expected to grow a further 18.75% to $7.6 billion by 2014.
to them. By the time you get it built, they’ll want something Performance apparel is expected to outperform all sportswear
new. So ask yourself: are you trendsetter, a trend follower, or by a factor of two, raising the value of performance sportswear
not even on the playing field? from $5.89 billion to $7.2 billion. Its share of total active sports-

26 SCREENPRINTING
wear will rise from 10.71% to 11.86% (source: Textile Ex-
change’s Global Market Trends for Performance Apparel).

PERFORMANCE APPAREL DEFINED

Performance apparel consists of two segments: sports-
wear and protective clothing. Performance apparel
combines technology, fashion, comfort, and style to create
attractive clothing that performs under pressure. Consum-
ers include everyone from construction and the military to
professional sports and the casual athletic enthusiasts.
Performance apparel comes in two types of fits: com-
pression and loose. Compression hugs the muscles and skin,
while loose is more of a comfortable fit. The construction
is mainly polyester microfiber with a blend of spandex to FIGURE 1 High-density ink makes this Nike logo jump off
of the garment.
give it stretch while retaining moisture-wicking attributes.
The construction of performance apparel makes it more dif-
ficult to decorate than standard cotton due to polyester dye
migration and the elasticity of the garment.

DECORATING PERFORMANCE APPAREL

Embroidery doesn’t really work well, as you can feel too
much on the inside. Those thick screen prints—who wants
clothing that hugs the skin with a print that feels like a
plastic vest? Soft hand is important, and defined prints are
key. You want to be seen, and the brand wants recognition.
So, it comes down to these options: screen-printed trans-
fers, direct screen printing, and vinyl transfers.
Screen-printed transfers seem to be the number one
way the big three sports-apparel companies brand their
shirts for retail. It’s honestly tough to tell because they
product a very sharp, long-lasting results—not typically
what comes to mind when you think of a screen-printed
transfer. Most of the major brands have switched away
from plastisol inks, so they are likely using a rubber- or
water-based hybrid ink. The reason for the switch is for FIGURE 2 The ability to feel the decoration’s backing
compliance in the children’s market and the European inside the garment has caused embroidered sportwear to
lose popularity.
markets, where plastisol is essentially non-existent.
The logo decorations actually feel more like a vinyl
transfer than a screen print. The transfers all tend to have a
clear base that you can see beyond the design’s edge (Fig-
ure 3). The base is printed last on the transfer paper and
is printed for adhesion and preventing dye migration (this
depends on shirt and ink color). If you plan to incorporate
additional prints onto the garment, such as a team logo or
number, you’ll want to protect the brand-name transfer
during the curing process. Cutting out small wood blocks
and wrapping them on tin foil can accomplish this. Simply
place the block over the transfer, and it will stay on the
garment on the conveyor tunnel and protect the transfer
from heating up (Figure 4).
If you’re looking to decorate your own performance
apparel with transfers, I recommend contacting a profes- FIGURE 3 Modern logo decorations tend to feel more like
sional transfer house. If you want to do it yourself, the vinyl transfers than screen prints.
direct-print and vinyl cad-cut transfers are a much more re-

AUGUST/SEPTEMBER 2012 27
 liable process to accomplish for a traditional print operation.
Direct screen printing is still used to decorate perfor-
mance apparel, but it is used to facilitate a need that can be
met in another form, such as special effect inks. Direct screen
printing has traditionally been used for larger print areas
and for wholesale shirts not sold into the retail market. For
instance, a race shirt (either a name brand or generic shirt) is
chosen and then screen printed with the race’s logo and date.
Screen printing poly is definitely more difficult than
FIGURE 4 Placing a foil-wrapped block over the transfer screen printing cotton. The stretch of a high-elongation poly
protects the transfer from heating up and holds it in place. blend adds complexity to direct screen printing, and dark
polyester contributes to dye migration through the ink or print
area. A lot of companies tried to push sublimation as a way to
decorate performance garments when the apparel first started
coming out.
Sublimation transfers use a gas-sublimation process
to decorate white polyester material. The ink becomes a gas
during the heat-transfer process and actually becomes a part
of the garment, leaving an amazing image with digital resolu-
tion quality. However, sublimation has not taken off due to
the fact that it works only on light or white garments and
does not look particularly bold on the garment. Direct screen
printing will work on light and dark garments and definitely
pops off the shirt.
FIGURE 5 Printing inks in the correct order goes a long way Standard plastisol or water-based inks can be used
to preserving a design’s appeal after several washings.
on light garments. Typically, the screen-mesh selection is
between 156-230 threads/in. depending on coverage and the
garment color. For darker garments, a low-bleed ink and/or
dye-migration-blocking underbase is absolutely needed. Dye-
migration-blocking bases come in three options: poly white,
blocker grey, and blocker clear. A poly white is the most
common because it can also be used as an under base so that
other colors that may be involved in the print show up well
on the garment.
Experimenting with the blocker grey or clear makes
for some interesting color possibilities—especially for prints
that have darker or muted colors in them. The blocker bases
are also thinner and easier to print than thick poly whites
FIGURE 6 This four-color print on performance fabric was and are more flexible because they have less pigment. For
applied with the smaller colors first going down wet on wet performance garments that have spandex or other blends in
and then a flash after the larger colors to prevent ink transfer. them for flexibility, using a small amount of stretch additive
is needed to give the ink conformity to the garment.
Keep in mind that the more additives you incorporate
into ink, the more you cut down the ink’s low-bleed proper-
ties. Another important thing to remember: The lower the gar-
ment temperature, the lower the risk for dye migration. Add-
ing a low-cure additive into the ink will allow you to prevent
the poly from reaching the temperatures that are conducive
to migration. Running poly garments through the dryer before
printing gets some of the gasses out of the garments.
Determining the correct print order for ink adhesion
and production speed is key. Poly shirts do not accept ink
as easily as cotton does, so you will most likely need to
FIGURE 7 A vinyl transfer could have prevented this rough flash more—even if the ink is not touching. The shirt shown
print with a showing underbase. in Figure 5 was printed for a local race I ran. It’s a 100%

28 SCREENPRINTING
CHART 1
U.S. sports
apparel market

Source: Sporting Goods Intelligence

poly Sport Tec performance brand. The print started with a that whoever printed this shirt was a professional printer, but
standard maroon printed through a higher mesh count. The the example illustrates the difficulty associated with produc-
maroon went down first because it didn’t need an underbase. ing this type of print. The print is rough, and the underbase
A poly white was printed next through a 156-thread/in. mesh, can be seen through the fluorescent ink. On the other hand,
flashed, and then a highlight poly white was printed over the a neon vinyl transfer is opaque, smooth, and flexible. Given
letters. The print still looks great after several months and how easy it is to create and transfer a CAD-cut heat transfer,
numerous washes. this form of garment decoration is becoming extremely popu-
Figure 6 shows another example of a performance lar in the performance apparel niche.
shirt I received at a Rock ‘N Roll Half Marathon. The design
was direct-printed on high-quality, medium blue, 100% poly FINDING APPAREL
performance apparel. This four-color print was applied with Now that you know what your options are for decoration,
the smaller colors first going down wet on wet and then a where do you find quality performance apparel to decorate?
flash after the larger colors to prevent ink transfer. This is a regular question we hear from our customers, so I
Polyester-rich garments perform completely different decided to pose the question to apparel printers on Facebook.
from cotton ones. The fabric reaches higher temperatures much Some of the feedback includes many recommendations for
quicker than cotton does. Stabilizing your conveyor dryer at a lower Badger Sport, Teamwork Athletics, and Augusta; a big recom-
temperature is important to ensure the garments don’t get too hot mendation for Xpert Apparel for high-quality garments made in
and possibly scorch. Convection dryers work best for curing perfor- the USA; and several recommendations for buying name brands
mance apparel because the heat is evenly distributed by air through- such as Under Armour and Nike (Chart 1).
out the dryer. As mentioned before, mixing a low-cure additive into Getting set up for wholesale with larger companies
your ink will lower your required curing temperature and assist you like Under Armour or Nike is more difficult (and more
in this process. expensive) than going through a wholesaler like Teamwork.
Vinyl transfers are used for decorating short runs of However, name-brand apparel can achieve a higher market
performance apparel and in personalization. Vinyl transfers price.
have come a long way over the years. The business has
exploded—first in Europe and now in the U.S. Polyurethane BOOST YOUR PERFORMANCE
vinyl (PU), is most commonly used. PU heat-transfer vinyl The performance apparel market is growing by leaps and
will adhere to the shirt at temperatures as low as 300°F and is bounds. Are you sitting on the sidelines or playing in the
available as a flex vinyl, specialty styles of ink, and hot fluo- game? Look for market opportunities around you with races,
rescent or neon colors. This type of application, while most business protective wear, gyms/personal trainers, high-school
commonly used for personalization of names and numbers on sports, leagues and associations, brand fulfillment, brand
jerseys, is also used in smaller production runs. creation, and direct to consumer.
Reflective transfers are much more consistent than Learn the options for decoration, and invest in the tech-
direct prints, and they give a much brighter reflection. In nology to do so if you do not currently have the capacity. Find
addition, a fluorescent or neon look is harder to produce via a good source for performance apparel and order samples so
direct print on a piece of dark performance apparel because you can practice decoration and create printed samples to
these inks are typically very thin and the underbase can bleed sell your work. Try new types of inks and forms of decora-
through. tion. Who knows? You could become a trendsetter!
Figure 7 shows a name-brand garment that looks like
it was printed in a garage by a novice screen printer. I imagine Ryan Moor is founder and CEO of Ryonet (www.ryonet.com).

AUGUST/SEPTEMBER 2012 29
 A LOOK AT DYE-SUB
PRINTING FOR GARMENTS
This article describes effective and profitable ways to integrate a large-format
dye-sub printer into your garment-decorating operation.

Syd Northup
Gans Ink

U nderstanding the printers, RIP

software, bulk ink systems, color
fully sublimated T-shirts with the all-
over graphics process (Figure 1).
banners, flags, hardwood panels, etc.
One of my biggest recommen-
management, and heat press technolo- While running an in-house dations and/or selling points with
gies can seem a bit overwhelming when sublimation operation, it always comes sublimation garment printing is to
you’re new to dye-sublimation print- down to how many jobs are on the make a sample with a customer’s logo
ing. By breaking down these system sublimation printers and to keep them incorporating a photo or graphics. Take
components piece by piece, printers running. For some garment screen the time necessary to build a good,
can get a detailed screenshot on how a printers, a market for sublimation clean graphic template and import
sublimation garment system works. A may not be in place, but opening up the customer’s logos to sublimate.
matrix of the square-foot-cost relation- your clientele base with sublimation This introduction can really show the
ship to the return on the investment technology can allow for some very wow factor of sublimation and how
also provides bottom line costs and rapid growth. We must also not forget it can complement short-run custom
profits. The first question is what does the higher profits, less time to produce capability versus screen printing.
one need to know to become success- a garment and the endless amounts Then, downsize the image to a koozie
ful day in and day out with this printing of other products that you can also template, sublimate the logo on it, and
technology? be introduced to customers that are watch how the sales immediately begin
While running my inkjet print sublimatable—koozies, mouse pads, pouring in on the sublimation side.
shop in 2006, I decided on investing in
a couple of 44 in. wide-format Epson
9880 printers, a Roland SP540, and
a George Knight 42 x 64 dual shuttle
heat press. The larger printers and
heat press allowed us to print up to
3XL custom all-over T-shirts as well as
providing full-sized production runs.
The core of my sublimation business
was providing runs of 20 x 20 in. or less
sized sublimation prints, also referred
to as front or back hits, along with all-
over sublimation garments to a whole-
sale/reseller base. These two types of
sublimation printing techniques should
be something all screen print shops
should consider bringing in-house to
FIGURE 1 Dye sublimation can be used to produce all-over prints, such as the one
escape from turning away smaller job depicted in this software RIP, on T-shirts in very low quantities—a job that would be
runs and add the ability to produce unprofitable for most screen shops.

30 SCREENPRINTING
FIGURE 2 A wide-format inkjet printer designed to use dye-sub
inks can be used to produce multicolor transfers in a range of sizes.

When introducing the sublima- ment shop is to consider starting out

tion system, the most frequently asked with a 44-in.-wide Epson 9700 at a low
questions that I get are: What is required entry cost and work your way up to
for running a large format sublimation a Mimaki or a Roland as the business
system? Do I need profiles? Is it very grows (Figure 2). The difference in
difficult? Sublimation can be a challeng- cost between an Epson and a Mimaki
ing process at the onset, but if you are or Roland can range between $10,000-
you willing to take the time to learn and $15,000 depending on the size of print-
integrate this technology, it can be very er. If you are concerned about speeds
rewarding. I would say that most people and production with all-over printing, FIGURE 3 The heat press causes the
who see sublimation at a trade show stepping into a 54-in.-wide Mimaki JV33 solid dye-sub inks to convert to a gaseous
and become so fascinated with the qual- would be one way to start. All of these state without first going through a liquid
phase. Upon transfer, the inks become
ity and products produced with sublima- sublimation printers require a bulk ink part of the fabric to which they’re applied.
tion eventually end up deciding not to system to be installed to run third-party
buy either because they fear that they sublimation inks.
don’t have the market in place. They Be aware that some of the bulk running your printer or printers. This
also anticipate with fear the cost of a ink systems can range in cost of $500 to will only cause more frustration down
larger heat press. Many of these shop $2,500 and have chip resetting devices the road as you grow your business in
owners need to realize that they already to override the factory firmware set- sublimation production. Installing RIP
have a customer base that would love to tings. Also, once sublimation inks are software, creating profiles and learning
see something different like sublimation installed into most large-format print- how to run image production should
and don’t understand that profits can ers, they will void most manufacturers’ be taught during your installation and
payoff the investment quickly. warranty. Most of the warranty issues training package offered by your subli-
One of the other misconceptions should be handled by your system mation systems integrator.
with sublimation T-shirt printing is that integrator for support and onsite repair.
100% polyester and polyester/cotton Now that we have some printer Heat press
blended garments have come a long considerations, running this system A heat press (Figure 3) is mandatory
way and can now be quite comfortable with RIP software is essential for suc- when you’re printing dye-sub transfers.
to wear. Don’t be afraid to bring some cess with color accuracy and produc- It initiates the process of transforming
test shirts to the next trade show you tion running. In the U.S. market, we inks from a solid phase to a gaseous
attend and have some samples run on- have Ergosoft, Wasatch, Onyx, and phase without passing through a liquid
site to see for yourself. PyroRIP, among others. These software phase. Once this occurs, the ink be-
applications are very simple in what comes permanently embedded in your
Sublimation production they do—RIP and print. But this can fabric or substrate.
Let’s look at the large-format sublima- overwhelm an end user with all the One of the most crucial points
tion printers and what is needed for run- bells and whistles on a sales sheet. The with a heat press is maintaining con-
ning sublimation production. In the U.S. bottom line on RIP software is having a sistent heat on your platen. Changes to
market: Mimaki, Roland, Epson, and good PC that will run your printer and heat, time, or pressure can affect color
Mutoh appear to be leading the race. All maintain good RIP times and not bog quality. The U.S. market has many man-
of these manufacturers make printers down your day-to-day activity. I would ufacturers of heat presses, including
with sizes ranging from 44-124 in. highly recommend not running any spe- George Knight, Practix, and AIT. All of
My recommendation for a gar- cialized front-end software on the PC these manufactures have heat presses

AUGUST/SEPTEMBER 2012 31
 FIGURE 4 You can create a
spreadsheet to calculate your
return on investment and
identify costs of ink and trans-
fer paper by the square foot.

purchase in writing and have a

qualified technician onsite for
installation and training. If you
decide not to have a trained
technician, profiling your
material with your specific
heat, time, and temperature
will throw off color in a
in all shapes and sizes for sublimation. to a true cost-per-square-foot analysis heartbeat. A thorough understanding of
If you are looking for a true garment (Figure 4). As most companies grow how a sublimation system is integrated
solution, I recommend investing in a their sublimation business, buying ink can go a long way. Learning how your
small 16 x 20-in. swing-away heat press in bulk quantities and pallets of paper printer works, installing software, stor-
and a larger 42 x 64-in. single- or dual- will decrease your overall total cost per ing inks, resetting chips on your bulk
shuttle press for the all-over garments. square foot. ink system, creating on-site profiles,
When it comes down to your day- When it comes to color match- heat-press calibration, can set up your
to-day heat-press production, use what ing, developing your own in-house set business for success.
works well in your environment with of standard sublimation colors with Running a sublimation operation
respect to time, temperature, and heat your machine, imaging resolution, inks, is not easy in the beginning, so make
settings. For example, I have a cus- heat press, and decorated product is certain you get the proper start. Paying
tomer who uses 375°F at 25 seconds of the optimum way to match and find a little more at the onset for installation
dwell time with 40 pounds of pressure custom colors. Using a Pantone solid- and training package will ultimately
and profiles that match for color. If it to-process color wheel can assist you lead to a successful start. Having a
works, keep it simple. Always use heat- to best match with a customer’s colors; support team that will answer your
temperature test strips to control tem- however, having your own internal calls and supporting your sublimation
perature, time, and pressure settings. receipt for that CMYK or RGB color system can make a break that big job
Typically, a golden rule for sublimation is the key. Using in-house color charts when you software losses connection
is 400°F and 40 pounds of pressure for and correcting color on the front end in to the printer.
35-40 seconds. Keep these settings in your artwork will save lots of time and Having your own equipment and
mind when you create your own in- aggravation when the job gets repeated controlling your internal processes is
house standard for your products. in the future. the key to success. Keeping all of your
Most RIP software applications data confidential and your staff well
Ink and paper costs allow for spot-color replacement in the trained is important. Learn as much as
Running a square-foot cost analysis on RIP and allow you to apply it to your possible during the installation. Attend
paper and ink is the best way to find file. This can be beneficial for a quick trade shows that have sublimation
your true cost for sublimation printing. job or a library of colors that have lo- printers. Over time, you will become
Let’s say your cost of ink per liter is gos that are consistently printed. Over successful and profitable using subli-
$150.00 and ink yields are 1000 sq ft of time, you gain an understanding of mation.
printing. Total cost per square foot on the dyes, dot gain, and post-heat-press
ink is $0.15. In reality, most companies processes that can change everything Syd Northup is the inkjet division manager for Gans
will likely produce 800 sq ft/hr with ink with color. Ink and Supply Co., Inc. He is responsible for manag-
ing and running all facets of the inkjet product line.
costs more along the lines of $0.20- This includes successfully implementing a digital-to-
$0.25/sq ft. Being conservative is a gold- In conclusion offset proofing system for the sublimation market.
en rule when it comes down to analyz- Installing and training is your key to As part of his job, Northup works with turnkey inkjet
ing the cost of ink and paper. Running success with a dye-sublimation system. solutions comprised of installation, color manage-
the math and incorporating the ROI on Anyone upgrading their system or ment, and training for sublimation, UV, pigment, and
security-inks sectors.
your total investment gets you closer buying a new system needs to get the

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 sho p ta l k

Header
How Facebook Uses Screen Printing
Andy MacDougall

F acebook is about as far as it gets

from screen printing, unless you count
It’s important to recognize when it’s
appropriate to use each media. The
press operators and screenmakers Internet is obviously superior at infor-
checking their updates every five mation distribution, especially when
minutes in the middle of a job. Digital it’s temporal in nature. Because it’s
vs. screen printing is one thing, but less efficient and more labor intensive,
Facebook—that’s a whole other media printing should be thought of less as
dimension from print. a mechanism for information distri- Figures
Last year, an ad appeared from bution, and more as a way to elevate 1 and 2
Samples
Facebook headquarters. It showed a certain ideas or content in their impor- of post-
person washing out a screen in a print tance. Producing high-quality printed ers screen
studio. This piqued my interest, and material in a day and age when it isn’t printed at
through some friends, I was able to get the most efficient way to communi- Facebook.
in contact with Ben Barry, a designer cate is a signal of how much someone
at Facebook, who built and heads up cares about an idea.”
their Analog Research Lab, buried The posters and printed pieces
deep in the bowels of the company Ben and his crew create (Figures
that has literally changed our world 1 and 2) for internal use are very
and the way we communicate. popular with co-workers and manage-
The Facebook Analog Research ment, and used not just at the main
Laboratory is a screen-printing studio headquarters, but in satellite offices
and workshop at Facebook. The around the world, and at conferences
primary goal and use of the space is and events. He can’t make them fast
to create and develop projects for enough to keep up with demand, and
internal culture at the company. The his job as a designer has transitioned
main collaborators in the lab (Ben, to the point he is spending more time
Everett Katigbak, and Tim Belonax) in the lab pumping out prints than de-
all studied design and are employed as signing. They are building a larger and
designers. They also just happen to be better-equipped lab space in their new
printers who have a love for making campus in Menlo Park, and he sees the
things. The lab started organically as demand increasing, not slowing down.
a way for them to put this creative One measure of their desirability is
energy back into the company they’re the recent appearance of knockoffs of hinge clamps. In retrospect, it was
so passionate about. I asked Ben to internal Facebook posters on Twitter. insane. I really learned to screen print
explain how the screen-printing and I was curious where he first posters properly during my intern-
Internet-based social media, two learned about screen printing. “My ship at The Decoder Ring in Austin,
completely different worlds, somehow first exposure to screen printing was TX. Working closely with my screen-
come together. through a class in college. I took it printing mentor, Paul Fucik, I learned
“I think it’s a mistake to see through the textiles department. Its to print things the right way.”
them as two separate worlds,” Ben focus was on using screen printing to Their setup at the Lab is noth-
says. “Especially two at odds with produce fabric-based artworks and did ing fancy. Ben designed and built an
one another. Both are about commu- not teach me how to produce multiple- exposure unit and washout booth. The
nicating information and connecting edition prints on paper. I did attempt screen press is a simple manual one.
people to ideas and each other. These it, however, and my final two projects They also have a letterpress, guil-
are basic human needs regardless of for the class were posters (three and lotine paper cutter, and laser cutter. I
medium. To me, both Internet and eight colors, respectively). I printed wondered why a company that is on
print have a role to play in the future. editions of about 15 of each without the cutting edge of technology, with

34 screenprinting
 shop talk

money to burn, wouldn’t have a couple

of digital printers.
“We did just get a RISOgraph
digital duplicator,” he replied. “It’s in-
credibly fast (130 prints/min), and the
way it works and its output quality is
very close to screen printing. You still
print one color at a time and layer inks
just like you do in screen printing. The
limitations are the size (11 x 17 in.),
and the colors are limited and expen-
sive. So for me, screen printing is at the
sweet spot of being incredibly efficient,
affordable, high quality, and creatively
flexible. Quality is very important to
me, and with the exception of the RISO
I haven’t found a digital printer that
comes close. The letterpress we have
is arguably much higher quality than
screen printing, though, but it’s very
slow, and the inks are nasty to work
with. I haven’t found anything other We’ve been
than screen printing that allows me to
have an idea, and within a few hours, manufacturing
manufacturin
design, print, and distribute hundreds
of large, high-quality posters. Until I
do, I’ll be a screen printer.”
the leading line
Ben’s perspective on screen
printing’s role in the future of mod-
of screen printing
ern media is instructive. He saw it
contracting in quantity, but expanding drying racks
in quality. “I don’t believe print will
go away, but what does get commit- since 1960
ted to physical form in the future will
be increasingly done in only the best Buy factory direct -
ways, for the most important content,” most models in
he says. stock now!

Andy MacDougall is a screen-printing trainer

The original heavy-
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GRan Adell
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773-769-4200

august/september 2012 35
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August/september 2012 37
 U.S. Distributor & Dealer Directory
Equipment / Materials / Services
For Directory Rates or Information, please contact Victoria Wells
E: Victoria.wells@stmediagroup.com P: (800) 925-1110 ext. 393 F: (513) 744-6993
An advertising service for local or regional screen printing distributors/dealers and national companies with branches and/or
distributors. The Products & Services (P&S) Codes and the Business Classification Codes in each listing are defined as follows:
1 Art, Photography, Cad Graphics 9 Glass & Containers A Distributor
2 Curing & Drying Equipment 10 Nameplates, Dials & Sheetmetal B Dealer
3 Finishing Equipment 11 Plastics, Rigid & Flexible C Branch of National
4 Printing Equipment & Accessories 12 Pressure Sensitive Materials Manufacturer
5 Screen and Stencil Making Equip. & Supplies 13 Misc. Substrates: Magnetic, Binders, Banners, etc.
6 Inks, Coatings & Chemicals 14 Testing & Instrumentation
7 Board & Paper, Foam Center board, Block Out Board. 15 Computers, Color matching/Business, Hardware & Software
8 Garments & Piece goods 16 Embroidery Equipment & Supplies

› ARIZONA › INDIANA › NEBRASKA

Phoenix Atlas Screenprinting Equipment & Parts, Inc. Omaha
Advanced Screen Technologies, Inc. 31 N. Davis St., Dublin, IN 47335. (765) 478-9481. Midwest Sign & Screen Printing Supply Co.
619 S. Hacienda Dr. #5, Tempe, AZ 85281. (480) (800) 533-4173. Fax: (765) 478-9462. E-mail: atlasckg@
9313 “J” St., 68127. (402) 592-7555. (800) 228-3839.
858-9804, (877) 509-7600 Website: www.advanced- skyenet.net. Website: www.atlasckg.com.Marketing
Fax: (402) 592-5267. Fax: (800) 228-3886. E-mail:
screen.com. Contact; Tom Bays. Business Class: A,B. area served: National. Product Codes: 2,4,5.
midwest@midwestsign.com. Contact: Trish Nelson,
Marketing area served: Regional. Product Codes: John Schnackenberg, Dan Thomas. Business Class:
1,2,3,4,5,6,14. › LOUISIANA A. Marketing area served: Regional. Product Codes:
Reece Supply Co. of Louisiana, Inc. 1-2-4,5,6,7,11,12,13.
› CALIFORNIA 1017 Dealers Ave., Harahan, LA 70123. (504) 733-
SaatiPrint 7799. Contact: Ronnie Garic. Marketing area served: › NEW YORK
15905 S. Broadway, Gardena, CA 90248. (800) 992- Regional. Product Codes: 1,2,4,5, 6,7,10,11,12,13,14. SaatiPrint
3676. (310) 523-3676. Fax: (310) 523-3610. E-mail: 247 Route 100, Somers, NY 10589.. (800) 431-2200.
info.US@saatiprint.com. Website: www.saatiamer › MASSACHUSETTS (914) 232-7781. Fax: (800) 829-9939. E-mail: info.US@
icas.com. Business Class: A. Marketing area served: Garston Screen saatiprint.com. Website: www.saatiamericas.com.
Regional. Product Codes: 2,4,5,6,14. Printing Supplies, Inc. Contact: Paul Cylenica. Business Class: A. Marketing
area served: Regional. Product Codes: 2,4,5,6,14.
8 Parkridge Rd., Haverhill, MA 01835. (800) 328-7775.
Los Angeles Fax: (978) 374-9777. Contact: Dean Garston. Business
Class: A,B. Marketing area served: Regional. Product New Hartford
NuSign Supply, Inc.
Codes: 1,2,3,4,5,6,7,10,11,12,13,14. Reich Supply Co., Inc.
1365 Darius Ct., City of Industry, CA 91745. (626) 961-
7688. Toll Free: (877) 6NU-SIGN. Fax: (626) 961-7225. 2 Campion Rd., New Hartford, NY 13413. (315) 732-
Contact: Tony Le. Business Class: A,B. Marketing › MINNESOTA 6126. (800) 338-3322. Fax: (315) 732-7841. E-mail:
Area served: Local, Regional, National, International. St. Paul sales@reichsupply.com. Website: www.reichsupply.
Product Codes; 4,6,12,13. com. Contact: Neil Reich. Business Class: A,B.
Midwest Sign & Screen Printing Supply Co.
Marketing area served: National. Product Codes:
45 E. Maryland Ave., 55117. (651) 489-9999. (800) 1,2,4,5,6,7,11,12,13,14.
San Francisco
328-6592. Fax: (651) 489-0202/ Fax: 800-328-6599.
Midwest Sign & Screen Printing Supply Co. E-mail: midwest@midwestsign.com. Contact: Jason
Knapp, Dan Fleming, Pete Weinberg, Ryan Warner,
› OREGON
21054 Alexander Court, Hayward, CA, 94545- Portland
1234. (510) 732-5800. (800) 824-2468. Fax: (510) John Hermes, Kevin Wood. Business Class: A. Prod-
732-7624. Fax: (800) 824-2474. E-mail: midwest@ uct Codes: 1,2,3,4,5,6,7,11,12,13. Midwest Sign & Screen Printing Supply Co.
midwestsign.com. Contact: Marilee Fox-Cichon, 5035 N.W. Front Ave. 97210-1105. (503) 224-1400.
Paul Louie, Kevin Todd, Steve Michel. Business Rhinotech Fax: (503) 224-6400. 800-228-0596. Fax: 800-278-
Class: A. Marketing area served: Regional. Product 2415 Pilot Knob Rd., Mendota Hts., MN, 55120. (651) 0596. E-mail: midwest@midwestsign.com. Contact:
Codes:1,2,3,4,5,6,7,11,12,13. 686-5027. (888) 717-4466. Fax: (651) 686-9745. E-mail: Karen Walker, Pat McNamara. Business Class: A.
rhinotech@isd.net. Website: www.rhinotechinc.com. Marketing area served: Regional. Product Codes:
› COLORADO Contact: Todd Michaels. Business Class: A,B,C. Mar- 1,2,3,4,5,6,7,11,12,13.
Denver keting area served: National. Product Codes: 2,4,5,6.
› TEXAS
Midwest Sign & Screen Printing Supply Co. › MISSOURI Dallas
5301 Peoria St., Unit F, 80239-2319. (800) 332-3819.
Kansas City
(303) 373-9800. Fax: (800) 332-3820. Fax: (303) 373- Reece Supply Co. of Dallas, Inc.
9700. E-mail: midwest@midwestsign.com. Contact: Midwest Sign & Screen Printing Supply Co. 3308 Royalty Row, Irving, TX 75062. (972) 785-0212.
Al Menzie, RAMON FONTANES, Aaron Remsburg. 1806 Vernon St., Kansas City, MO 64116.. (816) 333- (800) 938-8330. Fax: (972) 785-0512. Contact: Kelly
Business Class: A. Marketing area served: Regional. 5224. (800) 233-3770. Fax: (800) 233-3771. Fax: (816) Leonard. Business Class: A. Marketing area served:
Product Codes: 1,2,3,4,5,6,7,11,12,13. 333-5446. E-mail: midwest@midwestsign.com. Con- Regional. Product Codes: 1,2,4,5,6,7,10,11,12,13,14.
tact: Junior Costigan, Patti Fairchild. Business Class:
› ILLINOIS A. Marketing area served: Regional. Product Codes: El Paso
SaatiPrint 1,2,3,4,5,6,7,11,12,13.
Reece Supply Co.
2050 Hammond Dr., Schaumburg, IL 60173 (800) 368-
St. Louis 1530 Goodyear Dr., Suite J, 79936. (915) 592-9600.
3243. (847) 296-5090. Fax: (847) 296-7408. E-mail:
(877) 776-0128. Fax: (915) 592-9050. Contact: Aaron
info.US@saatiprint. com. Website: www.saatiameri- Lawson Screen Products Inc. Wieberg. Business Class: A. Marketing area served:
cas.com. Contact: Jan Bill. Business Class: A. Market-
5110 Penrose St. 63115. (314) 382-9300. (800) 325- Regional. Product Codes: 1,2,4,5,6,7,10,11,12,13,14.
ing area served: Regional. Product Codes: 2,4,5,6,14.
8317. Fax: (314) 382-3012. Contact: David Landesman.
Business Class: A,B. Marketing area served: National.
Product Codes: 1,2,4,5,6.

38 SCREENPRINTING
Houston ››WASHINGTON­ Canadian Distributor
Seattle
Reece Supply Co. of Houston, Inc. & Dealer Directory
2602 Bell St., 77003-1753. (713) 228-9496. (800) Midwest Sign & Screen Printing Supply Co.­
776-0113. Fax: (713) 228-9499. Contact Labon Tatum. ››ONTARIO
401 Evans Black Dr., 98188-2912. (206) 433-8080.
Business Class: A. Marketing area served: Regional. (800) 426-4938. Fax: (206) 433-8021. Fax: (800) Cosmex Graphics Inc.
Product Codes:1,2,4,5,6,7,10,11,12,13,14. 426-4950. E-mail: midwest@midwestsign.com. 390 Deslauriers St., St. Laurent, Quebec, H4N 1V2,
Contacts: Jeff Macey, Todd Colvin. Business Class: (514) 745-3446. Fax: (514) 745-3449. Contact: Enzo Di
San Antonio A. Marketing area served: Regional. Product Codes: Gneo. Business Class: A,B. Marketing area served:
1,2,3,4,5,6,7,11,12,13.­ National. Product Codes: 1,2,3,4,5,6,12,14.­
Reece Supply Co. of San Antonio, Inc.
4960 Eisenhauer Rd. Ste 110 (78218). (210) 662-6898. SaatiPrint
Vancouver
Fax: (210) 662-6945. (800) 776-0224. Contact: Ricky 1680 Courtney Park Dr. E., Units 1 & 2, Mississauga,
Brown. Business Class: A. Marketing area served: Re- Ryonet Corporation Ontario L5T 1R4, (905) 564-5388. (800) 567-0086.
gional. Pro-duct Codes: 1,2,4,5,6,7,10,11, 12,13,14. 11800 NE 60th Way., Vancouver, WA, 98682. (360) Fax: (905) 564-5391. Contact: Alfred Guinness. Busi-
576-7188. (800) 314-6390. Fax: (360) 546-1454. E- ness Class: A. Marketing area served: Regional. Prod-
››UTAH mail: sales@ryonet.com. Web Site: www.silkscreen- uct Codes: 2,4,5,6,14.
Salt Lake City ingsupplies.com. Contacts: Jeff Held. Ryan Moor.
Business Class: A. Marketing area served: National, Markham­
Midwest Sign & International. Product Codes: 2,4,5,6,8,11,12,13,14,15.­
Screen Printing Supply Co.­ Sias Canada Ltd.
1160 So. Pioneer Rd., Ste. 2, 84104. (801) 974- 3400-14th Ave., Units 37 & 38, L3R OH7, (905) 305-
››WISCONSIN­ 1500. Fax: (905) 305-1501. Contact: Karl Bakker.
9449. (800) 497-6690. Fax: (801) 974-9442. Fax:
(800) 497-6691. E-mail: midwest@midwestsign. Milwaukee­ Business Class: A. Marketing area served: National.
com. Contact: Sean Hession. Business Class: A. Product Codes: 2,4.
Midwest Sign &
Marketing area served: Regional. Product Codes: Screen Printing Supply Co.
1,2,3,4,5,6,7,11,12,13.­
16405 W. Lincoln Avenue, New Berlin, WI 53132.
(262) 641-8550. (800) 242-7430. Fax: (262) 641-8555.
Fax: (800) 242-7439. E-mail: midwest@midwestsign.
com. Contacts: Tom Robinson, Craig Gray, Marty
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Codes: 1,2,3,4,5,6,7,11,12,13.­

FREE INFORMATION FROM ADVERTISERS

www.screenweb.com/productinfo

AUGUST/SEPTEMBER 2012

Advertiser Page Advertiser Page

Air Control Industries Limited 23 Gran Adell Mfg. 35

Alpina Manufacturing LLC 37 Lawson Screen & Digital Products OBC

Brother International 5 M&R Printing Equipment IFC, 37

Classic Stripes 19 Mimaki USA 33

Douthiff Corporation 1 Mutoh America Inc. 25

Dynamesh Inc. 9 Northwest Screen Systems Co. 35

EFI 7 OKI Data Americas IBC

FESPA 23 Roland DGA Corporation 3

Franmar Chemical Inc. 33, 37 SGIA Insert

George Knight & Co. 25 Vycom 17

august/september 2012 39
 E D I TO R I A L I N S I G H T S

DEDICATED FOLLOWER OF FASHION

If you print clothing, you probably look at fashion
differently, more intensely than the average person.

O ne of my favorite quotes attributed to Mark Twain in-

volves individuality. He is reported to have said, “Whenever
Moor also points out that performance wear printing
is one of the fastest growing markets in the global textile
you find yourself on the side of the majority, it is time to industry. The currently estimated figure for the global market
pause and reflect.” is $6.4 billion, up 19.4% over the last four years. I suppose
I’m not certain why it’s my favorite quote, except that that comes as no surprise, given that cycling, hiking, running,
perhaps I agree with it wholeheartedly. In a democracy, the skiing, tennis, aerobics, and snowboarding are all popular
vote of the majority works, yet the rights of the individual activities enjoyed by people all ages.
are guarded with zeal. When I read headlines like, “Shop Syd Northup of Gans Ink and Supply Co., Inc. writes
windows smashed, fires reported as Anaheim protest turns about adding dye-sub printing to the mix on page 30. Many
violent,” then that’s one of the times when an individual’s textile printers shy away from sublimation printing because
rights have been overcome by mob violence and group-think. it seems too difficult to handle. However, the special effects
Neither mob action nor individual violence is allowed when that can be achieved by this process can really make a dif-
the rights of others are violated. ference. His article talks about what’s involved from under-
Taking a few steps down from national news to the standing the printers, the RIP software, the heat press, the
world of printing in particular, you must walk a fine line inks and papers, color matching, and finally installation and
between creating what most people want and being edgy staff training. I suggest that you take a step beyond reading
enough to draw attention to individualists in the world of the article and get in touch with Syd directly. Check out a
fashion. In Ryan Moor’s article on page 26, “Performance dye-sublimation printer at SGIA in Las Vegas to see whether it
Equals Profits,” he writes that the screen-printing industry might be useful in your shop. The more alternatives you offer
has forever changed the way he looks at clothing. If you to customers, the more they value your expertise.
print clothing, you probably look at fashion differently, more I must admit, it’s difficult to keep up with fashion. My
intensely than the average person. Do you look at the inks, daughter used to say, “Why can’t you dress and act like every
registration, special effects, and wonder how you could use other mom? Why do you say what you think and wear what
the same process with a twist of your own? you like?” My answer then, when she was 11, is the same as
After reading Moor’s article, I invite you to go through it is now: “Because I’m my own person. Don’t I allow you to
the activewear you own to see if it has specialized Nike dress as you like and encourage you to say what you think?”
swoops and logo decorations that identify the sponsor or the That same child is now a psychologist and a mom to a tod-
sport. I did. Even my golf clubs have covers to protect them dler. I wonder if her daughter will be a dedicated follower of
when jostling about from car to cart, and these have printed fashion, or if she will choose her own style of apparel. I’ll bet
identifications of which club is protected. For every walk or that she wears activewear with logos and individual prints.
run for charity, there’s a photo, date, and logo printed on the Ah, the revenge of the parent.
front. Those that I really like are the ones with something a
bit unusual.

Editor
gail.flower@stmediagroup.com

40 SCREENPRINTING
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 You’re Safe With Lawson.

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Lawson manufactures equipment that is safe to purchase, safe to set-up, safe to operate and safe to
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Call us to find the right equipment to safely meet your needs. Call, click or e-mail us today.

Making Your Equipment & Purchases Safe…Since 1949

Contact us today for more information or visit our website
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