Archive for April, 2010

Five Tips To Promote Photochromics

April 30th, 2010

visionease2Photochromic lenses continue to grow in popularity and these lenses represent an excellent profit potential for eyecare professionals by providing all-day indoor and outdoor comfort. Here are five ways you can promote photochromic lenses in your office.

Doctor Recommendation

Ophthalmic consultants will say that a doctor’s recommendation is arguably the most powerful purchasing motivator an office can employ. Sometimes called “the power of the coat” (a tongue-in-cheek reference to the white lab coat many doctors used to routinely wear), recommendations by doctors for specific products indicate to patients that the healthcare professional they have visited feels a particular product is exactly what they need in order to see better, be more comfortable, relieve certain symptoms, and more. Similar to other medical doctors and their patients, the recommendations of eyecare products by eye doctors are usually well accepted by patients and many even expect their doctor to make these product recommendations.

Armed with the doctor’s recommendation(s), the optical technician in the dispensary can now spend her time explaining photochromic lenses instead of trying to convince patients that they really need them. This is a huge advantage for dispensing personnel and increases the efficiency of the entire office. If patients exercise their right to take their prescription to another eyewear provider, the doctor’s recommendation (hopefully in written form) will now alert the dispensing optician that the patient’s doctor recommended a particular product.

transxtra1

Personal Testimonial

Nothing speaks as loudly about any product than a testimonial, but in order to provide a testimonial about the merits of photochromic lenses, you have to own a pair yourself. That means the first step in this task is to get and wear a pair of photochromics. Over a one-week period, make notes as to the benefits discovered with them, how fast they darken and lighten, how well they perform under various lighting conditions, how comfortable your eyes are, how they adapt to changing lighting conditions, etc. These are the kinds of things potential buyers will want to know. Armed with personal experiences from wearing the lenses, you’ll be able to explain these situations to them, and more importantly, be able to sincerely recommend photochromics to patients.

Health Benefits

Lens literature is full of information about the benefits of photochromics for eyeglass wearers. A good deal of that information discusses how these lenses block 100% of all harmful ultraviolet (UV) A and UVB rays that can enter the eyes and cause short and long-term ocular damage such as photokeratitis, cataracts, penqueculum and pterygium, macular degeneration, skin cancer around the eyes, and other maladies. Since photochromic lenses use UV to create their darkening effect, it’s logical that these lenses offer good protection against this radiation. Because children are substantially more susceptible to absorbing UV radiation than adults, it’s particularly crucial they have lenses that can absorb 100% UV radiation.

Other health benefits of photochromic lenses include eliminating glare, which can wash out visual detail. And with the introduction of Transitions Optical, Inc.’s new Transitions XTRActive lenses, you can now offer patients who spend a lot of time in sunny conditions the darkest, everyday Transitions lenses available.

Offer It To Everyone

Remember, traditional photochromics are designed as replacements for a patient’s general use glasses, not sunglasses. This means that every patient is a potential candidate, which is why it is essential to offer it to everyone.

Another point is to not offer it as the last lens option you mention. In fact, suggest it as the first choice. Mentioning it first indicates to the patient that this is the most important suggestion you are making—that’s why it’s first. He’ll pay more attention to it and understand its significance more.

Meeting a wide range of patient needs, Vision-Ease Lens recently expanded its offering for LifeRx light-responsive lenses with a D35 bifocal. According to the company, in addition to the only photochromic polycarbonate D35 bifocal, LifeRx lenses are also available in 7×28 trifocal, D28 bifocal, Illumina, and Outlook progressive lenses, Aspheric SFSV, and Spherical SFSV.

If you find the adaptive optics of photochromic lenses appealing for general use, remember that patients can also receive the same benefits in sunwear lenses. For example, Specialty Lens Corp.’s iRx Xperio Transitions SOLFX offers polarized, photochromic, glare-fighting and adaptive comfort outdoors. Essilor of America, Inc.’s DEFINITY FAIRWAY Transitions SOLFX lenses are a perfect multifocal for golfing. Oakley, Inc., Wiley X Eyewear, and other sunwear suppliers have outdoor photochromic (and polarized) lenses too. Transitions XTRActive lenses let in approximately 50% of the light inside a car, which will be very adequate for many patients. Younger Optics’ Drivewear Transitions SOLFX is also a great photochromic polarized lens for driving. The convenience of not worrying where their sunglasses are is worth the investment in these lenses alone.

Package It

Bundling is a retail strategy right out of the playbook of the big boys. Packages are a very successful way to market any product, just look at McDonalds and how it changed the way we order food—you don’t order by single products, you order by number. “I’ll take number 3,” which just got you a Big Mac, a large order of fries, and a large drink, all by speaking only four words. You also received a discount on the price of your hamburger package because it was purchased in a bundle.

Many packages can be created. For example, you might offer a basic package that includes polycarbonate with a photochromic and an anti-reflective treatment as a basic package and take 15% off the total price. Try the same thing with 1.67 as the lens material to get the ultimate in slenderizing.

The strategies above are easy to implement and they work; put them to use and you’ll notice a positive move up in your recommendation closure rate.

by Kat Leek-Tedeschi, LDO
totallyoptical.com

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Safilo Launches BOSS Black Sunglass Collection

April 29th, 2010

Safilo USA is pleased to announce the new BOSS Black sunglass collection designed exclusively for the U.S. market. The new collection offers six men’s sunglass styles – complete with solid or gradient polarized lenses – which can accommodate prescription lenses.

These new BOSS Black sunglass offerings which will be sold exclusively in the United States via better optical retailers, as well as department store and sunglass specialty stores, are elegant, contemporary and sophisticated. The collection combines the high quality that is synonymous with the BOSS brand, with pricing that meets the needs of the U.S. consumer. Each style is irrefutably classic yet features modern and updated detailing, including gradient polarized lenses.

The BOSS Black collection features two plastic styles (B0318/S and B0319/S) and four metal/plastic combination styles (B0316/S, B0317/S, B0320/S and B0321/S). There is a predominance of fashion-forward rectangular eye shapes as well as two aviator shapes. Classic colors fill the line including black, dark havana, and havana vintage as well as metallic tones of matte black, semi matte dark ruthenium, semi matte brown havana, light gold dark havana, and dark ruthenium black.

Marketing will include trade advertising, a 6-piece couvette case and an informational brochure/catalog.

“We are extremely excited to offer our optical customers an Rx-able and polarized BOSS Black sunglass collection that has been designed with the U.S. customer in mind,” said Dick Russo, executive vice president of Safilo USA.

safilo.com

Versace Takes Inspiration from Alice in Wonderland for its New Collection

April 29th, 2010

The new sunglasses reinterpret Versace’s corporate baroque style in a design that has already appeared in the Spring/Summer 2010 Apparel and Accessories Collections for women and is inspired by the extraordinary adventures of Alice in Wonderland.

The fantasy world of Alice is a gateway to combining colours and materials with total freedom, where imagination explodes into a mega-mix of lines that alternate, overlap and intermingle . This visual whirl explores a game of optic effects and dazzling mini patterns.

The temples display the Versace Medusa, an unmistakable symbol of the Maison, applied in an elegantly raised bass-relief technique.

The designs on the acetate frames are in decisive colors (fluo tangerine, fluo yellow and lilac), combined with more classic hues (black, tortoise). Inspired by Alice in Wonderland, the designs on the front piece and temples are strongly in contrast, with black on a tangerine or fluo yellow background. And vice-versa.

versace.com

Reykjavik Eyes: Slit Personality

April 29th, 2010

Reykjavik Eyes may be the best news to come out of Iceland in recent months, going by the reception to the new frame collection at last month’s launch event in the London residence of the Ambassador of Iceland.

Guests were keen to try on and put in personal orders for the sleek, lightweight eyewear that is the brainchild of Gunnar Gunnarsson, a dispensing optician and designer from the Icelandic capital that inspires the brand’s name. One of the main selling points is that the lightweight styles are made without working parts from a single flat sheet of titanium.

Gunnarsson was inspired to come up with this flexible, screwless solution thanks to working in his father’s opticians in his youth, where he repaired frames and had to scurry around finding screws.

“I took three and a half years designing, testing and refining the product prior to launch. The aim was to make frames that were lighter, stronger and more flexible than normal, that were less likely to break through the joints and scews and I’ve achieved that.”

Gunnarsson adds that while he was aware of similar products in the market, Ic Berlin for example, he wanted to use titanium to make the range lighter, more flexible and as minimalist as possible.

“I started out using steel and then moved on to the highest quality Japanese sheet titanium and I haven’t managed to break one yet in testing,” he explains.

He came up with the modern, contemporary designs in practice, working on computer drawings and using precision frame engineering techniques.

“When you see the frame flattened out it looks slightly ridiculous,” he says, adding that this quickly changes when the frames are pressed into shape. “The first time I made them we used laser cutting, but that process leaves bubbling on the sides and it takes too much time to polish it out, so we now use wire cutting.”

The designs, which are only 0.4mm thick, similar to a supra cord at the rim, are recommended for use with standard grooved, high index lenses. A slit in the temple alongside the lens can be used to pop the lenses out, as well as being a design feature.

 

“The slit is the essence of the frame for insertion and removal of the lenses. I tried so many different lengths and widths to find the correct size to make it work,’ he says. ‘Most of the people I talk to find that the slit gives the frame its character.”

The modern designs are now available in the UK and Ireland through Andrew Actman, and Gunnarson explains they are working together thanks to Actman’s connection with the family over the years, selling frames to their practices.

Actman describes the frames as

“so light you don’t even know you have them on your face”. “It is a specialist product for independents and is in keeping with the move towards dedicated frame brands. It’s not necessary to have a designer name on the side. The frames are also competitively priced, which is important in the marketplace,” he adds.

The line of eight shapes, each in three colours, has already been available for several months in Iceland and has attracted the attention of some high-profile wearers, including the former president, when Gunnarrson was featured in a newspaper interview.

Irrespective of the success of the line, Gunnarsson explains he will continue to work in practice.

“If I didn’t I would lose that connection with the customer. You have to be an optician to know what works and the problems of frames that are too heavy.” “Often when I go to shows like Mido, people will come into practice and ask if I’ve seen something new. You get innovations and new brands, but they all use similar frames. We are offering something new. Everything is solved with this frame,” he says.

The development does not stop here as Gunnarsson is already looking into a new frame project using acetate with a new hinge patent. This will take some time, he says, as manufacturers need months to turn the prototypes around.

Going forward there could be options for children and there are plans for some more unconventional and less classic styles in the next collection.

“I love frames that are minimalist, light and comfortable, that provide maximum performance – frames that make you look good and you can use for any occasion. In my opinion the frame is not the first thing you should notice when you see someone, a frame should make you look better and give you more style,” he says.

by Rory Brogan
opticianonline.net

reykjavikeyes.com

The New 2010 Cole Haan Eyewear Collection—Refreshed and Remarkable

April 28th, 2010

Refreshed and remarkable, the new 2010 Cole Haan Eyewear collection showcases modern interpretations of timeless classics, drawing on rich materials and saturated colors. With a clean aesthetic and contemporary embellishment, the unique details of this collection address the metropolitan sensibilities of a discerning audience.

From a design standpoint, the new Cole Haan collection reflects a shift toward clean, simple styles that seamlessly match form with function. Color plays an integral role in this evolution in style, too. Rich, saturated hues, contrasting colors and textured patterns bring a modern edge to vintage-inspired shapes.

Cole Haan Eyewear’s pricing strategy has also evolved to meet the needs of today’s consumers, while still maintaining its high level of styling and quality. As a result, the Cole Haan Eyewear brand is the perfect fit for most every dispensary.

cvoptical.com

Karen Walker 2010 Eyewear Collection ‘Sun Gods’

April 28th, 2010

Karen Walker is a fashion designer with a reputation for an unpretentious style and an easy fit and feel. She is known for her original fabric that her husband, Mikhail Gherman now creates for her. Her first runway collection was in 1998. By this time she had three stores in New Zealand and she began selling her designs in Barneys New York.

Her stunning new Spring/Summer 2010 eyewear lookbook dubbed “Sun God”, breaths new life into spectacles. The collection boasts varied frames, colors, fabrics and shapes.

This 35 piece collection remains true to the Karen Walker ethos continuing its original, effortless and unpretentious style. The range includes new interpretations of the metal silhouettes that were introduced last season with styles like The Prisoner, Escape and Agent- all featuring glass lenses to provide maximum clarity.

From the intricate arrow detail to powerful colour choices and striking shape selection, the handmade acetate frames such as The Village, Rover and Number Six are synonymous features to Karen Walker Eyewear.

The ‘Sun Gods’ 2010 campaign was photographed by NY based photographer Derek Kettela. Derek captured the power, glory, vitality and the positive energy of the Sun to create the illuminated golden imagery.

Model: Rover | Color: Fluorescent Orange



Model: Number Two | Color: Mottled Blue



Model: The Butler | Color: Tan



Model: The Village | Color: Crystal Grey


karenwalkereyewear.com

Getting Adjusted

April 28th, 2010

It is the age of state-of-the-art technology: free-form lens designs, ultra-thin materials, high-quality anti-reflective coatings and light weight frames, to name but a few. Opticians are in a position to make patients the finest pair of glasses they have ever had by using all the resources at their disposal.

However, without precisely fitting and adjusting the finished product to the patient, with the very same attention to detail given to the choice of material, design and treatment, it may compromise both you and your patient’s expectations. In fact, without quality dispensing techniques, the eyewear may as well be a pair of 62-eye aviators, photogray glass, executive trifocals. No offence to those out there who like these. The point is fashionable, high-quality eyewear deserves professional, high-quality dispensing. New products and sophisticated technology purchases today require precision and comfort to go along with great vision and looks.

The patient’s long-term satisfaction with their new eyewear depends on how comfortable the eyewear is and how well the optician has done their job in the fitting and adjustment process. The following information is intended to provide an overview of the fitting and adjustment process and its importance in the services performed by the optician.

It Starts at Frame Selection

Eyewear adjustments should begin at the time of frame selection. It is important to pre-fit the frame to the patient prior to measuring segment and optical center (O.C.) heights. Attention should especially be made to the degree of pantoscopic tilt and the way the nose pads, if present, sit on the bridge of the nose. These details can dramatically affect the measurements taken.

First, inspect the touch of the nose pads, or the way the bridge of the frame rests on the nose: look for good alignment of adjustable nose pads, or good touch of a zyl saddle or keyhole bridge. For adjustable pads, each pad should be flat on the side of the nose without their edges bunching up the skin. The bridge of a zyl frame should touch a large portion of the side of the nose for good support and comfort. Be sure that the edges or corners of the bridge won’t leave red marks or indentations on the nose. This is especially important on the crest of the nose.

Once the frame is in good alignment, take any measurements that are required, place the order with the lab and wait for the lenses, or completed glasses, to be returned.

Standard Alignment

Figure 3A

Once the lenses have been fabricated and mounted, the frame should be put in “Standard Alignment” (also called four-point touch) as part of the verification process. Standard alignment refers to the process of preparing the frame for the patient by making sure it is not distorted from its natural shape.

Figure 3B

Check the frame for horizontal and vertical alignment; temples should be at 90 degrees to the frame front when extending backwards (Figure 3A) and the frame front should not be propellered, or skewed in one direction or the other, when viewed from above and sideways sometimes referred to as “Xing” (Figure 3B). It should also have a small amount of faceform.

Figure 3C

The “Table Top Test” is a good way to check for standard alignment: Sit the inverted frame on a table top with the temples open and there should be no wobble. (Figure 3C)

Delivery

Dispensing is the optician’s opportunity to shine. The patient gets to see the eyewear that has been carefully designed for them. Do not take the plastic lab tray out to the patient when dispensing new eyewear—this just kills the presentation.

Let the patient know how special their glasses are by presenting them like a piece of fine jewelry. Make it known that their purchase has been handled with the utmost care—for example, any cloths used to clean the lenses should be clean, not stained and dirty. It is recommended the optician place the glasses on the patient for the first time in case substantial additional adjustment is needed, in which case the eyewear can be removed immediately to avoid a negative first impression for the patient.

adjusted4Adding the correct amount of pantoscopic tilt brings the optic axis of the lens in line with the center of rotation of the eye—improving visual comfort for the patient. With zero pantoscopic tilt, the lens optical center and optical axis will pass through the center of rotation of the eye only if the pupil is at the same height. However, the pupil is rarely vertically centered within the lens—it is generally positioned approximately 5mm above the datum line, or frame midline.

If zero pantoscopic tilt is applied to the frame, the wearer may experience some visual discomfort from lens aberrations induced by changes in sphere and cylinder powers due to the misalignment. In addition, glasses look better with some degree of tilt, on average 7 to 10 degrees.

adjusted5It is important to note that for every 2 degrees of pantoscopic tilt added to the frame front, the O.C. of the lens should be lowered 1mm. As mentioned above, most eyes sit about 5mm above the frame mid- line, so it is important that the amount of pantoscopic tilt needed, usually 5 to 15 degrees, is applied to the frame prior to measurements being taken. The O.C. height ordered must factor in the degree of tilt applied to the frame—if no O.C. height is specified, most labs will place it at, or just above, datum, assuming approximately 7 to 10 degrees of tilt. If the frame is not pre-fit, the relative (Figure 1: Pantoscopic Tilt) placement of the segment, or O.C., will be misaligned with the line of sight of the eye in the finished lens. (Figure 2)

To place the glasses on the patient, carefully slide the eyewear on, gently spreading the temples if necessary, guiding the temples over the ears and down behind the ears.

If the patient prefers to wear the glasses at a specific place on their nose (vertex distance), this should have been considered during the initial selection and measurement process. Changing the vertex distance can change the effective power if dealing with high powers, and also affects the segment and O.C. heights. Increasing the vertex distance will make a “plus” lens effectively more plus and a “minus” lens effectively less minus. Conversely, decreasing the vertex distance will make a “plus” lens less plus and a “minus” lens more minus. When dealing with high powers, above +6D the optician must factor in any significant variations from the refracting vertex distance to the worn vertex distance when ordering lenses.

Figure 4

If vertex compensation is not applied to the written Rx, the patient will be unhappy with the quality of vision using their new eyewear. With regards to the effect of varying the vertex distance on segment and O.C. height—decreasing the vertex distance generally results in sliding the frame higher up on the nose effectively raising the relative heights. On the other hand, increasing the vertex distance will effectively lower the relative heights, generally moving the frame lower down the nose. This will become increasingly more important as free-form lenses become more widely used—many requiring vertex distance measurements to be provided when the lenses are ordered. A distometer (Figure 4) can be used to quickly and easily measure the vertex distance of the glasses in the “as worn” position.

Figure 5

Although the frame was prefit to the patient, the process of glazing and insertion of the lenses can frequently cause some mis-alignment and create the need for fine-tuning. If present, the nose pad position should be fine tuned so the frontal/spread angle, the splay angle and the vertical angle are all correct for the patient. Slim pad arm adjusting pliers (Figure 5) work well for this. The frontal/spread angle is how far apart the pads are. The splay angle is their angle to the nose, which should complement the angle of the nose at the point at which the nose pad is sitting. The vertical angle is controlled by the size of the loop of the pad arm—the standard position requires the bottom edges of the pads be closer to the eye wires than the top edges of the pads. The objective is to make all three angles sit flush with the skin to achieve superior comfort.

Figure 6

Generally, the angles should be such that the pads are angled slightly toward the face to follow the natural contour of the side of the nose (Figure 6). A good test is to raise and lower the frame and closely observe the nose pads from the front as they touch down on the nose.

Figure 7

The top and bottom tip of the pads should touch down at the same time. If one tip or the other touches first, that part is going to apply too much pressure on the nose and possibly cause irritation. Also, looking at the nose pads from a “head on” position, the cushion side of the pad should not be visible. In addition, to maintain the correct vertical angle, the loop of the pad arm should be small in order to keep the vertex distance to a minimum (Figure 7).

Figure 8

When fitting patients with very flat bridges, such as those of Asian ethnicity, frames with nose pads are usually the best option. However, fitting nose pads to these patients can be very challenging and takes some practice. The splay angle has to be changed so the pads are sitting almost parallel to the face. Also, the loop of the pad arm may need to be made larger than standard to keep the frame off the patient’s lower cheeks by changing the vertical angle (Figure 8). Bent Snipe pliers are good tools for this purpose (Figure 8a).

Figure 8a

Once the nose pads are sitting well, check the alignment of the frame front. It should be level. If the patient’s face is asymmetric, this can be challenging. In order to achieve premium vision, the horizontal optical centers of the lenses should be level with the pupils. However, if the eyes are vertically uneven, the patient is not going to be happy with a crooked frame, regardless of how detailed an explanation of the effects of prism may be presented. In a situation like this, try to achieve a happy compromise. Remember, a patient is basing their first impression of how their new eyewear fits on several things including how level their eyebrows are relative to the top of the frame and how comfortable the frame feels.

There are two schools of thought when dispensing progressives—ink markings or no ink markings. If you are of the ink markers, make sure that the markings are still on the lenses; if not, re-mark the location of the fitting cross. If markings are on the lenses, advise the patient that initially these may obscure their vision and will be removed once alignment has been verified. Let the patient know the fitting marks are there to allow the fine adjustments necessary to customize the fit of their eyewear. Inform them that handling during glazing and insertion of the lenses can occasionally cause misalignment and the need to re-verify alignment.

The no ink marks folks believe if the lenses were measured correctly, there’s no need to check, only if troubleshooting is required. In fact, the lenses should be pristine to show off those great AR lenses the patient ordered. Also, suggesting the markings be left on to verify fitting could suggest to the patient that the optician lacks confidence in his or her abilities to measure accurately. It’s your choice.

If the frame front is tilted, always correct in the direction of the error.

Figure 9

Figure 10

If the right side of the frame front is lower than the left, increase the pantoscopic tilt of the right side (angle temple down), or decrease the pantoscopic tilt of the left (angle temple up) (Figure 9). Use a pair of wide jaw angling pliers for this task. It securely holds the temple and end piece together so as not to put excessive strain on the hinge. (Figure 10).


Here’s the scene: The lab has returned the patient’s new eyewear and you sit before the patient ready to dispense the glasses. The nose pads are sitting well on the bridge and the frame front has been made level.

Figure 11

Pantoscopic Tilt — Check the amount of pantoscopic tilt applied—as mentioned earlier, it should be between 5 and 15 degrees. Have the patient turn their head so the angle of tilt can be evaluated from the side. For most lenses, the need to precisely measure the pantoscopic angle rarely presents itself. However, for new personalized lenses, there are PD rulers and gauges that display protractor markings or have a needle device that points to a particular angle. The new personalized freeform lenses do require vertex, tilt and faceform measurements so get ready.

Become familiar with the visual appearance of angles between 5 and 15 degrees (Figure 11). This allows the optician to estimate the angle required when the patient is wearing the frame.

This is especially important with a bifocal or progressive, making sure the segment is in the correct position when looking down to read. If there is an insufficient amount of pantoscopic tilt, the patient can be looking under the frame or, at least, the field-of-view for near work will be narrowed due to the increased vertex distance between the eye and the segment. This is also referred to as the “keyhole effect.”

As the eye rotates along the vertical axis, to look up or down to read, the tilt of the frame maintains equal distances between the lens and eye maximizing fields-of-view, ensuring the optical axis of the lens passes through the center of rotation of the eye to maximize visual comfort.

Figure 12

When changing pantoscopic tilt, use the wide-jaw angling pliers to change the angle of the temples while bracing the frame front with a separate pair of pliers. Carefully apply force in the direction needed. This is especially important when handling three-piece rimless mountings. Protect the lens from the force necessary to change the tilt (Figure 12) with bracing pliers such as the “three-piece adjusting pliers.”

Figure 13

 

Vertex Distance— Lenses should appear equidistant to each eye. With the patient seated and tilting their chin down, observe the frame front from above by standing and looking down. If one lens appears closer to the eye than the other, the fitting error may be due to the temples being at unequal angles to the frame front from the endpiece, when extending backwards. On the other hand, the patient’s eyes may simply be more inset on one side than the other. (Figure 13)

Figure 14

Whichever lens is closer to the eye, the same side temple needs to be brought closer to the head. Reduce the horizontal angle between the frame front and the temple using a pair of flat/round metal pliers at the end piece. (Figure 14)

Conversely, increasing the horizontal angle between the frame front and the temple of the opposite side is also an option, effectively moving the temple away from the head. The same way pantoscopic tilt affects the vertical placement of the lens optical center, face form—positive or negative—will also affect the horizontal placement of the lens optical center.

Figure 15

However, it is NOT recommended to compensate for face form by ordering an incorrect PD. It will create lateral prism. On occasion, patients’ glasses will get out of adjustment due to wear and tear, and the patient resorts to bending them—adding face form. The patient then adapts to looking through their lenses this way and when receiving new glasses, may complain about the difference in the PD and its effects on vision. Some adjustment and period of adaptation may be necessary to make the patient comfortable while the optician works with the patient to get back to the way their eyewear should fit. Applying positive face form so the frame follows the natural curve of the face is a good rule of thumb, thus minimizing visual problems for the patient as their eyes move laterally. (Figure 15)

The Fitting Triangle

The frame should touch at only three points, which form “the fitting triangle”— the nose, and the top of each ear. If the frame is touching the head at other places, the frame selected may be too small for the patient.

Figure 16

Temples leave “railroad tracks” (impressions of the temples) along the sides of the head toward the ears; this will actually force the frame to slide forward. Try spreading the temples out horizontally away from the frame front at the end piece; again for metal frames use a flat/round metal plier. With zyl frames, heat up the frame at the end piece and apply pressure using the hands to increase the horizontal angle between the temple and frame front equally on both sides. Then using eye-wire shaping pliers (or well-trained fingers) with the concave side facing toward the inside (Figure 16), apply a gentle curve to the temples so they are not in contact with the head. With zyl temples, heating may be necessary to permit this manipulation. Try for touch only at the top of the ear.

Figure 17

Behind the Ears

When adjusting behind the ears, the temple should curve just above the ears and follow the line of the back of the ear. Temple bending pliers can be used or welltrained fingers. (Figure 17) It should be at an angle of approximately 45 degrees from the temple bend at the crest of the ear and it should not put excessive pressure on the back or top of the ear. (Figure 18)

If the bend begins too soon before the crest of the ear, it will rub and irritate the top of the ear. It will also cause the temples to rise up from the ears adding tilt to the frame front. If the bend begins after the top of the ear, the temple will either not conform to the curve of the ear or it will need to be bent at a greater angle than 45 degrees and the tip will rub and irritate the back of the ear. The glasses will also slide down the nose.

Figure 18

When adjusting temples, be careful to be aware of the mastoid process. This is a bone that protrudes from the skull, behind the ear; in some patients it is more prominent than others. If the temple tip rubs against the mastoid process, it can cause serious discomfort so should be avoided. Regardless of the optician’s skill level, a visual inspection of the temples behind the ears should always be done to ensure optimum comfort for the patient.

Prior to checking behind the ears for fit, always ask the patient for permission. Some patients are uncomfortable with an invasion of their personal space. If the patient is a minor, always check with the parent. When checking behind the ears, look for white pressure points where the temple tip is touching the head and ear. If present, adjust the temple tip away from the pressure points until resolved. The temple bend should also follow the line of the side of the head. In order to do this the tip will need some angling in toward the head.

Be sure the bend point of the temple is NOT the only part of the temple touching the head behind the ear leaving a space at the bottom between the head and temple tip. Conversely, the temple should not just be touching the head with the lower tip of the temple creating a space between the head and the temple at the top of the ear. In the first instance, if the temple is in contact with the head only at the bend at the top of the ear, adjust the temple tip so that it angles in toward the head just enough to gently touch. In the second, if there is a space between the temple and head at the bend, the tip is angled in toward the head an excessive amount; adjust the temple tip away from the head so it is bending in less.

Occasionally, in this case, the temple itself may need angling “in” a little at the end piece. A flat/round metal plier can be used with a metal frame to reduce the horizontal angle between the temple and frame front, in order to provide a snug fit. Heat and pressure using the thumbs, or a tabletop, at the end piece may need to be used with a zyl frame to obtain the same result. The more touch, the more friction and the better the temples will do the job i.e., hold the glasses in place.

Temple Length

Although temple length should be evaluated as a part of the initial frame selection, sometimes a frame may be selected that does not offer the option of an alternate temple length. Although patients may not express a concern if a temple is a little short, extending the temple bend backwards toward the end may provide an acceptable fit. Be sure that there is enough touch to provide good frame stability. If the temple is too long, however, most patients will be unhappy with an inch or more of the temple sticking out below their ear. Once again, don’t settle for second best—take care of every detail.

Figure 19

If the standard temple is metal with slipon covers as temple tips, it can often be easily modified to accommodate the need for longer or shorter, temples. In the case where the standard temple is too short, straighten the temple out and simply slide the tip cover off about 5mm and then readjust the bend. If the standard temple is too long, straighten the temple out and completely remove the tip cover. Using a pair of cutting pliers (Figure 19), shorten the metal temple core by 5mm to 10mm, slip the tip cover back on and reapply the bend. Some metal temples have a different shape or form beyond the tip cover so it may also be necessary to modify the tip cover by shortening it by the same amount as the temple. Using a file or fine emery paper, smooth the rough tip of the core and the left over rough edges of the tip cover before sliding on the temple cover.

Often polishing the cover opening helps reduce any roughness that might irritate the ear and get caught in the patient’s hair. Re-adjust the bend and repeat as needed until the required length is determined. Initially, this may take some time to perfect, but with practice you will become skilled in determining the shortening required.

Unfortunately, this is more complex with zyl temples and often not possible since zyl has a metal core that may protrude from the end once cut. While modifications can occasionally be done, it is often best to discourage zyl frames with inappropriate temple lengths. Most metal temples can also be modified to accommodate cable temple tips, if beneficial for the patient, by using a similar procedure as described above. Specific directions on temple modifications can be found in “System for Ophthalmic Dispensing” 3rd Edition by C.W. Brooks, an excellent reference for opticians of all levels.

How Important are Adjustments

In order to determine what patients expect the most from opticians, 100 patients were randomly surveyed over a two-month period in a private, three-doctor optometric office.

On a scale of 1 to 5, (1 = “Not at all,” 5 =“The most important”) patients were asked

How important is it to you that your optician is:

  • Knowledgeable
  • Friendly
  • Able to fit your glasses well
  • Able to select a good choice of frame

The results of the survey were:

  • 93 percent of the patients consider being able to fit glasses well as their most important need from their optician.
  • 73 percent of the patients indicated their greatest frustration with previous eyewear was that the eyewear was poorly fit and uncomfortable.

This strongly suggests that opticians need to be skilled in the art of eyewear adjusting and fitting, and patient comfort is the key to happier patients.

Conclusion

The optician’s major role, although highly technical, is to use their skills and expertise to ensure patient comfort and satisfaction with their eyewear. Taking the extra steps at the time of dispensing will result in less time spent re-adjusting glasses because the patient has to return due to a poor initial fitting. It also ensures less inconvenience for a patient having to return to have done what should have been done in the first place.

Most importantly, having the patient leave the office totally satisfied with ALL of the services they received—having the utmost confidence in the entire staff and their abilities, and excited to tell others about their wonderful experience and show off their new eyewear that they will enjoy wearing for many years to come.

by Andrew Bruce, ABOM
2020mag.com

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A Patient-Friendly Approach To Recommending PALS

April 27th, 2010

Even though progressive addition lenses (PALs) have been on the market for nearly 50 years, they still represent only about 55% of all multifocal lenses sold. So just how do you move patients into these lenses and move them into the more profitable progressives?

Kevin Harrison, ABOC, an optician and owner of Heritage Vision Center in Hattiesburg, MS, seems to have found an answer.

Five-Tier System

Harrison developed an interesting and helpful tier system that guides customers through the PAL recommendation and selling process.

“Basically all of our PALs fall within five categories: Basic, Good, Better, Best, and Premium,” he said. “I have created a grid for each lens material we use, and on each of these grids, I have the lenses we recommend assigned to each category with prices for each lens.”

There are also four options for each lens in the grid: Transitions with an anti-reflective (AR) treatment, Transitions without AR, AR only, and clear (with no AR or Transitions).

How It Works

If eyecare professionals were to inform customers about every PAL available, they would spend all day with one customer. Since Harrison has divided his PALs into five categories, he doesn’t get too terribly brand specific. Instead, he talks about lens features and options and goes to the grid. Answers that customers give to lifestyle questions help eliminate certain options.

“For example, it they indicate they need lenses that adjust to changing lighting conditions, it means they need Transitions, so I’ll eliminate the clear choices,” said Harrison.

The “Basic to Premium” system helps narrow down the choices and the grid reminds the staff to mention all of the options to every customer. It also allows customers to see the minor differences between choices, which helps get them into the better lenses.

Mid-Line Pricing

Since Heritage carries so many PALs and options for each lens, Harrison found it necessary to mid-line prices so the customer does not get confused. In other words, he took the average of each of the lenses in that category (premium for example) and arrived at a single price.

“In some cases, we make more and in other cases we make less,” he said. “If we were to price the lenses based on a $10 or $20 variance, we would have a difficult time explaining why one lens is a little more than the other when they both spout the same technology.”

Purchasing Decisions

Heritage Vision Center bases its lens purchases on what has worked well in the past for customers. Past history with a lens design goes a long way in determining what is recommended. The office then looks at its cost for that product based on the category it has placed that lens in.

Seeing Success

Harrison knows this system works well when he sees patients with the grid making decisions and choices based on the information he gave them and the price choices in front of them.

“We sell more PALs than other multifocal choices. And a good percentage of the lenses we sell are the newer free-form lenses.”

The five-tier Basic to Premium System works well for Heritage Vision Center—perhaps it can prove successful for you too.

by Diane F. Drake, LDO, ABOM, FCLSA
totallyoptical.com

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Hierro Y Albero Combines Values, Culture and the Colors of the Spanish Geography

April 27th, 2010

Villa Eyewear introduces Hierro Y Albero a brand that arises as a new concept and fashionable style, which offers a clear line of exclusivity and design.

Hierro Y Albero combines values, culture and the colors of the Spanish geography to create and develop its garments and accessories; which results in a unique image and different styling.

Through a logo that symbolizes the iron cattle raiser on the white colors and the “bullfight sand”, we summarize the marked Spanish accent that dominates its inspiration, full of the force that represents the equine tradition and cattle raiser like culture. All the garments and accessories of the collection are elaborately crafted with high quality weaving and materials, obtaining articles with careful designs and marked with exclusivity.

Villa Eyewear presents Hierro Y Albero collection of ideal eyewear and sunglasses for both male and female who like to dress elegantly, with a fresh image. The Spanish culture and tradition is translated in colorful and stylish plastic and metal eyewear.

Model: HA500


Model: HA512


villaeyewear.com

New From Theo: Butterflies Series Sunglasses Collection by Tim Van Steenbergen

April 26th, 2010

Revealing new worlds and other cultures has fascinated people for centuries. Christopher Columbus, Ferdinand Magellan, David Livingstone and Henry Morton Stanley all gained eternal fame after discovering an unknown part of the world, country, region or race. Their adventures have inspired many writers and film-makers to create genuine masterpieces. One of the best known is probably the wonderful story of Indiana Jones. This romantic image of an adventurer from the 19th to 20th century forms the foundation for the collection. Think of rugged landscapes, long boat trips, microscopes, boxes of archives, tents, tropical helmets, butterfly boxes, African masks, stuffed animals, etc. and you enter the world on which the story of the Butterfly series is modelled.

The Butterflies series is made up of 6 acetate pairs of glasses which were each given the Latin name of a butterfly. In this collection the butterfly symbolises the discovery of new worlds, in all their forms.

The colours and materials from his 2010 summer collection reappear in the eyewear collection. He has created modern shapes with an authentic look through the use of materials such as wood, horn, tortoise-shell, (semi) precious stones, minerals and mother-of-pearl. Although these spectacles are 100% acetate, they still perfectly reproduce a natural feeling.

PYRGUS MALVAE (Grizzled Skipper)
A feminine butterfly model with a pronounced low sidepiece.



MELLICTA ATHALIA (Heath Fritillary)
A sturdy, rectangular masculine model with a double nose bridge. This pair of glasses is inspired by the dust glasses that archaeologists wore in the desert to protect themselves against the wind and sand. The front section of the sidepiece is wide with ajour work.



LIMENITIS REDUCTA (Southern White Admiral)
A classic 1950s model with a keyhole nose.



PAPILIO HOSPITON (Corsican Swallowtail)
A large but elegant pilot model with ajours (incised decorative openings) in the top left and right corner.



HESPERIA COMMA (Silver-spotted Skipper)
The model which reminds you most of explorers and archaeologists thanks to its large round shape. The pair of glasses has a keyhole nose and double nose bridge with ajour work in the sidepiece.



COLIAS AUSTRALIS (Berger’s Clouded Yellow)
A feminine model that radiates timeless elegance, just like Tim Van Steenbergen’s clothing collection.


Each model is available in 8 colour variations. Emerald green, marine blue, horn brown, mother-of-pearl and old pink are just some colours. Certain colours are also combined in the models Limenitis Reducta, Colias Australis and Pyrgus Malvae. This ensures a number of surprising combinations such as old pink with mother-of-pearl, a grey tortoise-shell frame in combination with emerald green or electric blue with denim blue.

theo.be

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