Thank you for the question. We don't typically use a specific percentage of softhand when adding to our inks, even the white. We usually just add some in incrementally until we get a nice creamy flow of the ink. You don't want to go crazy because adding too much will cause your inks to lose opacity. If we are running a job that for instance we need to give more of a total look where we are reducing the opacity down, then we will calculate and log the percentage so we have that data for reruns. But for our everyday mix we just mix it until It gets a consistency we like.

Hi Marco, never choke your base under white. That will make the edges of your print look ghosted or muddy. We do choke the base under colors. We use a really tight choke of .365 of a stroke. You need to be able to hold very good registration and make good screens to have that small of a choke, but it looks amazing.

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Thank you!

Thank you Shawn!

Thank you Ray. Retentionable frames make a huge difference in control and predictability for your printing. It's an investment, both in money and time, but gives you the best ability to control your prints. We used a bunch of different tracks in this video, but two of the main ones while showing the creation of the artwork and printing are "Bright Nights" from Van Psyke; and "Running this World" from Sven Karlsson.

Hey thank you Sarah. The gradient is a halftone gradient step scale we made and burn on all of our screens. It starts at 5% and increases by 5% on each step until 20% and from there increases by 10% each step. It allows us to see what level of halftone gradient we are holding on each screen when it's exposed. So if we are doing a very detailed simulated process print that has say 10% halftone dots in the image, we can use that scale to make sure we are holding that level dot on that screen during exposure and aren't losing detail. It also helps you dial in your pre-press processes.

As we noted, we were demonstrating and teaching how it is down correctly, so that takes longer. In reality, it takes no time at all. Be nice to your employees. No reason to fire someone for doing a process correctly.

Yessir that is correct. If we need to reapply the adhesive, we will finish the print cycle of the garments on the machine. As the puller removes the shirt and the platen cycles to the load station, the loader applies more adhesive instead of loading a garment. We let the platens cycle a full revolution before reloading garments and continuing with the print process so the adhesive has a chance to dry.

@@raggedapparel7277 okay. Thanks. .. I’ve tried doing what you do with the squirt bottle and plastic squeegee but I always make a mess or don’t put down enough even glue. Haha. ... I spread the glue with a rag that was dipped into the gallon of glue. If the pallets are hot enough and you have a third person that can help we can apply the glue without slowing down or pulling off a full rotation.

You should allow a rotation of thr platens before loading a new shirt. If you don't two things will happen. 1. You will transfer adhesive to the garments you load after applying, and 2. Since you are transferring adhesive to those garments, youre reducing the amount of adhesive on your platen so it won't last as long. If you allow the rotation and even better, flash it once after applying, your adhesive will work much better and last longer, and you won't make any shirts sticky. The time it takes to allow the adhesive to cure is minimal and is well worth it. As far as making a mess, you really just need a small amount. A lite coat is all you need. If you have trouble seeing where you have applied it, you can add a little food coloring to it which makes it easy to see.

@@raggedapparel7277 thank you so much. I’m learning a lot from you guys.

Yes, she does an awesome job.

Thank you!

Thank you! We appreciate it.

Thank you very much Marshall. We appreciate all that we have learned from you over the years and all that we have learned from Shirt Libe Tribe.

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