GRAPHICS PRO

October '20

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A P P A R E L D E C O R A T I N G 5 0 G R A P H I C S P R O O C T O B E R 2 0 2 0 G R A P H I C S - P R O. C O M S O F T W A R E T O S U B S T R A T E O ffering advice on which dryer is the best for your screen-printing operation can be challenging as all shops aren't created equal. However, ask- ing the right questions is an excellent place to start when figuring out which dryer will best fit your needs. Here are some ques- tions to get you started on your search: HOW BIG IS YOUR SHOP? Dryers come in all shapes and sizes, but the most important part is the heat sec- tion. Some dryers feature heat sections that come in 2-foot increments, and the most common size heat sections are 6, 8, 10, and 12 feet. Larger sizes for high-production applications can also be found in the industry. They come in a variety of belt widths from 24 to 84 inches, in one-foot increments. The infeed and outfeed sections are the ex- posed belt at the entrance and exit of the heat chamber. These come in dif- ferent sizes as well, depending on what type of environment you need the dry- er to handle. If you are tight on space, the best thing to do is work on a floor plan first. DO YOU HAVE A SINGLE-PHASE OR THREE-PHASE ELECTRIC SERVICE IN YOUR SHOP? Find out from your electrician or land- lord if you don't know because it will impact your decision. Electric dryers are usually less expensive than gas dry- ers. So, if you're thinking an electric IR (infrared) dryer is best and three-phase power is available, then that's how you should configure the dryer. Running a dryer with three-phase power costs about half as much to operate compared to a single-phase dryer. Alternatives are available if you're only working with single-phase power. IS GAS AVAILABLE AT YOUR SHOP? Depending on where your shop is locat- ed, gas dryers can save as much as 30% in energy costs compared to electric dry- ers. Even though a gas dryer costs more upfront to buy, you will far surpass that extra cost in energy savings over the first few years of operation. HOW TO SHOP FOR A SCREEN-PRINTING DRYER B Y G L E N C A R L I S S , M & R C O M P A N I E S The background required a little less attention. As a sec- ondary element, it would be covered by the foreground objects and focal point. around it was perfect and would also double as the "I" in "pelican." It was fun keeping with this style and giv- ing a cartoony flair to the secondary elements. The place is in a tropical setting, so a tropical drink was in order too. These little nuances added to the de- sign appeal. The sunset would be lim- ited because the pelican was covering most of the sky. Not wanting to over- crowd the area behind the pelican, a single tree was placed because a tropi- cal design is not complete without a palm tree. The Corletts' header type solution was pretty simple. A script font was chosen for that personal feel. It would need to have some weight, so a heavy black drop shadow was added. We selected the type, then copied and pasted behind with a big stroke ap- plied. After assembling the two lay- ers, in the Effect menu with the ob- jects grouped, we applied the Warp using the Arch option. Once the concept was approved, we needed to tighten up the elements and line work. Staying with that old- time cartoon style, we outlined the pelican in black. In Illustrator, we made brushes to simulate an inked look with thick and thin line weights. Using the Ellipse tool, we drug a pro- portional circle, then using the Free Transform tool, we squeezed it from top to bottom and selected that ob- ject. We drug that into the Brushes palette under the Window menu where we chose our brush shapes.

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