September/October 2018

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Volume 25, Issue 5

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<=9DAF? OAL@ O=9DL@Q ;MKLGE=JK Customer service specialist Jeff Mowatt outlines tips to help you better interact with wealthy clientele. 6

AK QGMJ :MKAF=KK L=DDAF? L@= JA?@L KLGJQ7 Author and digital marketer Justin Champion offers seven tips to help your business get started telling a story that sparks an emotional connection with prospects and clients. 8

?DG:9D J=L9AD MH<9L= Retail headlines from global markets are highlighted.

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F=O HJG<M;L KHGLDA?@L2 G>>A;= 9;;=KKGJA=K In this issue, we highlight some versatile, new office accessories. Whether your clients are corporate, professional, trade, non-profit or academic, these unique new products will help make next promotional campaign POP! Check out some of the newest office accessory products available in our Advertising Specialty Product Focus. 30

Colour is both an art and science when it comes to digital product decoration. The art comes into play when you’re designing what to put on your product. The science comes in during the print and press process. Understanding how colour works in a digital print environment is essential to success in sublimation. Though colour science can be complex, here are some basic concepts that will help you achieve great colour output and repeat business. >VLMZ[\IVLQVO PW_ KWTW]Z _WZS[ QV I LQOQ\IT XZQV\

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What is Colour Management? The colours you see on your screen will never exactly match the colours in your prints. This is because the colours on screens are generated by combinations of three colours: red, green and blue (RGB).

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There are two obvious reasons to take a deep look into the overall turn time speed of your shop. First, your competition is already knee-deep in this effort. Maybe you’ve noticed this in their recent marketing efforts. Second, and most importantly, your customers are demanding it. Let’s face it, we live in an age where nobody has patience and your target market is no exception. They are fleeing in droves to shops that can deliver a great product, but much quicker. For those shops caught in the 7–10 day turnaround window, your number is coming up soon unless you change. This article will give you some fresh ideas on tightening up that chunk of time from “order received� to “order shipped.�

Start With Eliminating Downtime

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Downtime refers to those moments throughout the production shift where you are not decorating a shirt. When you aren’t adding value to the order, it is costing you money in opportunity and speed. The trick is to winnow out those reasons why you aren’t producing anything. Most shops don’t measure this. Remember, you can’t manage what you don’t measure. Want to get more handled in a day? Figure out why your crew is pausing or stopping production.

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Q 867> to listen to options for which contact is at what number. You select the correct number and then get connected with someone’s voice mail saying they are not available and maybe it would be better to e-mail them (and hope that the e-mail does not get redirected to their junk mail).

& , E #'*& I tend to look at the little things in life that just frustrate me beyond words, and ask why must things be this way. Case in point: Have you ever attempted to call yourself at your place of business? Some business owners should take the time to call their own businesses and ask to speak to someone in their office. Some will be surprised and some, no doubt, will be frustrated beyond words. Since when has it become acceptable that a client has to memorize someone’s extension number or the correct spelling of a person’s first or last name, in order to be connected to the contact he or she is looking for? Some companies think it is okay to list all of their employees’ extension numbers in a long-winded greeting. One of my least favourites is when you call a company and you are required

Another one that confounds me is when you are prompted to leave a message for the receptionist, who then calls you back only to have to connect you to the voice mail of the person who you originally wanted to speak to in the first place. Why must something that should (and is) so simple become terribly convoluted? In today’s society, where access to information is in many cases immediate, forcing customers to have to work just to get through to your phone line - much less speak with you - can be terribly frustrating. At worst, it could eventually cause them to leave altogether.

I recently dealt with a company when I needed to order some merchandise and was forced to respond to so many redundant email approvals - after which I discovered were all coming from the same person in the company using different email accounts. What could and should have been very straightforward, became so confusing that by the end of it, the communication thread has become so unnecessarily complex that - for the sake of my own sanity - I can’t see myself dealing with them again. Your customer’s time and business is more precious now than arguably ever before. Your business owes it to them to respect this invaluable resource and do the utmost to ensure that each point of contact with you and your business is as clear and simple as it could be.

What else is your company doing to unnecessarily complicate things for your customers? Auditing every point of contact that your clients make with your business is a good way to determine what and where you can improve your internal operations.

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Industry News

September/October 2018 - Volume 25, Issue 5

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#!#. & (0 -.#(! #( ( , -.,/ ./, .) ,0# )(.#(/ ,)1." Ă ,)-- ( Announces the addition of new sales and technical staff to service client base Since joining the RB Digital team, Sean Oakley, VP of Business Development for RB Digital, notes that much has been accomplished in order to elevate the company’s “gameâ€? to ensure that it continues to be long standing partners in this industry. RB Digital has made significant investments in its infrastructure, and the company now has a user-friendly shopping cart on its website which allows customers across the country the freedom and ability to order supplies whenever needed. â€œWith five locations throughout Canada, RB Digital is able to ship supplies orders at a very economic cost and also allows local customers the freedom to pick their orders quickly,â€? said Oakley.Â

{FT WPeT P ]Tf bP[Tb cTP\ P]S PSSTS \^aT cTRW]XRXP]b c^ bd__^ac cWT caT\T]S^db Va^fcW fT PaT bTTX]V X] >]cPaX^ | “We have also fortified our already strong technical team by hiring more expert technicians, ensuring we have the ability to keep our commitment to partners and customers who have purchased equipment from us, and to help keep their production downtime to a minimum,â€? he added. RB Digital has also hired new sales staff who are charged with the mission to build stronger partnerships and visit more people in person. As a 154-year old company, RB Digital stands behind the face-to-face connection with its customer base. “Although our focus and commitment is national, we spent the last year investing heavily in Ontario,â€? noted Oakley.Â

In Mississauga, RB Digital now has a fully functional 900 square foot showroom with equipment on display to support its top six decoration categories: Embroidery, Screen Print, DTG, Heat Transfer, Industrial Sewing, and Wide Format Printing. â€œThe showroom has been a great success and we have had scheduled demonstrations daily,â€? said Oakley. â€œIt has been a great tool to educate and train our partners and we’ve also invested in technical expertise to support a fast growing category: Wide Format Printing and Sublimation.  We have a new sales team and added more technicians to support the growth we are seeing in Ontario,â€? he explained. Oakley went on to note that the company has witnessed tremendous growth in Ontario across all decoration categories. â€œOntario businesses are healthy, updating their production equipment, and busy supplying a steady demand for Personalization in all categories. Promotional Market, Team Sports, and general T-shirt printing have been keeping our customers busy and healthy. I am excited for the years to come as I don’t see any signs of economic decline.â€?  RB Digital continues to source new technology and new supplies to help Canadian business continue to be on the cutting edge. â€œWe urge everyone to follow us on social media, keep visiting our website, come see us at the Imprint Canada Shows, and stop by any of our five locations to see what is new and what will be their next investment to help grow their businessâ€? he added. The company’s mission is to “Help decorating businesses grow and make money,â€? which is the driving force to ensure they’re always offering the best solutions available. Please visit www.rbdigital.ca for more information.

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PUBLISHER

Tony Muccilli : tony@imprintcanada.com

PRODUCTION MANAGEMENT

OFFICE ADMINISTRATOR

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GENERAL INQUIRIES

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ADVERTISING SALES

Jeff Mowatt, Robin Kavanagh, Marshall Atkinson, Justin Champion

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

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Steve Silva : feedback@imprintcanada.com 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.

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&#(! 1#." &."3 /-.)' ,Five strategies for boosting your business with high net worth clients 3 )1 ..

Have you ever noticed that sometimes people tend to then say “Hello. Yes, I can help you with that.� By waiting until you have the person’s undivided attention, you act differently around wealthy people? Whether we admit it or not, I think it’s because most convey that you are a human – not a doormat – who is of us want rich people to like and accept us. After all, it’s worthy of respect. Customers are happier dealing with employees who not a bad thing when high net worth individuals want earn their respect. Everyone wins. to do business with you. The problem I’ve noticed as a customer service strategist, is that sometimes when employees interact with customers who they perceive In general, when to be of higher financial you introduce yourstatus, they try too hard self to customers, to impress. Or at the share your first and other extreme, some last name. Often we employees become just tell people our too submissive around first name because wealthy clients. we are being casual – Here are five stratlike friends, right? But egies for building remember, you’re not stronger relationships trying to be your cuswith high net worth tomer’s pal, you want customers. (By the way, to be seen as their these strategies also trusted advisor. happen to work with More importantthe rest of your cus@WZSQVO _Q\P PQOP VM_ _WZ\P KTQMV\[ KIV JM QV\QUQ\I\QVO

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75 . & , )/. 3)/, -. ./There’s no upside to acting either superior or inferior to your customers. If you act superior, you run the risk of coming across as arrogant, which customers never like. Moreover, if you act inferior, you’ll be perceived as obsequious and customers may have a hard time respecting or trusting you. The question is: What’s the relationship that customers value most with service providers? I’ll tell you what it’s not: your relationship goal is not to become your customer’s friend. Your customers already have their own friends (who they don’t need to pay). What customers value is a service provider who they regard as their trusted advisor. Customers will pay a premium (and show more respect) when dealing with a trusted advisor.

B^\TcX\Tb fWT] T\_[^hTTb X]cTaPRc fXcW Rdbc^\Tab fW^ cWTh _TaRTXeT c^ QT ^U WXVWTa UX]P]RXP[ bcPcdb cWTh cah c^^ WPaS c^ X\_aTbb >a Pc cWT ^cWTa TgcaT\T b^\T T\_[^h TTb QTR^\T c^^ bdQ\XbbXeT Pa^d]S fTP[cWh R[XT]cb Treat your customer the way you want to be treated and put yourself at the same status as your customers. As they say at the Ritz Carlton, “We are ladies and gentlemen serving ladies and gentlemen.�

85 ,( , -* . ,&3 When I’m conducting seminars for organizations whose customers are sometimes demanding, rushed, or frustrated, we talk about the importance of earning early respect. That means if a customer is trying to talk with you while chatting on their cellphone, it’s best to smile and respond with, “I’ll take care of you as soon as you’re finished your call.� If a customer asks you a question while staring down at their paperwork, don’t answer their question. Instead, wait till they actually look you in the eye,

instantly convey the message, “If you have a question or concern you should ask for me (which is why I’m giving my full name). I’m not trying to hide or be anonymous. I’m comfortable being held accountable.� All by simply using first and last names. Easy and powerful

:5 #-. ( '), 5 &% --5 Perhaps the quickest way to turn-off customers is talking too much. Or talking when we should be listening. When listening, try to understand what lies beneath the customer’s surface request. The more you demonstrate that you understand your customer’s unexpressed and eventual needs, the more you’ll be seen as a trusted advisor.

;5 ." !)T.) * ,-)( Customers sometimes have requests that don’t fall neatly into your existing procedures. So, you may have to check with a senior manager. When you’re in that position, do not tell your customer, “I’ll have to go ask my manager.� That makes the customer feel like they’re wasting their time dealing with you. It makes you look like you haven’t been adequately trained or trusted. And it makes your manager look like a micro-manager. Instead, tell the customer, “Let me look into this and see what I can come up with for you.� That’s right, I’m encouraging you to take the credit for the decision. That reflects more positively on everyone, including your manager.

Bottom line Interestingly, dealing with high net worth clients is the same as dealing with any other customer. Everyone – including you and your team members – deserves respect and attention. Beyond these tips, the most important way to earn your customers’ trust and loyalty is to keep your promises; no matter what it costs you. That’s why we call it becoming a trusted advisor.

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Jeff Mowatt is a customer service strategist and Hall of Fame speaker. He’s the author of the best-selling business books: Becoming a Service Icon in 90 Minutes a Month and Influence with Ease. This article is based on the bestselling book, Becoming a Service Icon in 90 Minutes a Month.

Jeff heads his own training company and has written and produced 13 self-study coaching tools. His Influence with EaseÂŽ column has been syndicated & featured in more than 200 business and online publications.

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- )/, /-#( -- &&#(! ." #!". .),3D Seven tips to help you get started telling a story that sparks an emotional connection with prospects and customers 3 /-.#( " '*#)(

  You know you have a great product or service. And you may have lots of facts, figures and benefits to back up why you’re the best. But just throwing data at potential customers (even if it’s truly impressive data) won’t move them to buy. That’s because people don’t respond to logic. They respond to emotion, which is why you might want to get good at storytelling - and fast! Stories create emotion, and emotion is what people remember. They help you engage and, more importantly, teach your audience. If you don’t tell a good story, your message will be lost in the media jungle.

Google processes over 3.8 million searches per minute. That’s a lot of people looking for answers. This is happening because the way people buy has changed; they no longer respond to outbound tactics like spamming and cold calling. Instead, they research products and services and find what they’re looking for on their own. The message for companies is clear: You must provide plenty of content that’s engaging and persuasive enough to pull in readers and “win� their business. This is called inbound marketing, and it’s the way businesses today are discovered - by helping, educating, and entertaining prospects with valuable, relevant, and consistent content. In my book, Inbound Content: A Step-by-Step Guide to Doing Content Marketing the Inbound Way, I explain how content needs to pull customers through the four stages of HubSpot’s Inbound Marketing Methodology: Attract, Convert, Close, and Delight. In other words, you create and share content—through blog posts, emails, videos, case studies, guides, et cetera - that attracts the right people to your site, converts them into leads, helps close them into customers, and delights them so they’ll become promoters of your brand.

CWT fPh _T^_[T Qdh WPb RWP]VTS* cWTh ]^ [^]VTa aTb_^]S c^ ^dcQ^d]S cPRcXRb [XZT b_P\\X]V P]S R^[S RP[[X]V 8]bcTPS cWTh aTbTPaRW _a^S dRcb P]S bTaeXRTb P]S UX]S fWPc cWThzaT [^^ZX]V U^a ^] cWTXa ^f] The goal is to make a human connection, and storytelling is how you do this. It’s about resonating with people who need your help and guidance. A well-crafted story helps you create contrast between choices. It helps prospects make sense of the decision they’re about to make, whether it’s deciding on a product or service or making a purchase. Here are my tips for helping your business discover the story you want to share with the world:

First, know what your story is NOT. It’s not data and assertions about ROI. It’s not just your business’s history. It’s also not clichÊ, and it’s not what everyone else is saying. Sure, you may think you provide the best customer service in your industry, but that’s not your story. Storytelling is not about blending in, but rather about what sets you apart.

Focus on your why. The Golden Circle concept, which was coined by exadvertising executive and author Simon Sinek is all about starting with your why. Sinek says most people communicate by starting with what they do and eventually work their way back to talk about how and why they do what they actually do. But unique and successful companies like Apple or Google communicate with an “inside-out� type of thinking. They start with the why and only then do they talk about the how and what portions of what they do. To really connect with your prospects and customers, you must express the why of your story. Tap into the emotional side and begin to educate or build awareness from there. Ask yourself: “Why do I do what I do? How will this help my audience? And what am I actually offering?�

Know your characters. All stories have characters. With content marketing, the people—or characters—are your readers. Good storytelling can’t happen without valuing and understanding your audience and responding to their wants and needs. When potential customers can get the answers to their questions and see themselves as characters in your story, they’ll be more likely to use your product or service and experience the happy ending you offer. Start with your buyer person: the semi-fictional representation of your ideal customer. This can help guide you through understanding the goals and challenges your character will face. =MTTQVO BW]Z <\WZa KWV\QV]ML WV 9IOM

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News ^%XVLQHVV 'HYHORSPHQW` ,WTW]Z 6IVIOMUMV\ KWV\QV]ML NZWU 9IOM

Conversely, digital printers use anywhere from four to eight ink colours to reproduce the image from your screen. CMYK (cyan, magenta, yellow and black) is the standard for four-colour digital printing.

Colour management – or colour correction - is the process of adjusting this colour transformation so that you can produce the best quality results on your substrate.

Challenges Specific to Sublimation

Computer monitors emit colour as RGB light. Although all colours of the visible spectrum can be produced by merging red, green and blue light, monitors can display only a limited gamut (range of colour) of the visible spectrum.

With dye sublimation, there is another element of the colour control process that must be addressed. When a dye sublimation transfer sheet is heated and pressed onto a substrate, the ink turns into a gas that bonds with the polymers of the substrate. During this “gassing� process certain colours will shift, so the finished product will not look like the original image on the screen. You may also notice that colours of the ink printed on your transfer paper are very different from the final image that is created when heat and pressure are applied. This is because of the chemical characteristics of the dye sublimation process, and another reason why colour correction is needed. With sublimation, these issues need to be addressed for each individual printer and ink combination. In extreme circumstances, colour correction may be needed for every combination of printer /ink/substrate and transfer paper. However, extensive testing has shown that in most cases, good-quality transfer paper does not affect the final colour. This is why we recommend that you only use high-quality paper.

CMYK

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Printed products absorb or reflect specific wavelengths of light, unlike a screen that emits light. Cyan, magenta and yellow pigments or dyes serve as filters, subtracting varying degrees of red, green and blue from white light to produce a selective gamut of spectral colours. There is marked difference in how both types of colour generation work. One is additive; the other is subtractive. In digital product decoration, you design in an additive environment (RGB), and then the printer and software has to convert those colours to work in a subtractive environment (CMYK).

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Now that you know why colour management is necessary for sublimation printing, let’s look at a few ways this is accomplished.

ICC Profiles An ICC (International Colour Consortium) profile is a set of data that ensures that when a specific colour is selected on the computer screen, the designated colour is consistently and correctly delivered on the substrate. Think of it as a colour-matching program, since the screen colour rarely produces the same colour output. A profile creates a link between specific screen colours and specific output colours. It doesn’t change the colour, rather it ensures the correct output for a given input. To use this method, you must work with ICC-compliant graphic software (e.g. Photoshop, Corel). The profile will be placed in the output stage of printing and the manufacturer’s print driver will be set to ‘No Colour Adjustment.’ This setup will colour correct the image and then send the data to the

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printer without affecting the colours further. Colour correction profiles for dye sublimation have their own unique challenges. Under normal profile creation, when a printer has printed out the colour swatch for testing, the profiling software knows how to adjust the colours to print out the correct ones. When a dye sublimation transfer is pressed onto a substrate, the ink turns into a gas, and while in this state, the colour properties change. This change during sublimation can be quite dramatic (e.g. some blues look like green on paper), and it is, therefore, impossible to judge whether the print is correct or not until it is sublimated onto the final substrate. It is necessary to create custom sublimation profiles and print management applications of these profiles to create the correct sublimated colour, not the colour on the printed transfer.

Custom Print Drivers Custom print drivers are programs that have colour correction built into the printer control system. The advantage of these programs is that colour correction is performed at the print driver stage, and they are generally easier and less technical to use than an ICC profile. For Virtuoso HD Product Decorating Systems, Sawgrass offers Virtuoso Print Manager for SG400, SG800 and VJ 628 printers. Virtuoso Print Manager makes getting great colour output easy with CorelDraw, Adobe Photoshop, Adobe Illustrator, Silhouette and CreativeStudio design software for both Windows and Mac OS. KWV\QV]ML WV 9IOM

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RIP software also handles workflow tasks, such as nest-

2^[^da \P]PVT\T]c ^a R^[^da ing images and batching or queuing files to print. RIPs are available from a number of software companies, including R^aaTRcX^] Xb cWT _a^RTbb ^U PSYdbcX]V Wasatch and Ergosoft. Sawgrass recommends the use of cWXb R^[^da caP]bU^a\PcX^] b^ cWPc Wasatch SoftRIP with the VJ 628 for users looking for a more h^d RP] _a^SdRT cWT QTbc `dP[Xch advanced colour management and production solution. aTbd[cb ^] h^da bdQbcaPcT Easy Tricks of the Trade The software’s integrated RIP-like tools help streamline production with an advanced array of features, including job and image nesting, hot folders with customizable presets, multilingual user interface, file- and web-to-print workflows and more. Additionally, Virtuoso Print Manager enables you to select specific transfer papers, inks, colour modes and substrates, which the software will take into consideration while processing the file from RGB to CMYK. With these custom settings, getting the right colours are very easy.

Raster Image Processor (RIP) More technically savvy product decorators may choose to use Raster Image Processing (RIP) software, which includes ICC profile creation capabilities for managing colours. Simply put, RIPs convert images into individual dots (rasterizing) and sends these rasterized files to the printer. The process of creating ICC profiles from scratch is time consuming, requires a good understanding of colour science and is an art form in itself. It begins with printing a linearized colour pallet. A spectrophotometer is then used to measure the colours. From these data points, the software creates an algorithm that calculates the colour space and generates the ICC profile. Various types of images are then printed on a variety of substrates, and the profile is meticulously adjusted to optimize the final result.

As a digital product decorator, there are a few things that you want to make sure you do to ensure your colours will sublimate as you expect: 1. Apply the Correct Colour Management Tools: Each of the options discussed above have specific ways to apply the software to your prints. Get trained on how to apply them correctly and make sure you do so with every print. For example, if you are printing a design from Photoshop select Virtuoso Print Manager as the printer, not the SG400, SG800 or VJ 628 option that may be in your dropdown list, when printing your images. Selecting Virtuoso Print Manager as the printer will open the colour management software where you can make your selections for paper type, substrate, colour mode, et cetera. 2. Always Design in RGB: Most design software has a set colour mode for the design space of the file you create. They are usually RGB and CMYK. We call this defining the colour space. When working with sublimation, you need to activate a specific RGB profile to produce accurate colours, unless working with a RIP, which uses CMYK. For example, many graphic artists design in CMYK colour mode because this is the most appropriate for commercial printing. Because sublimation requires RGB, these files need to be converted upon importing into your design software. The reason for this is that sublimation profiles are built to convert RGB colours to CMYK output, not CMYK to CMYK (unless using a RIP). If you try to print a file that is CMYK, the conversion will not work correctly, and the colours will be off.

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3. Print and Press Colour Charts: Whether you are using an ICC profile or a custom print driver, we suggest you create a colour chart by printing out and sublimating an entire palette of colours to a pure white substrate. This creates a visual reference that you can refer to and show customers. Sawgrass’ ColourSure palette is included with Virtuoso Print Manager, and those using an ICC profile can create a simple palette of their own to use. The printed chart will show the exact colour that is created via sublimation (plus the RGB settings), so both you and your customer have an accurate reference when choosing the proper colours for the image being created. Though the colours may not look the same on the screen as they do on the final substrate, by choosing the desired colours from the chart, you are assured that the output will be a match every time, regardless of what is displayed on the computer monitor. 4. Consistency is Key: Any change in any of the variables in the create, print and press process will impact your final output. These include substrates, sublimation paper selection, pressing time, temperature and pressure, as well as colour management techniques. It’s necessary to experiment and test until you generate the desired results. Then, establish a set of standards to work by, with the full understanding that a change in the standards can lead to a change in the appearance and quality of the final product. There is much more to be said about colour management, but these basic concepts should help you gain a better understanding of what’s going on when you create, print and press – and how to get the colours you want. *JW]\ \PM *]\PWZ#

Robin Kavanagh is the Public Relations Manager for Sawgrass, a global leader in delivering dye sublimation & digital printing solutions that make personalization possible and empower creative entrepreneurs to get customized products to market.

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No matter who your buyer persona is, the art of storytelling is making sure you empathize with and relate to your audience.

Choose your point of view. While keeping your buyer persona in mind, you should also determine the point of view your story will have. Will it be first person, second person, or third person? There’s no right or wrong option. It will depend on your buyer persona, the story you’re trying to tell, and the format of the story. In the first-person point of view, the character is yourself. When you say, “I saw this,� or, “I learned that,� you’re speaking in the first person. This type of language is more confessional. It can help you establish a personal connection with the reader or build authority. Try using first person when there’s a known person, or an author, behind the content. This could work for a blog post, video, or even an e-book if the author is noted. In the second-person point of view, the character is your audience. It’s when you say things like, “You’ll see,� or, “You’ll learn.� When using “you� language, it’s critical to understand your buyer personas and know their pain points and goals, or else it just won’t resonate with your audience. Tell the story in a way that shows empathy and that your readers can relate to. The third person is the “he said / she said� type of language. Case studies about your customers are a good example of using the third-person point of view.

Present, and resolve your conflict. Once you know who the character is for your story, it’s important to understand the conflict he or she faces. If your story lacks conflict, you’re probably not telling a story. Instead, you’re telling a pitch, a tagline, a unique selling point, or a plain statement. This approach won’t resonate with your audience, and from a content marketing perspective, it won’t get you views, shares, conversions, or customers. You need to understand the buyer’s journey and the con-

flicts they might face at each stage. What problems are your buyer personas facing in the awareness stage? Those are the conflicts that should be in your story. Wistia is a brand that provides professional video hosting. Its purpose is to empower everybody to get more out of video, and all of its content and storytelling—which is done through funny, engaging educational videos along with blog posts, guides, help articles, and webinars—circles back to this purpose.

5X]S P fPh c^ X]UdbT h^da bc^ah X]c^ TeTah _XTRT ^U R^]cT]c h^d RaTPcT Bc^ahcT[[X]V Xb cWT _TaUTRc fPh c^ WT[_ aTPSTab QTVX] cWT Y^da]Th Ua^\ bcaP]VTa c^ Rdbc^\Ta P]S Xc RP] STT_T] h^da aT[PcX^]bWX_ fXcW h^da TgXbcX]V R[XT]cb One blog post is titled ‘Improve Your Audio: How to Reduce Echo in Your Video.’ In this case, the reader’s battle with ‘echo’ is the conflict, and it’s stated right there in the headline. The rest of the blog post explains how to resolve the conflict.

Finally, get to the resolution. Where there’s conflict, your audience will naturally want some sort of resolution. It should wrap up the story but should also clearly call your audience to action. It should fulfill the story’s purpose. For content marketing, a resolution could be next steps or even a call to action for more content. Either way, don’t leave the audience hanging. In the case of Wistia, the aforementioned blog post provides the resolution to the ‘echo’ conflict—step-by-step

instructions for soundproofing a video. Find a way to connect to your audience on an emotional level. TOMS is a slip-on shoe company that focuses on spreading social good. Here is its powerful story: Everyone needs shoes, but not everyone has the money to pay for them. So, with each product you purchase, TOMS will donate a pair of shoes to a child in need. This strikes an emotional chord with their audience and compels them to buy. This is an example of how a shoe retailer created a much bigger story that makes their customers feel like they’re changing the world by simply purchasing a pair of shoes. And they’ve sold more than 75 million pairs of shoes, which means they’ve also given over 75 million pairs of shoes to children in need.  Find a way to infuse your story into every piece of content you create. Storytelling is the perfect way to help readers begin the journey from stranger to customer, and it can deepen your relationship with your existing clients. Remember, people want and need to feel connected; if you tell the right story, you can capture their attention, connect with them emotionally, and win their loyalty.

*JW]\ \PM *]\PWZ#

Justin Champion is the author of Inbound Content: A Step-by-Step Guide to Doing Content Marketing the Inbound Way. He has been a digital marketer for nine years, working with clients like Majestic Athletic, Wrangler Jeans, and Pendleton Whisky. Justin has always enjoyed building brands that consumers can relate to by creating compelling content.

He now works as HubSpot Academy’s content marketing professor, which has brought this passion full circle, as he is now able to teach anyone how to grow a successful business through content marketing best practices. Justin is the creator of HubSpot Academy’s Content Marketing Certification, which is a globally recognized course. Inbound Content: A Step-by-Step Guide to Doing Content Marketing the Inbound Way (Wiley, 2018, ISBN: 978-1-119-48895-8) is available at bookstores, from major online booksellers, and direct from the publisher by calling 800-567-4797. For more information, please visit www.wiley.com.

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Until you start investigating, the downtime may appear to be “invisible,� meaning, nobody noticed. All it takes is a few questions to start digging into the challenge. The best question to lead with is, “Why?� “Why did you stop three times on that last order, Bill?� Well, he had to tape up a few pinholes in the screens that kept surfacing. When you keep asking why that happened, you find out the new kid you hired in the screen room isn’t degreasing the screens properly. Your production challenge shifts to a screen room challenge. This is corrected with some training and a new standard operating procedure that is put into place. When you start correcting these issues, you’ll start getting more accomplished in a day. This increases your overall speed.

information is complete,� can help keep your schedule ontrack and situations like this to a minimum. Another great tip is to have a checklist or quality proof before that job moves on from order entry. Is all the information complete and accurate? Look at the order from other department or staff perspectives. What will they question on the instructions? Anything as clear as mud? Now is the chance to correct it.

Information is Key On several occasions I’ve stated that a work order is comparable to a blueprint, except instead of building a house, you are producing a job. But what happens when a chunk of that “blueprint� is wrong or missing? The work stops until the answer is uncovered. If you are sloppy in how your orders are entered, this could happen in several departments along the way. The “Hey, I have a question on that order� problem only adds to the length of time it takes to produce it. This is why it is absolutely critical the information for any work order be as complete and correct as you can get it. I’ve seen rush orders sit in “receiving,� “complete� and “ready to ship� for days while waiting for the shipping address to be sent in. In the meantime, that order “that just had to go� blocked other orders from being completed on-time or early. Establishing rules, such as “It’s not an official order until the

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Additionally, have your art staff print a colour mock-up of the image on all of the garment colours for the job. Use the art approval if that is created the same way. You want to have your production crew have something in their hands to review with the first strike-off. Details count here, too, so be sure to add dimensions, the screen/colour order and any location tips (i.e. “Print three inches down from the collar�) to help guide others in what to do. Finally, look to see how your information is entered into your system. Is this an automated or manual procedure? What gets missed or coded wrong? I know shops that have set up online stores for customers who only order once a year because once it’s set up, there isn’t any transactional time or cost for the order entry portion. The key is in how it is mapped to your system.

FT [XeT X] P] PVT fWTaT ]^Q^Sh WPb _PcXT]RT P]S h^da cPaVTc \PaZTc Xb ]^ TgRT_cX^] CWTh PaT U[TTX]V c^ bW^_b cWPc RP] ST[XeTa P VaTPc _a^SdRc Qdc \dRW `dXRZ Ta 5^a cW^bT bW^_b RPdVWc X] cWT &~ SPh cda]Pa^d]S fX]S^f Rock-Solid Organization In this part of the speed discussion I like to talk about what h^da ]d\QTa Xb R^\X]V d_ b^^] I call “The rock in the river.� Imagine a river before you, flowing quickly with cool, clear d][Tbb h^d RWP]VT water. What if a large boulder is placed in the middle of the

river? The water slows down and has to flow around the rock to continue downstream. This is a metaphor for your shop. The river is your workflow, the large rock all things that impede that progress. The river represents your organizational methodology. It could be how your shop’s production area is laid out. I’ve been to shops where accounting filing cabinets are placed in the middle of the production floor. What about the daily delay with your order approval process for strike-offs when a new order is set up? It could be anything. What “gigantic boulder� is preventing your shop from completing more work today, and are you looking at this to help you increase that speed to completion? You are only as fast as the slowest part of your process — what is that bottleneck in your shop? One good trick to find out is to sketch a spaghetti diagram. Draw out the work area for a piece of equipment, then — using a pen — trace the footsteps of the main worker as they set up, produce and tear down a job. Where are they walking? Living up to its name, the diagram looks like a plate of spaghetti by the time it is completed. What you will find is generally the worker should stay close to their area. When they wander off to go get something, ask a question or solve a problem, it is an opportunity to make that process more efficient. It is based on just simple observation. Where did they go? What if their need was already arranged for them or closer? At the end of the day, this type of thinking helps you determine what you need to do to change. Your goal is to help your crews proactively prepare — before anyone leaves today, tomorrow’s production is ready to go.

Tools of the Trade The right tool for the job can make all the difference. Yet, when I go to shops I am sometimes bewildered at the lack of thought on this subject. For example, with the right ink mixing system, an average worker can mix any Pantone colour in about three or four minutes. However, I’ve seen shops disregard this and spend hours trying to mix a Pantone colour, never really getting it right. What’s worse is they are using three or four times the amount of necessary ink in their attempts. Multiply that cost over a year, and the cost of setting up the ink mixing station correctly is miniscule in comparison. Another big challenge is when shops have the correct tools but don’t use them. How many screen rooms have tension meters that never come out of their cases? What about shops that only keep the Pantone books with the art department? KWV\QV]ML WV 9IOM

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Don’t forget about those expensive production registration systems that are gathering lint underneath a dryer somewhere. For a faster workflow, buy (or demand) the right tools for the job for your shop. Make sure your crews are trained to use them properly. In fact, cross-train with multiple people. Have standards in your shop with tools. Show everyone how to set up a job: How to tape up a box, where to place the package label or barcode stickers, how to proof a job with a Pantone book, etc. Use your equipment correctly and take care of the tools of the trade. Also understand that some degree of automation is worth the price. For example, if you are coating screens by hand and only have a few to take care of, a simple scoop coater will be sufficient. If you have 100 to do a day, buy an auto coater. That same worker can be multitasking while the screens are being perfectly coated.

Equipment Considerations Next is the subject of equipment. While plenty of shops make do with well-used equipment, that weird functionality problem you are “living with� daily can be costing you more money than you think in comparison to upgrading. You should be looking at everything through the lens of output. How much is getting completed per day? What if there is something more efficient on the market? Have you calculated the difference between what you are achieving now and what is possible with better equipment? For example, let’s say a shop is “living with� an older 6/8 automatic press they have been using for years. It has millions of impressions on it. When it prints, it shakes and hisses air, and two of the print stations will no longer hold registration, so only one or two colour jobs are printed on the press. The most it prints a day is about 1,250 impressions. A new 6/8 colour automatic press wouldn’t have any of those limitations. It would print as fast as you could load and unload the press. A decent crew could get about 2,800 impressions a day on it — probably more depending on skill level. That’s a 1,550 impression a day difference, or 403,000 impressions a year when you do the math. That being said, what are you “living with� in your shop?

that make a difference. Build your core training program by writing down the key steps to any task. Not just in how it’s handled, but the ergonomics, too. What are the details that matter? Can you get your key staff members to help you? It’s as simple as jotting down that list the next time someone completes a task and using your phone’s camera to take pictures. Print and highlight the work order, or use an order as an example. Keep samples of the good and bad results. Start with the top 10 core ideas that any new worker should know, compile everything and keep it in a simple three-ring binder. This is your new shop operating manual. When you have those built, build the next 10. Cross-train your staff members so they are well-versed in all areas. It’s great when a salesperson knows how to receive inventory or your print crew knows how to burn a screen. When it isn’t handled right, or there is a question, the problem gets diagnosed faster. Not to mention, they will have empathy for the person doing that work and will know how to fully provide them with the information they need to do their jobs better. One last note about training: Your supply chain can often be a great resource for you. They want you to know how to use their products the correct way. Many of them will come into your shop and show you exactly how to employ the best practices to achieve optimal results. Take advantage of this and learn.

Finding and Solving Bottlenecks A bottleneck in your shop is where there is some sort of log-jam or slowdown in the process. Every shop has them, so don’t worry that you might be different or have problems other decorators don’t have. When one department or person is waiting on another in order to complete something, that’s your bottleneck. Here are some common examples:

and resolve them? One trick is to have an “efficiency committee� comprised of a few key people to identify and prioritize what’s not working as well as it should. This is not an exercise in finger pointing — it is an honest discussion about what’s needed. Is it a training issue? Maybe a process or procedure challenge? What if a new consumable or piece of equipment was added? Is it simply a matter of cleaning and organizing the shop? Brainstorm what’s needed and set deadlines for completing actions on a calendar. Write things down and assign tasks to people. Remember, as in the example with the pinholes in the screens, the problem could reside upstream from the department actually experiencing the issue. Keep asking “Why?� until you uncover the truth in the matter, and maintain an open mind. Finally, sometimes the resolution can be solved by adding some capacity to the situation. Maybe all you need is an extra hand doing the work. This could be a permanent fix, or a temporary one.

Conclusion To accelerate your shop’s workflow and turn time, the one ingredient that will allow you to have the most success is teamwork. A group of people working together toward a common goal will accomplish much more than one person trying to solve the situation Get your crew together. They are going to have great ideas and suggestions. In fact, when you involve those who actually do the work, your initiative will have a greater chance of success as they will “own� the outcome. Ask plenty of questions - nothing is sacred. “We’ve always done it this way,� is concrete-headed thinking. Use data, especially key performance indicator numbers you’ve collected. Increasing speed in your shop is all about willingness to change. Do you have that mindset?

• Purchasing can’t buy all of the inventory because there is a question about the cost of expediting the freight for the order’s inventory. • Receiving can’t identify the product coming in, as it’s an unknown brand or unrecognized colour.

*JW]\ \PM *]\PWZ# Based in Gilbert, Arizona, Marshall Atkinson is one of the leading production and efficiency experts for the decorated apparel industry. He is the owner of Atkinson Consulting, LLC.

• The art department can’t separate the job because the client hasn’t approved it yet.

Effective Training

• Production can’t start the job because the screens aren’t burned.

It’s no secret that well-trained people work faster. “Rookies� will naturally handle the same task slower than a veteran staff member might complete it. Therefore, if you want to complete more jobs or work faster in your shop, a training program is a no-brainer. But you have to show staff the details and all the little things

• Post-production can’t apply the hangtags because they haven’t come in from the printer yet.

As a coach for shops in the industry, Atkinson focuses on operational efficiency, continuous improvement and workflow strategy, business planning, employee motivation, management and sustainability. He is a frequent trade show speaker, article and blog author, and is the host of InkSoft’s The Big Idea podcast. Contact him at marshall@marshallatkinson.com.

• Shipping is waiting on the other half of the order to be completed, as the job is designated to ship two orders in one box.

There are thousands more of these challenges lurking in your shop. The question is, what are you doing to identify

This Article was first published in SGIA’s Journal Garment Edition - Spring 2018. All images courtesy of Atkinson Consulting.

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