Imprint Canada September/October 2016

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IMPRINT CANADA THE MARKETING AND INFORMATION SOURCE FOR IMPRINTABLE PRODUCTS K=HL=E:=J'G;LG:=J *().

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AF<MKLJQ F=OK Get caught up on the latest industry news.

Volume 23, Issue 5

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LJ9FKALAGFAF? LG @A?@ =F< ?9JE=FL HJAFLAF? Screen printing expert Scott Fresener outlines key steps to help you transition your printing process from simple spot colour to printing photorealistic images for your clients. 8

E9PAEAR= QGMJ @GDA<9Q K9D=K L@AK Q=9J The busy holiday season is just around around the corner. Use these helpful tips to boost your sales this year and bring in more holiday orders. 12

?DG:9D J=L9AD F=OK Apparel headlines from retail markets around the globe. 14

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Looking up from our business, we are faced with indicators that threaten our ability to run our organizations profitably. Customers aren’t spending as freely, lenders are cautious, and overall business has slowed. What’s a business owner to do?! During a sluggish economy, it is more important than ever to focus on sales and marketing activities. The natural tendency when things get tough is to reduce or even cut marketing and business development activities. This is a knee-jerk reaction, and it is not at all in the best interest of the long-term prosperity for a company. In the words of Henry Ford, “A man who stops advertising to save money is like a man who stops a clock to save time.� Where do you even begin?, you might ask. We must start by emphasizing the importance of developing and following a sales and marketing strategy for your business. .KWVWUa KWV\QV]ML WV 9IOM

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F=O HJG<M;L KHGLDA?@LK See the latest wearable, advertising specialty, and decorating supplies & equipment offerings from industry suppliers. 22

Shirts. Shorts. Pants. Hats. Socks. Compression sleeves. The list of apparel items that you can decorate with sublimation just keeps growing. One reason for this is increased consumer demand for performance and spun polyester garments, which has manufacturers rising to meet that demand and innovating to serve more customers than ever. This is great news for sublimated apparel decorators, who now have more products to sell than ever before. No matter what kind of garment you’re working with though, you’ll likely come across some common production challenges that can eat up time and money. Here are a few trade secrets that address common issues with apparel decoration, so that you can take advantage of these growing trends while keeping your production smooth and cost-efficient. Transfer Lines: When you sublimate a print onto a garment, the only thing that transfers from the paper should be the ink from your design. Yet, sometimes garments also show faint lines that correspond with the edge of your transfer paper. What’s happening here is that during pressing, some of the garment’s fibers are melting along the edges of the transfer paper.

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:Q L@= FME:=JK2 ;9F9<A9F J=L9AD 9HH9J=D E9JC=L <9L9 Trendex North America highlights metrics from its monthly newsletter: Canadian Apparel Insights. 34

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20 tiered accounts. Again the afternoons are spent back in the office fielding calls for products. He’s developed Fridays to be his “closing dayâ€? to get orders processed for all of his accounts for the following week.

clients’ employees to establish his “eyes and ears� inside their offices so he is always aware of any upcoming events or opportunities. This gives him an edge that his competitors simply do not have access to.

His philosophy is quite simple: he works hard at creating an atmosphere where his clients enjoy the experience of him showing up at their business to learn of their needs. He entrenches himself within his clients’ business through goodwill that he’s worked hard at creating.

He doesn’t sell; he manages the experience of people seeing him. “Make it a positive vibe and they will contact you when they need to count on someone to get the job done!,� he says.

His strategy of making a positive impact on the mood of his clients, and their employees, has become the cornerstone of his success. His goal is to be not just the first choice but the only choice. Offerings from his competitors are quite similar, pricing is uniform, and buyers are demanding on logistics. Sound familiar?

I have always viewed customer service as a key component of completing and maintaining sales transactions. A friend of mine recently told me that while being a top salesperson for his firm, he viewed himself not as a salesperson but as someone who creates an enjoyable atmosphere for his clients - a provider of customer service to the nth degree.

During his client visits - which he only fails to do when sick or on holiday - he does not attempt to sell or promote anything, unless asked to. Â Strictly personal and genuine conversations take place. In fact, he can tell you what most front office staff have on their schedules.

His typical Monday and Tuesday mornings begin with donuts and pastry drop-offs to each one of his top 20 accounts. The afternoons consist of e-mails and calls to pinpoint customer needs for the coming days. Wednesday and Thursday mornings include further tasty deliveries, including special care pick-me-ups, for the staff of his next

Having a client happy to see or hear from him and enjoying the experience of dealing with him is what gives him the edge over his competition. He has become part of the fabric of his clients’ identities, almost as though he was a fellow employee.  He leverages this relationships with his

I know one of his clients personally, and everything I have expressed has been experienced by his company. This client’s staff deal with him - and only him - while openly criticizing his competitors. In turn, his clients trust him to ask him for his opinions on non-work related topics in their lives. And can he ever work the charm! If you were research the job description of a publicist, it wouldn’t be too far off from what my friend perceives to be his formula for success. In your business, do you take the steps to ensure that you’re shaping the dialogue that your clients have about you? Making this a priority will go far beyond any sale or new product that you - or your competitors - could ever offer.

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IMPRINT CANADA

IMPRINT CANADA

Industry News

September/October 2016 - Volume 23, Issue 5

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#& ( Ă .#0 1 , , *),.- - )( +/ ,. , , -/&.Ă (()/( - !, ' (. .) +/#, - !1 , ( 5 Gildan Activewear Inc. announced its second quarter results for the three months ended July 3, 2016. Consolidated net sales for the quarter amounted to $688.9 million (all figures U.S.), down 3.5 per cent compared to the same quarter last year, reflecting sales decreases of 1.4 per cent in the Printwear segment and 7.9 per cent in Branded Apparel. Net earnings totalled $94.7 million, or $0.40 per share on a diluted basis for the quarter, compared with net earnings of $99.4 million or $0.41 per share for the three months ended July 5, 2015. Net sales for the Printwear segment for the quarter equaled $471.2 million, down from $477.8 million in the same quarter last year. Net sales for the Branded Apparel segment in the quarter were $217.6 million, down from $236.3 mil-

lion in the second calendar quarter of 2015.

Acquisition of Peds Legwear Inc. Gildan Activewear Inc. announced that it will acquire Peds Legwear Inc. (Peds) for a total cash consideration of $55 million. Peds is a marketer of quality foot apparel and legwear products which currently generates annual sales of approximately $80 million supported by sourced production and a company-owned state-of-the-art manufacturing and distribution facility in Hildebran, North Carolina. The acquisition is expected to create revenue growth opportunities by leveraging Gildan’s existing customer relationships to broaden the channels of distribution for the PedsŽ and MediPedsŽ brands and by extending these brands into Gildan’s other product categories.

)&3 )( *. .) +/#, 3 " ,& - (% *#. & ,.( ,Polyconcept, recently announced it has entered into an agreement to be acquired by an investment group led by Charlesbank Capital Partners, LLC, a middle-market private equity firm. There will be no management changes as a result of the Charlesbank acquisition. This acquisition marks the end of a successful 11-year partnership with Investcorp. The 2005 acquisition, which consisted of PF Concept in Europe and Leed’s in the United States, marked the formation of Polyconcept. “We have had a successful chapter with Investcorp and are thankful for its partnership over the years,â€?

said Gene Colleran, Chief Executive Officer for Polyconcept. “With Charlesbank’s financial support, strategic guidance and significant network of contacts, we look forward to working together to create substantial value for the future.â€?   â€œCharlesbank is an ideal partner for Polyconcept, and I am looking forward to the opportunities that we will have to grow with them,â€? said David Nicholson, President of Polyconcept North America. â€œWe anticipate the transition to be seamless for both our customers and our employees.â€?

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PUBLISHER

Tony Muccilli : tony@imprintcanada.com

PRODUCTION MANAGEMENT

Adriano Aldini : news@imprintcanada.com

"()-*),. ( /(0 #&- ( 1 ),*), . &)!) Technosport Canada is pleased to announce that it has launched its new updated logo. The company felt that it was time to refresh its current image in order to better represent Techosport’s identity, and express the directions the company has taken.

Technosport defines its new identity, shown below, as neat and trendy with warm and relaxing colours.

CONTRIBUTORS

Adriano Aldini, Robin Kavanagh, Sheri Boyd, Scott Fresener

MARKETING COORDINATOR

Steve Silva : feedback@imprintcanada.com

OFFICE ADMINISTRATOR

Maria Natale : shows@imprintcanada.com

GENERAL INQUIRIES

feedback@imprintcanada.com, (905)856-2600

ADVERTISING SALES

Tony Muccilli (Toronto) Tel: (905) 856-2600 Fax: (905) 856-2667

Imprint Canada is published six times per year by Tristan Communications Ltd. The contents of this publication may not be reproduced either in part or in whole without the consent of the copyright owner. The views expressed in this publication are not necessarily those of the publisher. Request for missing issues are not accepted after three months from the date of publication. TRISTAN COMMUNICATIONS LTD. Publications mail agreement no. 40025740 Return undeliverable mail to: 190 Marycroft Avenue, Unit 16, Woodbridge, Ontario, L4L 5Y2 Email: shows@imprintcanada.com ISSN: 1480-1884 GST Registration #: RT892913294

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This strategy should be a commitment in both busy and slow times. That said, it is important to align the activities and budget to reflect the realities of the economic environment. Successful businesses practice this strategy daily so they don’t experience profound interruptions in sales or require drastic changes to their marketing plans. We help clients develop strategies that will prevail in every market condition. Some of the tools we employ include: newsletters, email campaigns, cold calls, networking, payper-click, social media, and market niche development. The strategies are commonplace, but the focus and direction shift with changing business environments, market conditions, and cost and profit structures. With solid, yet flexible strategies, companies can effectively grow their business by aligning their goals and budget with sales and marketing initiatives that have the most impact. It is a well-known adage in business that companies who excel when the economy is slow do even better when the market takes an uptick. When the economy is slow, take the time to really understand your business. Identify and position your company to showcase its strengths, and be aware of the weaknesses or potential threats that are present so you can create a plan to addresses them. These lessons will pay off ten-fold when the economy improves. In a slowing economy, businesses are encouraged to: Go the extra mile to meet your customer’s needs. You can do this by communicating regularly and maintaining your relationship. Your existing customers are your easiest place for growth as you already have a relationship with them. Start by figuring out what you can do better and more profitably for your existing customers. Prospect new leads. Identify new potential customers and nurture strong relationships with them. A small company today could become a target acquisition from a larger market player in the future. By servicing leads well during their start-up phase, they will remember your support and creativity as they grow, bringing you along with them. If you are uncertain of what will fly in a particular market segment, most suppliers will be able to assist you in the selection of products.

Be more in-tune with what your existing and potential customers are doing. Take notice of who is buying and who isn’t. Be empathetic and personal by taking time to understand what is impacting their business. This will help you come up with creative solutions to their specific challenges. Always understand how your activities in sales promotion are tied to the top line sales number of a particular client. Automotive companies do this better than most; they will give you “X� if you test drive a car, because they understand for every 20 units of “X� they will sell a car. Seems like a pretty good trade off and is highly unlikely to get cut during slowing economic times. The numbers are important; tracking and reviewing them is a sure fire way to squeeze more out of fewer opportunities.

Be present and engaged with your customers. Become a valuable resource through your knowledge, experience, and creativity. This is always an important strategy, but it is even more important when customer budgets are being cut and they have their back to the wall. Your willingness to work with them during the slow times will pay dividends when their budgets are restored and the economy picks up.

Foster a positive attitude in your staff and sales team. This is a perfect time to invest in sales team training and tools. Help your sales team improve their results by sharing best practices and techniques being used by your top-performers, this way everyone on the team benefits. Also, coach your sales and marketing groups as a team, as this provides clarity and understanding of the role each person contributes toward the success of the business.

Leverage technology. Enhance your online presence, update your website, develop targeted marketing campaigns, and look for software solutions that will lead to greater productivity and efficiency. In our industry, there are many offerings you could use that would yield significant improvements across all aspects of your business. For example: product search engines, customer relationship management software, order production, accounting and finances, and social media offerings are available for use and can be subscribed to on a monthly plan.

Join the club. There are buying groups who offer their members special pricing with suppliers that you wouldn’t necessarily qualify for on your own. This can be a valuable tool that makes you more competitive and win more business.

Hire an intern. Many colleges offer Business & Marketing programs with co-op placements. Bringing a student into your business provides access to fresh ideas and energy you can tap in to. There are tax benefits to hiring students; in some cases, you can receive up to 30% of their wages back on your tax return. This is also a great way to recruit new talent for your team; a try-before-you-buy approach. Suppliers are not exempt from this way of thinking. Here are some “best practices� used by suppliers and distributors across the promotional products industry to improve their sales and set a path for steady growth and profitability.

1. Increase marketing & business development activities. Marketing spending should be increased in a slow economic environment. As I mentioned earlier, the natural tendency is to cut marketing budgets first. By focusing on marketing, you may be able to attract your competitors’ customers due to your increased exposure.

2. Mine your existing client base. Reach out to your repeat customers, ask them for referrals, and consider offering an incentive for their loyalty. It is much easier to acquire a new customer by working through an existing one. This is also a good time to reach out to past customers to rekindle the business relationship. 3. Revisit & possibly update your business plan. Determine if you need to focus on new areas or even move your business in a new direction. Clarify your vision and specific goals into an executable strategy.

4. Diversify your customer base. Too many businesses depend on only a few customers for the bulk of their sales. If these customers fall on financial hardship, it places your business at great risk. Ensure you have a mix of customers from as many market segments as possible. The same is true with respect to the vendors you use. Always have a good mix that includes overlap for the products you sell but consider reducing the number of suppliers you use. This will allow you to strengthen the partnership with your vendors as well as drive sales to qualify for loyalty pricing and promotions. Successful businesses thrive when they diligently follow a plan to consistently grow their business and diversify their customer base. Many strategies only involve an investment of your time and creativity to yield great long-lasting results. Here is a short check-list to get you started. See you on the other side, stronger than ever! ✓ Go the extra mile ✓ Invest in your sales & support team ✓ Network & lead generate through existing customers ✓ Prospect & identify new customers ✓ Spend time each day cold-calling, setting up appointments, and networking *JW]\ \PM *]\PWZ#

Sheri Boyd has been involved in the promotional products industry for 25 years. Her experience encompasses supplier and distributor perspectives. As founder of epicpromo and Promocatalyst, Sheri brings a fresh approach that will affect positive change across the promotional products landscape. Companies Sheri has contributed to include: Festival Promotions, Maple Ridge Farms, Glass America, and Maui Jim Sunglasses.

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A real problem in the screen printing industry is transitioning from basic spot colour to printing photorealistic images, and understanding the changes you might need to make to your shop as well as your overall outlook. This article stems from a common phone call I receive: “I have never printed with halftones and the highest mesh I have is 156, but I want to get into high-end work.� My experience is that when a screen printer starts to offer more high-end work, the level of confidence goes through the roof. A “we can now take any type of job� attitude kicks in, and the customer base expands to bigger and better customers. If you focus on the right tools and techniques, photorealistic images are not out of reach.

The Differences

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Printing simulated process colour, CMYK and index colour on light and dark shirts can be very rewarding but also very frustrating. If you have never done this type of printing, you might be shocked at the high mesh counts and type of ink used. If you normally print spot colour and flash cure after every colour and/or print heavy athletic printing, this will be very different. Almost anyone can print high-end photorealistic work if they just follow a few simple rules and procedures. Plus, there are thousands of printers doing this on a manual press. Don’t let anyone tell you it can’t be done!

Colour Separations The first piece of magic is a great set of separations. They can make or break the job. Let’s assume you have a great set of separations, whether you pay to have them done or use the automated programs and tweaked them appropriately.

Film Output When trying to expose very fine halftone dots, you must have a film positive that is dense black in the image areas. That means vellum may not be the best choice for critical work. Many printers still use a laser printer with vellum, and if that is all you have then you will have to work hard to hold the small halftone dots. *TUW[\ IVaWVM KIV XZQV\ PQOP MVL XPW\WZMITQ[\QK _WZS QN \PMa R][\ NWTTW_ I NM_ [QUXTM Z]TM[

You can get excellent and dense IVL XZWKML]ZM[ black film output from inexpensive inkjet printers using a software RIP For most high-end jobs, use a line count/frequency of (raster image processor) that tells the inkjet printer 55 lpi. If you run automatic presses and have critical jobs, to lay down more ink. One of the secrets to printing you can go to 65 lpi and even 75 lpi. If you are using velphotorealistic images is to hold the lum or laser acetate, then drop down to 45 lpi. dots on the film and on the screen. If the job is index colour (no halftone), the art departIf you lose halftone dots, then the ment must have the job at the final print size and around image on the shirt will not look like 200 dpi resolution before they separate it. The resoluthe image on the computer. Halftone tion will be the size of the small square pixels/dots, and dots on vellum or laser acetate are these will be very small on the films. A typical screen not very dense and the exposure maker comment is “we can’t burn that.� Keep reading. light burns through the fine dots. If you are using a laser printer and , ( %#(! want to do this type of work, then it Proper Mesh Count is time to move up to inkjet with a software RIP. All screens should be The magic to printing films of beauty with inkjet is the properly tensioned. At best, RIP software. There are a lot of options on the market and use retensionable or rigid most companies offer a free trial. The RIP software makes aluminum screens that a “dumb� ink print act like an expensive image setter! have a tension of 25–30 Halftone Settings Newtons. (See Figure 1.) If The proper halftone screen angle is also important you have wood frames, use and may seem unorthodox to the untrained printer. For the tightest ones you have. simulated process colour and CMYK separations, use Yes, these images will /QO]ZM 25-degree elliptical dots for all colours. Other industry work with wood, but veterans might suggest 22.5 degrees, 63 degrees and so you will lose some detail and may not have as good an on, but I know what works for me and my customers. underbase.

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Unfortunately, this means these lines are permanent and will not wash out. There are a couple of things you can do to prevent transfer lines. First, play with the time, temperature and pressure you’re currently using. If you’re pressing at 400°F / 204°C, try lowering it to 375° F / 109°C. Also, choose a lighter pressure than you’ve used previously (apparel only needs light pressure to sublimate). You can also reduce your press time from 60 seconds to approximately 35. Experiment to figure out which combination works best with your heat press and make note of your changes. Using the foam method for pressing is =ZIV[NMZ 5QVM[ WKK]Z _PMV [WUM WN \PM OIZUMV\o[

NQJMZ[ UMT\ ITWVO \PM MLOM[ WN \PM \ZIV[NMZ XIXMZ also a good idea. This involves placing hightemperature foam or a Teflon pillow under the garment fabric area to be decorated. Cut the foam so that it is slightly smaller than the edges of the paper or slightly larger than the design area on the paper before pressing. This will ensure the edges of the paper never press into the shirt, thus preventing transfer lines. Your equipment supplier should have more details about this process and what products to use. Ghosting: Polyester fabric picks up sublimation ink very easily, which is what makes it a great medium for decoration; it also makes ghosting a common occurrence. Ghosting occurs when you have remnants of an image elsewhere on a garment other than where it should be. This happens when your transfer paper moves from its proper placement sometime during the heat fixation process – this could be during pressing, when opening the press, when removing the transfer, or even while the garment is cooling. A key step to prevent ghosting is to make sure your 0PW[\QVO Q[ I KWUUWV WKK]ZZMVKM _Q\P

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pressing. It’s good to experiment with different methods to find what works best with your press. When removing the transfer, you want to pull it off as quickly and evenly as possible, ensuring that it does not touch the garment afterwards. There is still <]JTQUI\QWV QVS[ IZM [MUQ \ZIV[XIZMV\ [W \PM KWTW]Z WN \PM

enough heat in the fabric that if []J[\ZI\M aW]oZM LMKWZI\QVO _QTT QUXIK\ \PM NQVIT W]\X]\ the transfer comes in contact with sublimation ink – even the smallest amount that is left on the paper post transfer – the fabric may pick up what’s there. The same is true if you are stacking hot or warm garments on top of one another after pressing. Try placing items such as shirts on hangers to cool, and keep them out of contact with any other garments. An image from the front of a sublimated shirt can ghost to the back of another shirt if it’s placed on top of it and heat is still present.

3XUUTaT]RTb X] UPQaXR fTPeT RP] X\_PRc W^f bdQ[X\PcX^] X]Zb caP]bUTa 0 cXVWcTa fTPeT Xb QTccTa Pb P [^^bTa fTPeT RP] P[[^f U^a X]Zb c^ caP]bUTa R^\_[TcT[h cWa^dVW cWT UPQaXR Getting the Right Colours: There is nothing more frustrating than working on a design, only to have it press out onto your fabric with colours that are not quite what you expected. Using colour management software is a must for sublimation printing in general, as it takes into consideration various factors when converting the RGB colours you see on your computer screen into the CMYK colours (or more if you’re using an eight-colour system) your printer works with. This includes the type of substrate you’re using. The software will make different adjustments for printing an image for polyester fabric than it would for aluminum. Getting set up with a good colour management program for your sublimation system is a critical first step toward producing the colours you want. It’s also important to understand a few things about colour and sublimation onto polyester fabrics. First, sublimation inks are semi-transparent, which means that the colour of the substrate you press the image into will impact the colours you see. An extreme example of this is sublimating a design onto a black t-shirt. Your image will transfer to the fabric when pressed, however the dark colour of the shirt will overshadow the inks, and you won’t be able to see them. Similarly, if you have a pink design you want to press onto a light blue shirt, you will need to make that pink a darker shade for it to show up; understand that the blue will influence how the final pink will look. Take a look at the picture of the Eagles logo on a white and blue shirt (above) to see the difference. A good way to get an accurate assessment of how colours will reproduce on a fabric is to print out colour palettes on specific substrates and keep them for reference. If you printed and pressed a palette of pinks onto one of those blue shirts, you would be able to choose the exact pink that would look best for your design. Second, not all sublimation inks can achieve the colours you may be looking to create. Printers are designed to accommodate sets of ink in four, six and eight colour combinations. Within each formulation, there is a range of colours that can be created using combinations of the inks available. This is called gamut. The traditional four-colour CMYK ink set can generate a certain range of colours, while a six-colour set - that adds light magenta and light cyan to the mix - has a much greater range. Eight-colour ink sets provide some of the broadest gamut available, while new specialty ink sets, offer even greater colour matching abilities. One final factor to consider when trying to produce accurate colours onto your garments is to check that the substrate was made for sublimation. Yes, you can sublimate onto polyester. However, not all polyester is created equal. Most garments are created for general wear and not sublimation decoration, which means they may be treated with different types of chemicals to ensure longevity and wear. These additives can interfere with the sublimation process, impacting the colour and quality of the prints that transfer. Differences in weave can also impact how sublimation inks transfer; a tighter weave is better, as a looser weave can allow for inks to transfer completely through the fabric. Make sure that you choose garments that have either been designed for sublimation or have proven to have good results via testing or in past production cycles. This will help take some of the guess-work out of getting your colours right. Remember that trial and error is an important part of any production process, and investing in ink and substrates now to perfect your long-term process will save you time and money in the future. *JW]\ \PM *]\PWZ#

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“I would never assume clients were really glued to With summer having zipped by yet again, the thought of planning for the holiday season may not their budget, and I tried not to make assumptions be on your company’s radar just yet. With the busy that they wouldn’t like something, because I was fall buying season gearing up to full swing, it’s easy usually wrong,� said Joanna Wiseberg, Director of to understand why the holiday season might not be Marketing & Creative from Ontario-based Red Scarf a top priority (or even a moderately high one) right Gift Company. “I would present what they wanted now, but it should be. and I would show them options that were one or two No matter your client base or niche, virtually notches above as well.� everyone requires gifts for staff and key clients for For example, if you know that apparel is always a the end of the year. popular holiday gift A disproportionate choice for your client amount of spending - in addition to showhappens during the ing them tiered garholidays so don’t be ment options that fit caught unprepared their taste and budget - as your competi- try also includtors surely won’t ing something a litbe – and risk losing tle different – like a out on arguably the branded wine gift set, most profitable buypersonalized tuming time of the year. blers or customized This article will Bluetooth speakers. provide some tips on While you’ll * LQ[XZWXWZ\QWVI\M IUW]V\ WN [XMVLQVO PIXXMV[ L]ZQVO \PM

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how to help maxialready be providing WVM WN \PM UW[\ XZWNQ\IJTM J]aQVO \QUM[ WN \PM aMIZ mize your comnumerous options pany’s holiday sales, that you already as well as providing some creative gift ideas for cli- know suit your client’s culture, by adding one or two ents and staff. “outside the box� items, you’re taking them out of 1. Plan Ahead - It’s never too early to start plan- their comfort zone and you could turn them on to a ning; don’t wait until the fourth quarter of the year gift idea that they really like but never even thought to start your holiday sales action plan. Timely prep- to consider. Using creativity will help clients see you as a promoaration after all is big driver of success; developing an early strategy will provide you and your staff with tional marketing consultant rather than an order taker. guidance to ensure that you are ready for the holiday 3. Online Focus - When it comes to the holiday frenzy. season, your online content should be driven to This plan should outline product and decoration reinforce the objectives you outlined in Step 1. ideas, marketing and social media content, as well as Produce holiday-themed offers and decorating ideas a timeline to implement your action plan. on your website, which you promote through your By promoting your holiday sales early, you will be email marketing efforts and social media channels. creating a competitive advantage over your competiIf you don’t already do so, try incorporating a tors. While your customers are probably very busy holiday-specific section on your website reserved running their own businesses, by initiating prelim- for products that you already know are popular inary discussions with them about their upcoming among your customers for this time of the year. seasonal needs, you will have planted the seed of Sending out holiday-themed e-blasts or newsthought. When it comes time for them to start plan- letters, which include any notable promotions or ning their holiday buys, you can bet that more often discounts on these popular items, will help maximize than not they’ll remember to follow up on the con- audience engagement and ROI. This will help guide versation you initiated weeks or months prior. your clients’ focus and hopefully save them some 2. Get Creative - Part of being a good busi- time by making their gift-giving selections a bit easness owner means being in tune with your clients’ ier – something that will be very much appreciated respective needs, tastes and budgetary parameters. once the holiday madness is in full swing. Your social media efforts should give you the Based on this knowledge, you can create a selection of opportunity to showcase the great holiday-themed tailored products that will resonate well with them. campaigns you’ve produced for your clients, as well If the client is a new one, then you need ask questions to as any unique self-promotions your company has understand – above all else - their company culture. undertaken. In addition, try getting creative by including one Use social media to help spread the holiday cheer or two product ideas that fit their prospective budget and to “spice things up�; this will help keep your but that they might not have otherwise thought marketing efforts timely and relevant while reinforcing about. This might broaden their perspectives when your marketing message. thinking about their holiday buy and open them up to new product ideas.

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4. Host a holiday event - The holiday season is all about spreading cheer; what better way to do that than to have a well-planned social event that brings your clients and your company together under one roof? Don’t leave the event too close to the holiday season; planning the event for late November or early December will give you ample time to produce any last minute “rush� orders. Hosting your clients during this time of year will also create the opportunity to talk about the upcoming year and any immediate needs heading into it that they might have. You can produce some cool self-promotions for the party – be it wearables or holiday party-themed items - for your staff that may pique your clients’ interest. The informal environment of a holiday party may allow you the opportunity to talk more openly with clients to glean if any of their needs aren’t being met. 5. Package It Right - Holiday promo orders are unlike other orders throughout the year in that they are going to be given as year-end gifts. As such, the manner in which you package these items is critical. Taking the extra time and effort to ensure that the holiday items are delivered “gift-ready� will make a huge impression for your company.

“Even if my clients didn’t ask for it, I would package their gifts,â€? explains Wiseberg, who would provide this service free of charge. When her clients would receive their holiday orders, they would be pleasantly surprised. “I always had my clients in mind and I didn’t want their job to be harder to than it is,â€? she added, noting that her clients are typically so flat out busy that they’d forget about important details like packaging. “This is one less thing that they have to worry about and I feel it’s really important, because not only does it make your client look good, but it shows that the distributor is thinking.â€? Regardless if the order is designed for clients’ key accounts or staff members, taking the extra step and packaging the items beautifully for the holidays will leave a lasting impression and make your clients’ lives a lot easier; these are two critical steps factors should matter greatly to any distributor. Follow these simple tips and try incorporating these holiday gift ideas to help boost your holiday sales this year. Another thing to remember is to have fun! You’ve worked hard all year, so take some time to enjoy it together with your staff and to be sure to spread some cheer‌.after all it is the holidays!

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Source: Fibre2Fashion.com; Reuters

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Don’t let your lack of the best frames stop you. Work to use tight screens that are /QO]ZM on stable frames. The proper mesh count is critical. For most photorealistic jobs, use a 190 to 230 mesh for the underbase (go lower if the design has a lot of solid bright colours), and a 305 mesh to 355 for the top colours. The first reaction is, “I can’t get my white ink through a 230 mesh.� Not true. If you use a small amount of curable reducer and reduce the viscosity of the white so it is creamy, it will work. You are not trying to lay down a rock solid white layer of thick plastisol for an underbase. The highlight white will make the white pop where you need the pop. The second reaction is, “that mesh is very expensive.� It is what it is.

Proper Emulsion Proper stencil preparation is critical and goes along with “hold these dots�. If you have never exposed high-mesh screens, you need to forget what you know about exposure. Your exposure times for 305 mesh will be 20 percent of that for your 156 mesh. You must use direct emulsion, thin coats of emulsion (one coat on outside/bottom, one coat on inside). If necessary, come back after you dry the screen and give it another coat on the outside. And, use the sharp edge of the scoop coater. The best emulsion to use is a dual-cure (two-part) emulsion. It has more latitude, more solids content and is more forgiving than one-part photopolymer emulsions which have a very fast exposure time. Your supplier will try to sell you one-part, but tell them you want a dual-cure. Yes, you have to mix it. (See Figure 2.)

hear this all the time. You just have to buy into it and realize that shops doing this type of work expose these screens all day long. You will need to make test screens and fine-tune exposure times, but it can be done.

Inks Simulated process jobs are normally printed with a good high-opacity white for the underbase and highlight white, and standard off-theshelf “general purpose� plastisols for the top colours. Most colours are fairly creamy in the container but the white can often be very stiff. To get the white to print better, simply add a small amount of curable reducer to the ink. Many brands recommend “soft hand,� and this can work, but a liquid reducer is better. It may seem counter intuitive to reduce white ink to get better opacity but the truth is when it is very thick it requires much more pressure on the squeegee which drives the ink into the shirt. By reducing the ink it clears out of the screen more easily and lays on top of the shirt. If the job is process colour CMYK, you must use special inks. You need the colours of cyan, magenta, yellow and black. These inks /QO]ZM are very thin and transparent. They work well on light shirts, but tend to mute down if printed on a base of white. That is why they are rarely used on black shirts. Some companies offer “triple strength� process plastisol with a heavier pigment load. If you must print CMYK on an underbase on dark shirts, consider using triple strength.

Proper Exposure The way to tell if you can hold the small five per cent dots is to do test screens and test prints. Have the art department create a test film with squares filled with two per cent, five per cent, 10 per cent, 20 per cent, et cetra, halftone dots at different frequencies. (See Figure 3.) That way, you are not guessing at what size a dot is. Coat and expose the screen, and work hard to hold the five per cent dot. Yes, it can be done. You will probably not be able to hold the two per cent dot, which means if there are very subtle design changes these might be in the two per cent to five per cent area. Great screen makers do it all the time. The secret is to keep reducing your exposure times. To make life easier, some suppliers carry a special film positive called an exposure calculator. Use it to nail down the proper time. For most non-critical cartoon or free form graphic images, it may not really matter if you don’t hold anything below a 10 per cent dot. If the job is index colour, then all the dots on the films are the same size. If you can burn one of them, you can burn them all. A very common comment from screen makers who first encounter a high-end set of separations with tiny halftone dots is, “we can’t expose that!� I

Printing Technique Use medium-hard squeegees that are sharp. Triple durometers are better (70/90/70) because they have a slightly softer outer blade and a stiffer inner blade. For the underbase, try to do one or two good strokes. You may need to slow down the stroke to get the ink to clear out of the screen. Try to hold the fine detail in the image. You are not really looking for the white to jump off the shirt, although that would be nice. That is the job of the highlight white. Flash cure after the underbase — this is the most critical print. If the underbase looks good as a black and white image, then everything else should look good. (See Figure 4.) If the job has a lot of solid spot colours, you may have to print the underbase through a lower mesh count, and in some extreme cases you will need to print the base, flash cure, print the base again, flash and then print the colours. This is more important

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News ^%XVLQHVV 'HYHORSPHQW` when doing athletic-type photorealistic images where the final feel of the print is not as important as the print jumping off the shirt. (See Figure 5.) Since the underbase is through a high mesh, it will flash cure very quickly. You can place the flash cure unit one to two inches above the print and often get a skin cure in five to 10 seconds. The colours are printed wet-onwet on top of the underbase white. You do not need to flash every colour. If the inks are smooth and creamy on a high mesh, you should be able to do one clean stroke. Some jobs with a lot of colours may need an additional flash part way through the print order. Each job is different. Do not panic until the last colour is printed. Often, it is the highlight that brings it all together. It brightens areas and lightens other colours. If printing a second white last in the sequence seems totally wrong, just give it a chance. This is often the key to making the print pop off the shirt. For CMYK process jobs, you must use a very consistent squeegee stroke. If you do too many strokes or “mash� the ink through the mesh, your dots will gain too much and the print will be muddy.

General Suggestions If a design does not look like the original art, modify an ink colour and try different colour sequences.

This is normal when printing on dark shirts. It generally takes more than one shirt for an /QO]ZM image to settle in and print correctly. There are many variables that affect the final print, from screen tension to quality of the printing press, and technique of the printer or machine. High-end printers commonly perform adjustments at the screen press. Print on a good shirt. Do not use a test square other than for lining up the screens. The print needs to have the absorbency of the shirt, and the tighter the knit, the better. Onehundred-percent cotton is obviously better than a 50/50 cotton/polyester blend because of the dye migration from the shirt. If you are printing on fleece or a polo shirt with a rough texture, you will need to lower your line count and accept the fact that the print will not be as clean as on a T-shirt.

5^a 2<H: _a^RTbb Y^Qb h^d \dbc dbT P eTah R^]bXbcT]c b`dTTVTT bca^ZT 8U h^d S^ c^^ \P]h bca^ZTb ^a {\PbW| cWT X]Z cWa^dVW cWT \TbW h^da S^cb fX[[ VPX] c^^ \dRW P]S cWT _aX]c fX[[ QT \dSSh A lot has been written about high-end printing, but sometimes you read an article and think, “I can’t do that� or “this is rocket science.� It does not have to be that way. If you have a great set of colour separations; good film output; you learn to make a good screen; you hold all the tiny halftone dots on the screen; use some TLC at press and try to hold the detail without killing the print; and keep an open mind, then you can easily do highend printing and produce print jobs you would normally turn down.

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Be Positive Having done thousands of separations, I know that some people will simply not agree with the proper steps and will use low mesh counts, poor film output and bad printing technique. At the end of the day, the bad print quality is blamed on bad separations. Once you have had success with these techniques, you will go out of your way to tell customers to bring it on. You won’t turn down any jobs or be afraid of photorealistic images.

Scott Fresener has been in the industry since 1970 and is the co-author of How To Print T-shirts For Fun And Profit. He has also produced dozens of video and DVD training programs, created automated separation programs called T-Seps and FastFilms, and is considered a pioneer in the direct-to-garment printing segment. Scott is the Director of T-Biz Network International and is a popular speaker at trade shows, has contributed hundreds of articles to leading trade magazines, and has served as a consultant to small and large shops worldwide.

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Largest Ten Retailers

PRINT & CUT TRANSFER MEDIA 35,17(56 75$16)(5 9,1</6 &877(56

Walmart

7.4% Old Navy

2.0%

Winners

5.3% H&M

1.8%

Sears (Total)

3.1% lululemon

1.7%

Mark’s

3.0% Costco

1.6%

The Bay

2.9% Gap (Store)

1.5%

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#HDCotton HD Cotton™ features higher density fabric, tighter knit and finer gauge yarns, making for a smoother print surface and superior ink coverage. For better results at a better value, trust HD Cotton™. Hear what other decorators like Richard are saying, browse their designs and more, at FruitActivewear.com/HDCotton

800.567.7662 | FruitActivewear.com

8.3 oz, 100% Cotton, 11 Styles, 52 Colors, Y-6XL & Talls

/FruitoftheLoomActivewear

@FruitActivewear

Lightweight Softshell L07260 men’s / L07261 ladies

www.canadasportswear.com

like no other

apparel supplier in the industry A tradition for service, quality and value since 1954 Leading importer of in-stock and custom quality garments Canadian Made and Custom manufacturer In-house design and creative services Full service in-house decoration

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