Embroidery Digitizing - Educating the Customer

A few months ago, a promotional sales customer of mine (We’ll call her Sally) sent over a design to digitize for her customer for an event they were having. If you’re in the industry, you know the minute they say the word “event”, you have a rock solid deadline.

Artwork was sent over and discussed and digitizing began since we had limited time.  The design involved a main event logo and two sponsor logos and pricing had been quoted for such.

We had less than a week to complete the digitizing, get approval, send the stitch file to the embroiderer and complete the production. The problem was, Sally’s customer kept changing the design; major graphic changes. Every time the design was completed, it was sent for approval and came back with new art and changes. Sometimes there would be two or three in a day. On the third day there was another issue with one of the sponsors and they had been replaced so we had to add another design into the fray. Each time a change was made, the stitch count would go up (of course) and consequently the price of not only the digitizing but the production estimate the embroiderer had given them….and the clock was ticking!

Now, we were happy to make the changes but the customer was unhappy that editing fees were incurred and the embroiderer no longer wanted to stick with the quote they had given them for production…..understandable.  Sally just said, “Hey, that’s what they said they wanted.” But she never took the time in the beginning to explain the process and that changing the original art causes delays and editing fees. She didn’t even ask if this was the final art before starting the digitizing. Sally’s customer just figured they’d pay for whatever final design they ended up with and they expected the embroiderer to stick with the quote they were given regardless of the changes and final stitch count.

Had Sally explained the process to her customer better, we could have avoided the confusion, had no surprises and actually been more efficient getting her customer what they wanted. Things worked out in the end, we comped some edits and Sally paid for some also. We also worked to get the stitch count down on the design as much as possible so the production wasn’t too high and working with the embroiderer, we hit their event date. The customer was thrilled with their shirts.  All was successful.

It’s our job as professionals to make the customer happy and we do it every day.  But communication is essential to making things go smoothly.  Spend some time educating your customer about the process so they’re not surprised by the costs of their embroidery. If they’re still in the planning stages, explain to them that making major graphic changes to the design after digitizing only makes their costs go up. Changes they are making to the art need to happen at the graphic stage before digitizing.

After all, if you educate your customer, their order goes smoother, they understand what to expect and they’ll likely return because you made it work!

Of course, sometimes these things happen and can’t be helped. This is why a relationship with a good digitizing firm makes all the difference. Someone who is readily available to you and can roll with the changes so you can still meet your deadline.  NeedleUp Digitizing is that company.

It should also be noted that like most good digitizers, NeedleUp includes small edits and changes in the design process. Things like trims, color breaks, small text & coding changes and adjustments for sew-ability are all part of getting the customer a design they will love.

Embroidery Digitizing - The Learning Curve

Think back.  You’re at the embroidery show or in the sales office looking at purchasing your first embroidery machine and software.  You’ve done your homework on the internet checking different software capabilities and machine options.  The sales person is telling you how profitable and easy the embroidery business is and you’re nervous because this is a lot of money and you don’t know much about the industry. Even if you have some experience with the embroidery (in one way or another) you have no idea how to digitize a design.  Sales people will tell you that you can learn as you go, but in the meantime, the easy stuff can be auto-digitized in the software and if you come across something more difficult, there are many places you can send the design out to and get it digitized.

Any of this sounding familiar? Yea, I thought so.  I’ve been there. Not as the sales person or the customer but standing behind you at the show/in the showroom listening to what the sales people are telling potential customers. They don’t want to tell you anything overwhelming and scare you away so they say that it’s a simple thing of taking the art, running it through the software to create a stitch file, loading it into the machine, hooping the garment and selecting the thread colors. Then hit a few buttons and you’re literally “in business”!   I realize they are just doing their job but I’m going to tell you the truth.

The learning curve for running a successful embroidery business is substantial. The learning curve for understanding the process of purchasing quality digitizing is big. The learning curve for mastering digitizing yourself is huge! This is why most embroidery companies purchase their digitizing or hire a digitizer on staff. You have to be pretty big to have an on staff, full time digitizer, so today I’m just going to talk about purchasing your designs.

 Yes, there is a learning curve to purchasing your custom embroidery designs:  Your objective is to get the best quality at the most cost effective price in order to maximize your profit margin. Does that mean, just getting the digitizing as cheap as possible?  The short answer is “NO”.

Whatever your reason for getting into the embroidery business is, you must provide your customers with consistent service and quality they will come back for or, quite simply, they won’t come back, and you won’t have a profit margin to worry about.

Remember, you’re going to pass the digitizing cost along to your customer so this is not a production cost to you. However, if you’re simply buying your digitizing based on the lowest price, you’ll find there ARE hidden costs to you associated with this practice that will compromise your quality and service to your customers. Those include:

1.       Delivery time problems - when you have to have the design either redone or reedited multiple times to get it right pushing your job finish time back

2.       More fees later - Paying another digitizer to fix the design so it’s usable or companies that a-la-carte you to death on edits and second version sizes.

3.       Poor production times – the machine doesn’t sew the jobs efficiently due to poor pathing, unneeded color breaks and trims on the digitizing, driving up production time so much that it actually costs you money to do the job (see also #1)

4.       Customer satisfaction – No matter the machine, if the digitizing isn’t quality, you can’t turn out quality designs you’re proud to put your company’s name on. If you can’t get the job to them when promised, they will lose faith in your abilities. You’re trying to build and retain customers; do you really want to take chances with crummy, slow results?

5.       Poor communication with the digitizer – If you cannot talk to a live person about your design (or communicate with them because of a language barrier or time difference) it’s a waste of your time. I’ve been doing this a very long time, and when the design elements require adjusting for “sew-ability” or your customer requests changes to a design (and this happens all the time), you need to be able to discuss this with the person doing the punching. You can’t do that with a website.

6.       Inconsistent quality – Low/Cut rate digitizing companies have many digitizers on staff. It’s a draw which one will be given your design to work on each time and you can’t speak to them directly so one time the design may be OK and the next horrible. They may be using auto-digitizing softwares that don’t work well, inexperienced digitizers and many times they don’t even sew out the designs they’re creating before sending them on to you. (Caveat: Just because a company says they’ve been in business, digitizing for 20 yrs, does NOT mean that the actual person doing your work has been digitizing for that long).  You DO get what you pay for!
 

I cannot stress enough how important it is to build a relationship with a reputable digitizer who you can talk to directly. One that you can trust to give you reasonable pricing, consistent quality from years of experience, and someone who understands production, pathing and the need to sew out every design for quality before sending it to you.  You need a digitizer who offers personal attention and makes you look good with every job you do for your customers.
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NeedleUp Digitizing is owned and operated by Donna Lehmann, a 20yr veteran of the embroidery/digitizing industry. She can be reached at www.NeedleUp.com, donna@needleup.com or  303-287-6633 for DIGITIZING, consultation and classes M-F.

Embroidery Digitizing - Let’s Talk Lettering – Part II

In Part I of Let’s Talk Lettering, we talked about keyboard lettering, when we use it and some of its limitations. In part II we’re discussing how we charge and talking about text with your customers.

Charging for Lettering Jobs:

Many shops charge per name when doing a list of personalizations such as right chest names or even name drops into stock designs or under company logos.  Some may even charge per letter. The major softwares have a “team name” function built in to make the long lists of names and the application of doing these one at a time, go smoother and faster. This is when you’ll use your keyboard text most.

However you decide to charge for your services, take into consideration the time it takes to hoop each shirt individually for the names in addition to the application of any design on the opposite side, since this is a separate hooping.  Even if you’re using the “team name” function under a logo, you will have to stop the machine once the design is finished to load the individual names. If you have a long list of names, it can be time consuming so make sure you’re charging for your time.

If I am adding lettering or a tagline to a customer’s existing logo, usually I will just charge an edit fee, even if I’m digitizing the letters manually. If I can use keyboard lettering and it matches what the customer is asking for, I will use that and “clean” up the letters, adjusting them for fabric pull and usually tweaking the corners and joints.  Once you get into more than just a tagline or the whole logo is basically lettering or a design or icon is included, then I’m charging for a full logo by stitch count and almost always digitizing the lettering by hand.

As you get better at digitizing your lettering, you’ll find you use the keyboard text less because it’s easier and more time efficient to digitize the letters correctly from the start rather than edit keyboard text more.

For the customer’s benefit:

Convenience and organization dictates that you have a printed list of sample text in the fonts you offer customers in your shop.  Be familiar with your regular fonts and insure that they are the ones that sew well in every day practice.  There will be many fonts in your software and not all of them will be winners. Also be aware that the more fonts you offer, the longer it will take the customer to make a decision, so handing them a 3” thick binder of fonts, may not be what you want to do.  Displaying a list including 4-5 scripts, 4-5 blocks and 4-5 serifed font styles should be your basics. When a customer asks about other styles, you have a chance to talk to them and provide a more custom experience and more fonts to look at.

Be sure to also know approximately how many characters per inch you can sew in each font. The customer will appreciate your expertise and you’ll be able to quickly help them find a lettering style that will work for their job. An easy way to display your basic fonts is to sew them and frame them for the wall or counter. This way the customer can actually see the letters in thread.

For full logos, the lettering is usually a part of a customer’s company design and the lettering should look exactly like their logo. They’re paying for a custom job so if the keyboard font doesn’t look exactly like their art, and many times it won’t, don’t use it.

I get jobs sometimes that have very tiny lettering under them for a tagline (way under minimum standard) and the customer wants me to recreate the design at the same size. They’ll tell me they want the same lettering but make it look better. This is when educating the customer comes into play. You have to discuss the design with the customer and tell them why the lettering looks bad on their original. If the text is too small to sew well on their fabric, give them options like enlarging and stacking or moving the text to a better location.

Lettering is probably one of the biggest challenges to master that embroiderers’ face. There’s no match for practice and experience. Keep notes of what works, sizes and settings. It’s never a waste of time. Almost all company logos have lettering, unless you’re the owner of the “swish” or “the little man playing polo on a horse”. J

 

NeedleUp Digitizing LLC is owned and operated by Donna Lehmann, a 20yr veteran of the embroidery/digitizing industry. She can be reached at NeedleUp, donna@needleup.com or  303-287-6633 for digitizing, consultation and classes M-F

Embroidery Digitizing - Let's Talk Lettering - Part I

Let’s talk lettering – Part I

Every embroidery software, from the simplest home software to the most expensive commercial software, has a lettering function of some kind.  In the past, the quality of the keyboard embroidered letters has varied amongst these as has the functionality of the softwares to manipulate and edit them. These days, the user friendliness has gotten much better even in the lower cost softwares and the differences from brand to brand are blurring more and more.

But I don’t want to talk about specific brands of embroidery software or their keyboard fonts. I mention this to say that there is a time and a place for using keyboard lettering and a time when custom lettering should be used.   A good digitizer knows which is called for on each job.

Since I am a custom digitizer working in the commercial industry, I use the keyboard lettering maybe $30% to 40% of the time. The rest of the time, my lettering is custom digitized by hand, specifically for the customer’s logo. Even when using keyboard lettering, the individual letters still needed to be edited for the fabric and for pull compensation. Never do I use keyboard lettering straight “out of the can” and my software creates great lettering, however, no keyboard font can automatically adjust for every fabric or design situation.  

If you’re new to digitizing, you may tend to crutch on the font lettering but avoid doing this too much.  Watch designs with lettering that sews well to see how the letters join and corner for a better understanding of how lettering should look and path. What you learn you will apply to your hand digitized lettering.

As for keyboard lettering itself, familiarize yourself with what your lettering can do and recommended sizes for each font, understanding that some lettering styles do better at smaller sizes than others. If you are extensively editing the keyboard font you’re using, you are better off digitizing the letters by hand. There’s a “gray area” once you get down to ¼” letters and below.  There are some fonts that will do fine at a slightly smaller size (Usually these are block type fonts with no serifs) but fabric strongly comes into play at that point as to whether they will sew cleanly. There’s no way to insure the design will do well as the customer sews the design on multiple fabrics, but staying above the ¼” standard font size for basic lettering will help. With wildly different fabrics, like fleece and terry, you will need an alternate version of your design to accommodate those incorporating more underlay and density.

Certain fabrics or designs will allow block lettering as small as .16” tall to sew fairly descent, especially nylons and twill.  Fabrics such as knits and some piques are rather unforgiving even with ¼” lettering and will “sawtooth” much more. Generally, the smaller the letters, the lower the density but you have to hit the “sweet spot”. Dense enough for coverage and smooth edges but not so much as to cause crowded spacing, knots and bunching at the joints and bulging of the letters themselves. This is the reason that it’s preferable to know the fabric the design is intended for right up front.

I want to take a moment here to mention True Type font conversions. Keyboard embroidered lettering created from TT fonts on your software.  A few of these do, just, OK.  Most suck. None of them compare to digitizing lettering by hand. I’ve been doing this for over 20 years and I just don’t go there, nuf said.

Understanding the dynamics of embroidered lettering, densities, underlays, column widths and pull compensation and how each of these relate to different fabric biases and types will take you farther down the road than just always using keyboard fonts.

In Part II, we’ll cover the customer side and charging for your time with lettering.

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NeedleUp Digitizing LLC is owned and operated by Donna Lehmann, a 20yr veteran of the embroidery/digitizing industry. She can be reached at NeedleUp, donna@needleup.com or  303-287-6633 for digitizing, consultation and classes M-F.