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Published for the Association of CorelDRAW Professionals (ACDRP) / www.coreldrawpro.com

CorelDRAWProthe entrepreneurial

magazine forCorelDRAW

users worldwide

September 2008

Cover Art by

Scott Phillips p. 7

Facts About Draw Fusion

CorelDRAW

IQ Quiz

Using a

Vector

Service

Laser MaskMaterial

Setting up

an Art

Department

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September 2008 2

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September 2008 3


ProCorelDRAW

September 2008

Conde Systems Web Ad

Corel Corp. Web Ad

Custom Graphic Technology Web Ad

Epilog Laser Corp. Web Ad

Geo. Knight & Co. Web Ad

JBL Graphics Web Ad

John E. Lepper Inc. Web AdJohnson Plastics Web Ad

Laser Reproductions Web Ad

LaserBits Inc. Web Ad

LaserSketch Web Ad

N&R International Web Ad

Paramount Services Inc. Web Ad

ProLink Graphics Svc Web Ad

Stahls ID Direct Web Ad

The Magic Touch USA-1 Web Ad

The Magic Touch USA-2 Web AdUniversal Laser Systems Web Ad

ADVERTISER INDEX

DEPARTMENTS

Click Web to go to advertisers website.Click Ad to go to the ad in this issue.Clicking the ad itself will go to website.

TRAINING: How to Use APPLICATIONS:How to Apply OPPORTUNITIES:How to Profit

5 Graphics News Wire

7 About the Cover

8 Inside ACDRP:

Transformers

33 Product Focus:

Holiday Ornaments

35 GNN Network

35 Marketplace36 Contributing Writers

CorelDRAWProCONTENTS

9 Using CorelDRAW:CorelDRAW Basic IQ Testby Dave Demoret

11CorelDRAW Applied:Using Print Merge - Part 1

by John McDaniel

14Inside Color: Not a HappyEnding ... But Future Businessfor Me !by David Milisock

16 Inside Screen Printing:Choosing A Vector Serviceby Jeff McDaniel

18InsideSandblasting:

Laser MaskMaterial - Part 1by Judy McDaniel

20Inside Engraving:Drive Unit 3by John McDaniel

23Getting Ahead:Setting Up an Art Dept.by Deborah Sexton

26GuestColumn:

The FactsAbout DrawFusionby Scott Phillips

31Marketing SecretsLets Get Our Heads

Out of the Sandby Donna Gray

37Traveling Tidbits:Great Service, HandEngraving, and a Prayerby Otis Veteto

Columnist Bill Leek out ofcontact in Houston, see

story p. 29

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ProCorelDRAW

CorelDRAWProGRAPHICS NEWS WIRE

September 2008

Product News Headlines:

Calendar(Web Link)Check out the upcoming training

classes and trade shows ofinterest to CorelDRAW users.

PSI adds more mug options forsublimation

EuroTrophex to open Oct. 11-13

in Netherlands

Hirsch offers Mimaki DTG printer

Hirsch offers Free Webinars in

Oct. and in Dec.

Unisub adds two-sidedaluminum products

Roland adds new RolandRestyling Solution to media line

Embroidery Training Videosoffers Universal Machine RepairDVD

Sawgrass releases SubliM forwide-format sublimation

Great Dane Graphics offers newHow-to T-Shirt Art Book

Pantograms / Toyota hosts freedecorating business workshop

SWF launches educationalsearchable database online

Sanmar releases 2008 HolidayGift Guide

Roland introduces VersaArtSeries of wide-format inkjetprinters

Transfer Express offers EasyPrints election transfers

Corel and Wilcom launchEmbroideryStudio e1.5 andDecoStudio e1.5

SOS From Texas offer organiccotton sweat pants

Sawgrass expands Charlestonoperations

Roland introduces worlds firstUV Inkjet Printer / Cutter

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NEWS

DETAILS(Click Here)
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Click ads to go directlyto advertisers web site.ProCorelDRAW

About the Cover

Scott Phillips

This eagle and American flag design, which was originally created from scratchin CorelDRAW, was a commemorative design for the fire and police departmentsinvolved in the 9-11 disaster. Once the original artwork was converted into stitchesusing Draw Fusion, I put a lot of my own artistic ability into the digitized version,says Scott Phillips, owner, JS Digitizing, Williamsport, Pa. I used different types ofstitches including satin, fills, manual stitching, and layering for the feathers on theeagle. Blending tools also were used to create the blending and highlighting of theflag areas. I created a lot of layering on the eagles head manually.

The designer, Scott Phillips, has been involved in embroideryand digitizing for 18 years, and his family has been in the

industry since 1976.

Scott PhillipsJS DigitizingWilliamsport, [email protected]

mailto:[email protected]://www.jsdigitizing.com/http://%20www.coreldrawpro.com/AllBookstore.htmhttp://www.jsdigitizing.com/mailto:[email protected]

8/10/2019 Corel 08 Sept



Inside ACDRP

By Mike Neer,

Executive Director

Published by Association of

CorelDRAW Professionals

President:John H. McDanielVice President:Judith McDaniel

Executive Director:Michael R. NeerAssoc. Exec. Director:Steven V. Neer

ACDRP Corporate Office:Albany, OR

OFFICES

Membership & Publishing offices located at:4549 N. Glenn, Suite 110,

Fresno, CA 93704;800-276-8428, 559-276-8494 Fax559-222-1390

www.CorelDRAWPro.com

[email protected]

Subscriptions:Free to qualified individuals andbusinesses. Send change of address to the above.

ACDRP Membership: $60/yr., See the websitefor details. Includes exclusive content and more.

Advertising:Request a Media Guide or downloadit from www.CorelDRAWPro.com.

Writers:CorelDRAWPro accepts articles fromindustry experts. Email publisher for details.

Copyright 2008 by ACDRP.All Rights Reserved.

EDITOR / PUBLISHER Michael R. Neer

[email protected]

GRAPHICSJohn Mise

ADVERTISING John McDaniel II

[email protected]

APRIL 2008

ProCorelDRAWSEPTEMBER 2008

Transformers

Recently, I was studying some of the new discoveries inquantum physics (not your average bedtime reading, I know),and I was struck by one phrase used to describe the infinitecreativity of the Unified Field. It was said that, at that level,one could transform anything into anything.

Since the quote was dealing with creativity, it got me thinkingabout what CorelDRAW users do every day. It occurred to methat, in many ways, you are master transformers!

Now I know the Transform Effect in CorelDRAW allows you

to De-Interlace, Invert, or Posterize an image. But Im talkingabout more than just one set of tools in the program.

The dictionary defines transform as to change markedlythe form, character, or appearance of. Isnt that what you dowhen you design a new graphic? And even more so when youapply it to a product? You change the form or appearance ofthe image or product you are working on.

The reason this is important is that I believe the skill and abilityto transform graphics is easily transferred into entrepreneurialand social activities. It seems that if we fully grasp the

transforming ability that we have, we can also transform ourbusinesses and our society.

Stay with me for a minute! Lets take a lookat the creative moment when you designan image. You have an intention to designsomething for a particular project. Theremay be certain parameters to the job. So youthen put your attention or focus on how lines,shapes, colors, etc. can meet the needs ofthe job. As you focus your attention, you arefiltering out what wont work, and funnelingdown closer to what will. At some point, youlet go of your focus, and all of a sudden,

an image pops up that might work. (Quantum physics saysthat image pops up from the Unified Field, the source of allcreativity.)If it doesnt quite work, you focus again, and let go,and another image comes up. You keep doing this till you getsomething that works, perhaps drawing possible shapes asyou go to hold your focus.

Okay, thats a description of the mechanics of how I think mostpeople create. Now what if we apply this same procedure tohow our businesses are run, or how our local communitiesare run? In other words, can we apply the same transforming,

creative process to something more than graphics?

What if, instead of worrying about the economy, we were ableto focus on what our business needs, filtering down, until welet go and see what solution pops up? And what if we did thatto every area of our business? Couldnt we transform ourbusinesses into something more profitable, more effective,and so on?

This is why CorelDRAWProfocuses on education for bothgraphics skills and entrepreneurial skills. Its the same creativeprocess thats involved in both just in slightly different

arenas. I believe with the right intention and attention, we cantransform one graphic into another, one levelof business success into another, and oneworry-filled economy back into an excitinggrowing one.

This is why I believe CorelDRAW users areperfectly positioned to weather any economicslowdown. You have the creat ivity totransform!

Im ready to take it to the next level. Howabout you?


8/10/2019 Corel 08 Sept



Using CorelDRAWTraining

By Dave Demoret, Contributing writer

CorelDRAW Basic IQ Test

In the graphics industry we sell products, right? Notexactly. Everyone handles the same, identical, products.Then why do some sell faster than others? Why is theguy down the street able to sell his product for $10 to $20more than you?

Because in this industry, WE SELL GRAPHICS. We arecustom decorators of products. If we do a great designwe sell a lot of product. Even a catchy phrase will sellproduct for us, but adding a curve or a cute little emblemto the phrase will also attract attention and boost sales.This really means that if you dont know enough aboutgraphics in this industry, youre shooting yourself in thefoot. That makes it harder to walk.

I knew a gentleman that told me he loves seminars andthat he learned all he knows from attending seminars. Hehad been going to them for 30 years. 30 YEARS !

Is that how long you want to take to learn yourgraphics?

Seminars are great, if you just want to see what someoneelse can do with the product you own. Seminars are great,if you just want to pick up a tip or two. Seminars are great,if you just want to learn something about how a tip or trickcan help you out. Seminars are great, if you like crowds,dim lighting, PowerPoint presentations, and questionsand answers you cant quite seem to hear. Seminars aregreat, if you dont mind forgetting 75% of what you heard(or could hear) before you get home.

Many businesses, whether youre a Mom & Pop shopor larger, can lose more money in one week struggling

with graphics than it costs to take a Workshop or buy

Training CDs. Most companies will lose this amount within 30 to 90 days. If youstop to think about this, every quarter of the year you could lose an average of $500.Thats $2,000.00 a year as a minimum.

Here is an example of what Im talking about:

There were two gentlemen that called me one day about a problem they were havingwith a design. I told them how to get their solution within a 5-minute time frame andthey were elated.

Then we discussed what had finally prompted them to call me. In general, this iswhat they told me: We started with this design and both of us worked on this for twodays and couldnt figure out how to do it. We finally decided to call you to see if youcould help us out.

Two people, two days! How much money do you suppose they lost here? Includingthe loss of time on other money-making projects that they put off to do this?

Take a look at the hearts with this article and see what level you might be.

Then take this short quiz to see if you might not benefit from getting some training.Whether you are just beginning with CorelDRAW or have several years experience,

you may find that you could be spending less time on computer and more time inproduction. Take this simple test to see where you stand in getting the job done quicklyand making more profit.

1. Can you take the rectangle shape infigure 1and make it into the second designwithin 30 to 40 seconds? YES NO

2. Can you go from any tool you are working with to the Pick Tool within one, or two,key strokes? That is, without moving over to the pick tool with your mouse. YES NO3. Can you knock out an image from a photograph within a few minutes?

YES NO

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Using CorelDRAWTraining

4. Can you create a silhouette from animage in a photograph? YES NO

5. Can you find a specific CMYK or RGBcolor from a photograph? YES NO

6. Can you create the frame in figure 2within 60 seconds or less? YES NO

7. Can you fit text to a path and know howto eliminate the path and still edit the text

at a later date? YES NO

8. Can you select and edit an object withina grouped object (or design) without un-grouping the design? YES NO

9. Can you create a design like the one infigure 3within 15 to 20 minutes? YES NO

10. Can you scan an image and auto-traceit with fairly consistent good results? YES NO

If you answered NO to 5 or more of thesequestions you are probably losing bigmoney on a daily basis.

There ARE NO guarantees. You cant learnCorelDRAW in a few hours or a few days.

Also, if you take training or buy CDs anddont use them, youve wasted your timeand money.

With a little CorelDRAW Training you havethe possibility of cutting your design time asmuch as 30% to 50% within 30 to 90 days.

These numbers will depend on how much(or how quickly) you study and how muchyou use CorelDRAW.

For more information on CorelDRAWTraining or Training CDs, contact the authorat the location below.

Dave Demoret, founded Prolink GraphicServices to help people understand and

profit from learning CorelDRAW. He has

been in both the Flat Graphics Industryand the Decorating Graphics Industry overthe past 30 years. He has written severalarticles for Screen Graphics Magazine onColor Control & Matching in the past. Davehas used CorelDRAW since version 3 andbecame a CorelDRAW Training Partner in2006. During the past 5 years he has beenconducting workshops all over the U.S.and is the author of several Video CDs &Instructional CDs on CorelDRAW. Davecontinues to conduct workshops in the U.S.

& also worldwide online. He can be reachedat 765-DO COLOR (362-6567) or by emailat [email protected]

mailto:[email protected]:[email protected]://www.coreldrawpro.com/RE/prolinkgs.htm

8/10/2019 Corel 08 Sept



CORELDRAW APPLIEDBy Judy and John McDaniel Applications

Using Print Merge Part 1

Often we need to create multiples of products whereeach piece has some slight variation. Name badges, forexample, might all have the same basic layout, with the

just the name being different on each item. Certificatesand award plaques are other products that might alsohave this need. Some products require serial numbersor some other unique identification number on eachpiece.

The brute force method is to duplicate the layout changingeach layout for the

variation needed.This technique isfine if we only havea few pieces toproduce; howeverwhen faced with along list of names,serial numbers, orother var iables,there are moreefficient methodsavailable.

In the last article,we discussed howwe can use pagesand layers to meetthe requirement ofintroducing variabledata. This time wellstart exploring PrintMerge as anothermethod of dealingwith a list.

Picture 1shows a snapshot ofthe database we used for the

badge example.

Picture 2shows a snapshot ofthe certificate database.

BackgroundPrint Merge in CorelDRAW is a variation of the Mail Mergefunction most word processors have. Mail Merge allowsyou to send the same letter or other correspondence toa number of recipients and personalize each piece withthe recipients name and address. Some of the moresophisticated systems also allow you to incorporatethe recipients name in the body of the letter or otherdocument.

CorelDRAWs Print Merge allows you to use the same

methods to produce all types of products. It doesntmatter if your output is going to a printer, engravingmachine, or any other output device, Print Merge is anefficient method of introducing variable information intoyour layout.

Print Merge BasicsThere are two elements that are required for Print Mergeto function.

First you need a database, i.e. a list of the variableinformation that will be inserted into each item. The

database will be made up of individual records. Eachrecord will have fields or data elements that contain thevariable information needed for the products.

The database must contain at least one record; it cancontain hundreds or perhaps thousands of records.

The second element required is a basic graphic layoutfor the product you are producing. The layout will containall the constant text and graphics, along with insert areasidentified by field-name. These insert areas are wherethe variable information will be placed in each individualpiece. As an example if youre creating name badges,

the database will contain at least one data element orfield in each record; the name field.

The database might actually contain several data fields.For a name badge, we might have a first-name, last-name, perhaps an employee number, and title. For anaward certificate or plaque, we might have the recipients

name as one field and a description of the award theyare receiving as another.

Typically each database record will result in one endproduct. However, individual records can be turned onor off for output; more on this later.

The data thats merged into the graphic layout willassume the characteristics of the text field its mergedinto. This will become clear in the examples.

Database ExamplesPicture 1shows a snapshot of the database we

Picture 3shows a name badge layout setupfor print merge.

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CORELDRAW APPLIED

used for the badge example.Picture 2shows a snapshotof the certificate database.Each database contains tworecords.

Notice the checkmark nextto each record. This mark isa toggle field which selectsor de-selects the record foroutput. The checkmark, ifpresent, selects the individualrecord for output or merging.The default state for each

record is on, checked.

If you wish to bypass a record you can turn it off

by left-clicking on the check mark for the record.Left-clicking a record that is off will turn it on. Thisis a useful feature that allows you to run or rerunindividual records.

Database SourcesDatabases can be created from scratch; they canthen be saved and then later opened. Databasescan also be digital lists provided by customers thatcan be opened into the project. Well cover thesedetails next time.

Merge Layout ExamplesPicture 3shows a name badge layout setup forprint merge. Notice that the merge field is identifiedin the layout by the text .

Picture 4shows a certificate layout. Notice that there are two fields that will be mergedinto the layout.

Merging the Database with the LayoutOnce you have the database and layout completed and linked, then its time to mergethe database with the layout and produce individual records for output. This is donewith the Perform Print Merge command. Click on File/Print Merge/PerformPrint Merge, see picture 5.

Picture 4shows a certificate layout.

Picture 5Use the Perform

Print Merge command tomerge the database with thelayout and produce individual

records for output.

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CORELDRAW APPLIED

This command will mergethe database into the layoutand call the Print dialogscreen where you canselect and set up the outputdevice. By default it will

produce one page for eachrecord in the database.

Picture 6 shows the firstrecord of the name badgemerged into its layout.Picture 7shows the secondrecord of the certificate.

New Print Merge features in X4In older versions of CorelDRAW up to and including X3, when you perform a printmerge, the database is merged into the layout and sent to the output device afteryouve selected it and set its parameters.

The only opportunity you have to proof the result of the merge is by using Print Preview.Unfortunately, at that point there is very limited editing that can be done.

One example of the downside of this method is that if you are merging a long nameinto a name badge, and have selected a font size that is appropriate for smaller names,Print Merge will not resize the name to fit the available area, and therefore, the namemay actually be larger than will fit on the badge.

X4 has resolved this issue

by adding a new command,Merge to New Document.When you select this outputmethod a new document iscreated as an intermediatestep on the way to output.The intermediate documentwill have one page foreach active record in thedatabase.

This method allows youto make any adjustments

necessary prior to sending the file to your printer or other output device. You canchange point size, alignment, or anything else you need to. It also allows you to createa PDF file to send to your customer for final approval, if necessary.

Other enhancements were also made to Print Merge in X4 which make creating andopening customer supplied databases easier.

ConclusionNext time we will continue our exploration of Print Merge. We will create a database,and import one. We will also create a layout and place our merge fields into thelayout.

Judy and John McDaniel are owners of JHM Marketing and CorelDRAWhelp,Inc., in Albany, OR. They provide consulting and training services for the industry.Currently they are both Corel Training Partners. They offer private training at theirfacility in Albany and on location for corporate customers; as well as group trainingat CorelDRAWhelp tour events around the country. (For information on trainingservices offered and their application support service visitwww.CorelDRAWhelp.com.)(For information on the Association of CorelDRAW Professionals, please visit www.CorelDRAWPro.com.) They can be reached by phone at 541-967-4271, via SKYPE(user name JHMcDaniel), or via email at [email protected].

Picture 6shows the first record of the name badgemerged into its layout.

Picture 7shows the second record of the certificate.

Recommended Titles of the MonthTo order online, visit www.CorelDRAWPro.com

CorelDRAWPro Bookstore800-276-8428

www.coreldrawpro.com/AllBookstore.htm

Sandblast EssentialsCD course

by John & JudyMcDaniel

Its Who Knows YOU!Network Your Way to

Success!by Chien Wang

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8/10/2019 Corel 08 Sept



INSIDE COLORBy David Milisock Training

It hardly seems like it but nearly two years have passedsince I started writing the technical articles on color forthis publication. Im sure that few of you readers knowthat a great deal of my work is consultation on businessmatters concerning graphic technology. Since Iverecently run into similar situations at multiple companiesI thought it might be interesting to share the insights ofsome of the conversations.

CLIENT: My business coach recommended that I hire aproduction manager and a controller so I could improvemy efficiency.CGT (CUSTOM Graphic Technologies): Has yourbusiness coach ever run a graphics company or evena small business of 5 employees like yours?CLIENT: Well, I dont know, he came highly recommendedby our local Chamber of Commerce.CGT: Did he have a resume list ing the companies similarto yours that he has owned or managed in the past?CLIENT: No, he listed companies he has consulted

for.CGT: Any of them what you would consider successfulgraphics companies?CLIENT: No.CGT: Well then, while there are always similar businesssituations in all businesses, like insurance regulations,documentation, and leadership, no recommendationcan be valid unless they follow a complete survey of thebusiness done by a professional that has a completeunderstanding of the technologies required to produceyour products as well as extensive experience within thegraphics industry. In my opinion your business coachmay not have any valid qualifications for your industry.

Not a Happy Ending but Future Business for Me!

CLIENT: Would you consider helping us with ourproblem?CGT: What do you see as your problem?CLIENT: We sell $535,000 a year but NET only$36,000 a year including the companys owner yearlycompensation and we have 4 full-time employees.CGT: We will need to start with a complete work flow and

pricing survey, including all software, communicationprocesses, and management structure.CLIENT: We have scheduled the interviews for thecontroller and production manager. Would you help uswith them?CGT: Yes, I can schedule meetings and create aquestionnaire.

CLIENT: What did you think of the controllercandidates?CGT: They were all wonderful people, however none ofthem had any experience in your industry. According

to our survey of your business practices, the tasks thatthe proposed candidates will perform are already beinghandled by one of your staff. You simply need to allotmore time for detailed examination of the data and makedecisions on the results.CLIENT: What about the production managercandidates?CGT: Every candidate interviewed came from anothercompany in the area that has undergone some seriouscutbacks, consolidations, or actual closings. My firstthought is that everyone interviewed is currently orhas been part of an unsuccessful management team,possibly causing the failure of the companies that they

were now seeking to abandon. We need to rememberthat bad leadership habits are learned over longperiods of time and all these candidates may need tobe retrained.

The results of the questionnaire filled out by thecandidates were less than impressive. None of thecandidates had any real working understanding of

graphic applications, color management, Postscripttechnology, bindery technology, large format printing,or any of the manufacturing processes used by yourcompany. The results of my interviews suggestedno real understanding of basic team leadership.Basically, they were all data processors that relied onthe knowledge of others and none of them could addany real technological or leadership assets to yourcompany.

CGT OBSERVATIONS:After my survey I observed that you have ONE KEY

sales person who happens to be the owner and ONEKEY production person. Both literally work many hours.The most serious issue is that these individuals have notime to actually manage the company because they sell,produce, deliver, and install most of the work. Also theskill sets identified by your original business coach asneeded by the company not only already exist within thecompany but exist within uniquely qualified individuals.These individuals simply lack the time to assign morehours to management and less to manufacturing.

Another serious observation was that the competitivepricing structure was about 11% low whencompared to your regional competition.


INSIDE COLOR

8/10/2019 Corel 08 Sept



INSIDE COLOR

By David Milisock

Managing color is a big mystery for manygraphic designers and printers. But author DavidMilisock says it doesnt have to be. In this newbook Milisock aims to take the guesswork out ofcolor management in the CorelDRAW GraphicsSuite. His goal is not so much to give you a tutorialon color, but rather to provide a clear guidebookfor making the best decisions to achieve the mostaccurate color for your purposes.

Designed for the color professional andthe file creator in small and home offices, thisbook provides a detailed explanation of how the

CorelDRAW Graphics Suite color managementinterface reacts with the graphics environment

today. Author David Milisock is a trainer and consultant on color management,who also writes the Inside Color column for CorelDRAWPro.

In this book, you will learn the definitions of key terms used in colormanagement, such as color space, color model, gamut, profiles, saturation, hue,brightness, and more.

Then youll learn how to use the Color Management Interface controls fordifferent kinds of situations. It offers step-by-step instructions for using the colormanagement dialogs, and shows how to work with color profiles for camera andscanner profiles, for monitors, and more.

The major part of the book, then focuses on Workflow Calibrations. Thisdescribes actual setups for monitors, Postscript and non-Postscript printers,as well as RIP drivers. Hell show you how to do color space conversions andgeneral file processing so you get the color the way its supposed to be. He alsodiscusses digital photography, settings for Internet and presentation work, as wellas for spot colors and remote proofing.

The final section shows you how to coordinate with Adobe applications,including PDFs.

All instructions are enhanced with friendly screen captures, and the book ispublished in PDF format for ease of use and affordability.

Color Management for the CorelDRAW Graphics Suitecan by ordered fromthe CorelDRAWProBookstore for $29.95. It is currently available for immediate

download.

Color Management for the

CorelDRAWGraphics SuiteCGT RECOMMENDATIONS:I find it impossible to recommend any hires that place over $100,000 per year salaryincrease on this company because Im positive that there is insufficient ability toenhance manufacturing efficiency to pay for those costs.

INSTEAD:

A modest 5% price increase will raise $25,000 per year. Use those funds to hire twopart-time utility people, one from morning start up for four hours and the second forthe four hour before evening closing. These individuals will do all possible inventorystocking, pick up, maintenance work and deliveries. Freeing up time the sales personand the production person spent on these many time consuming, but mundaneresponsibilities.

The pricing study also suggested that you could purchase your large format outputfrom a trade service only provider for a modest 2% increase in cost. Doing this wouldrelieve your large format output person of up to 20 hours of work per week where theindividual could be re-tasked to handling installations.Utilize third party sub-contractors for your large installations and production of productoutside of your capabilities to enhance your market share.

THE CLIENTS POSITION:This goes against what my coach said and I believe that I need to give that a tryfirst.

THE RESULT:Slightly over two years later and the impetus of this article, I was asked to assist inthe liquidation of this company. The owner couldnt make the leap from doing thework to managing the staff to do more of the work.

My recommendations from a technical standpoint to you, our loyal readers, is thatyou identify the core technologies that govern your industry and find consultants thatfully understand what those needs are. Our industry has evolved to a point wherethe need of management to understand the technology is growing at a rate thatexceeds all other changes in the industry combined. One wrong decision on aRIP, color management, output device, or management team can permanently cripplea company beyond the ability to survive.

David Milisock, president of Custom Graphic Technologies Inc. of Lancaster, PA,has been in the print production business since 1975. He specializes in professionalsupport for CorelDRAW Graphics Suite. He offers technical and color managementsupport for all RIP-driven corporate digital output systems, and also offers Giclee

printing. He can be reached at 717-509-3523 or [email protected].


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INSIDE SCREEN PRINTINGBy Jeff McDaniel Applications

Choosing a Vector Service

BackgroundIn addition to screen printing our shop offers laserengraving, rotary engraving, sand blasting, digitalprinting, signs, banners, stickers, awards and retail gifts.Often we will have a heavy work load with at least oneof our processes. When a new customer comes in forscreen printing, the artwork is usually not truly up tosnuff for the screen printing process.

What we started withOur customer provided us with a shirt produced by oneof our competitors to bid against (see Image 1). Mostscreen printers and graphic artists will not releaseartwork to the customer. We took a digital photo ofthe shirt and kept it against the eventuality of gettingthe job.

Getting the vector art you needIf you need to create vector art from a scanned piece

of art or a photo, it can take a lot of time and expertiseto get your artwork vectored. Another option is to usea vector art service. We spoke with Artwork Source(www.artworksource.com) and actually got hold of a realperson on the first try. The people at Artwork Sourcewill produce the artwork in a variety of formats (includingCorelDRAW format) for a variety of processes.

Choosing a vector serviceOur priorities in choosing a vector service are quality,service, post-vector processing, and price. Yourpriorities may be listed in a different order. We generally

judge the quality of a vector image based on both theaccuracy to the original and the number of nodes used

to create the image. If the image comes back with a lotof nodes in it, then it was probably machine generatedand may cause problems for some processes. Servicefor a good vector company should be completed within24 hours of original transmission. We always like to call

the vector service on the phone to verify we can actuallyget hold of someone. Post-vector processing has todo with the amount of work required after receiving

the file back from the vector service to get it ready forproduction; we will cover the post production on thisgraphic later in this article. Prices vary from service toservice; we avoid the $5 companies.

Transmitting the artwork to your vector serviceTo start with, we need to crop out the unnecessaryinformation and export the image as a 300 dpi jpg (seeimages 2 and 3). Once we log onto the Artwork Sourceweb site we will give the vector service some specificsabout what we want to do with the file (see Image 4).One of the things we like about this particular

vector service is the specification of file type,Image 1:Photo of customers shirt

Image 2:We crop unnecessary information

from the photo.

Image 3:We export it at 300 dpi.


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color scheme, and file purpose. By asking this set of questions, the vectorservice is able to provide files that require less post-processing and less timeto prepare for production. We uploaded our image at 8:43 AM and did notselect RUSH JOB.

Post ProcessingArtwork Source sent us an email at 11:40PM and we downloaded our artwork(see Images 5 and 6)the next morning. Since the artwork was converted tospot colors and created for the purpose of screen printing, we can go right toa print separation preview (see Image 7). All of the colors in the design arespot colors so there are no CMYK or RGB layers in the separations print list.We have one more color than we want and will need to cut it down to 4 colors.The only other thing we need to do with this file is select everything and tellCorelDRAW we want to overprint our outlines.

ConclusionOur company is often too busy to sit down and manually draw artwork. We arealso not yet large enough to afford to have a designer on board full time. Vector

services provide an excellent resolution to the problem of time and artwork.

Jeff McDanielis the Owner/Operator of Creative Graphic in Philomath, Oregon.Jeff has been working with computers since the age of 5 and was a journeymanmachinist before working in the graphic arts business. Creative Graphic offersservices including laser engraving, rotary engraving, sandblasting, sublimation,image transfers, vinyl signs, banners, screen printing, and promotional products.Jeff routinely applies graphics to a wide variety of materials. You can contactJeff by email at [email protected].

Image 4:We provide specifics the tovector art service, such as removing

the background.

Image 5:We download our artworkfrom the service

Image 6:We then check the new artwork

on our system. Image 7:Then we go to a print separation preview.


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INSIDE SANDBLASTINGBy Judy McDaniel Applications

Laser Mask Material Part 1

At most of our classes we tell people that if they own a laser, they should consideradding sandblasting for glass and other hard materials. Sandblasting produces asmoother finish; and since it removes material, with it, you can achieve depth inengraving.

If people are already sandblasting and looking to expand, we suggest they shouldconsider adding a laser and use laser mask.

What is laser mask?Laser mask material is a flexible sandblast resist film that you apply to your productblank; and then burn your design through it using a laser engraver.

It is a non-PVC material that wont damage you laser machine because it is non-corrosive. PVC materials, like sign vinyl and contact paper, give off a gas whenburned that is very corrosive, can damage the machine, and is very hazardousto your health. Never use PVC materials in your laser!

Other Useful Qualities!Laser mask material is extremely easy to workwith and apply. It is a single layer self-adhesivematerial. It has a certain amount of stretch soit will conform nicely to the project. You can

lift it and reposition it if you have bubbles orcreases in the engraving area that need to beremoved. You can even reposition the maskafter low power test engraving; however itsbest to do any repositioning before the finalengraving. Remember, you burn the imagein after you apply it to the product.

I use a squeegee on flat projects to apply it,remove bubbles, and to smooth it. On curvedglasses I remove both carriers and I use myfingers instead of the squeegee. I find that by

removing both carriers, on smaller projects,

that I can control the laser mask material better when applying it. On one project,for example, which was a curved flute, after doing the test run, I realized that thecreases in the outer edge of the laser mask tape were going to be in the engravingarea. I removed the laser mask in the creased area, reapplied it on the glass, makingsure that I wouldnt have creases where I was going to be engraving, and then ranit. Repositioning is not possible with photo mask material after the carrier has beenremoved.

On another project, my engraving area was wider than the 4-inch tape I

had so I overlapped the tape in that area with a second piece. It was a flat

RayzistsLaserMask

Material

Laser mask material applied to a wine glass and set in the laser.


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piece of glass so I didnt have to worry about repeatability. Iengraved the image twice to make sure that I had removed allof the overlap tape in the engraving. (Note, I am not advocatingoverlapping the mask; however, it did work out in this case.You should use wider mask material if possible.)

Who makes this material?There are two major manufacturers of the material, Rayzistand IKONICS Imaging. Rayzistslaser mask has changedfrom a black opaque film to a translucent red and IKONICSis transparent green.

ConclusionI had an opportunity to test some of Rayzists new improvedtape a few weeks ago. The sample that I had was a few shadeslighter than the final product; however, I really liked the newsample color and its transparency. I applied it to a couple ofitems, a wine glass and a mug. I liked the results on both. I

picked a black mug, because I have had numerous times when Icouldnt see the edge of my mask material on a dark item, suchas wine bottles or mugs, and didnt get my masking tape overthe edge of the mask before blasting it. The result, of course,was a ruined piece. With their new material, I was able to see

The same wine glass after lasering.

the edge very well because it has a sort of pearl look to thesurface and is transparent.

Next time we will continue with our discussion of laser tape

and how to use it.

Judy McDaniel, with her husband John are owners of JHMMarketing and CorelDRAWhelp, Inc., in Albany, OR. They

provide consul ting and train ing services for the indust ry.Judys background includes many forms of art and retailsales. Currently they are both Corel Training Partners. Theyoffer private training at their facility in Albany, and at selectedlocations throughout the U.S., and on location for corporatecustomers. (For information on training services offered andtheir application support service visit www.CorelDRAWhelp.com.) They can be reached at 541-967-4271, fax 541-967-

4272, or via email at [email protected].

IKONICS Laser Mask Material


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INSIDE ENGRAVINGBy John McDaniel Applications

The Drive Unit Part 3

In this series were exploring the components of

engraving machines to see how they contribute tothe quality of the machine and its finished products.Were considering Motors, the Drive Unit, Guide Rails,Encoders, Tachometers, Bearings, Spindles, MaterialHold Down, and the Electronic Interface. This is the lastof three articles focused on the Drive Unit.

Definition (review)We have defined the Drive Unit of a machine as consistingof all the components that contribute to the mechanicalmovement required for positioning the cutting (or laserbeam) relative to the material to be cut.

Each axis requires an individual drive unit to push, pull,or rotate the material and/or cutting tool to the propercoordinates. The definition of the drive unit does notinclude the spindle system in rotary engraving machines.It only includes the components necessary to positionthe tool.

In Part 1, we considered motors and the conversionof rotary motion to linear/axial motion. In Part 2, webegan our discussion of lead screw bearings. Now

well look at various types of ball bearings suitable forour purposes.

Lead or ball screws are primarily used in rotary engravingmachines and not laser engravers, since lasers dontencounter cutting resistance. Given that, the followingdiscussion is focused on lead screws and principallyapplies to rotary engravers.

The ProblemWe have a turning motor with a big bolt attached (leadscrew). On this bolt we have a nut attached to a table

or gantry which moves when the motor rotates. For this

discussion, we will assume a perfect fit between the lead

screw and nut. Our focus is the attachment of the leadscrew to the machine. It must be held securely, and atthe same time, allowed to rotate. Therefore, we need abearing to hold the lead screw in place, allow it to turn,and prevent it from moving in an axial direction.

Two types of bearing blocksTwo types of bearing blocks are used to keep the leadscrew from moving. The Radial Bearing Block (Diagram

A)resists primarily radial movement (side pressures).The Thrust Bearing Block (Diagram B)resists both radial

and axial loads. Axial loads are back and forth pressures

against the ends of the shaft.

A Thrust Bearing Block is usually comprised of two back-to-back angular contact bearings held together with abearing nut. The bearing nut is adjusted to eliminate anyaxial movement (hysteresis) in the lead screw bearingassemblies. Angular contact bearings are designed formuch higher axial loads than standard radial bearings.

Supporting the lead screwHere are four primary methods of supporting a leadscrew (Diagram C):

1. Rigid-Free. A thrust bearing block on one end the other end free.Advantage: It eliminates the cost of a second bearingblockDisadvantage : As the rotary speed of the shaftincreases, the unsupported end of the shaft willvibrate or whip. The closer the lead screw nut gets tothe thrust bearing block, the longer the unsupportedlength becomes, which magnifies the problem. Thiscan cause a vibration between the cutting bit andthe material, thereby reducing the quality of the cut.

Application: This method should only be usedin machines limited to very slow speed andwhere a low machine cost is extremely important.

2. Simple-Simple. A radial bearing block is used atboth ends.

Advantage: Radial bearing blocks are less expensivethan thrust bearing blocks.Disadvantage: Radial bearing blocks support theshaft in the radial direction but have little support in theaxial direction. Since this method allows axial shaftmovement, it will result in positioning error.

Application: This method should only beDiagram A- Radial Bearing Block


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used in machines that make products which can tolerate positioning error. Forexample this is probably okay for routers used to produce large signs; however,in a machine used for fine detail engraving, such as jewelry, this method isunacceptable.

3. Rigid-Simple. A thrust bearing at one end and a radial bearing at the otherend.

Advantage: This method is superior to methods one and two. It supports both ends ofthe shaft in a radial direction, and the thrust bearing block eliminates axial movement.Disadvantage: It is more expensive that either methods one or two.

Application: It is commonly used in high quality machines.

4. Rigid-Rigid. A thrust bearing on both ends.Advantage: This method will allow the highest shaft speeds if the two thrustbearing blocks are pre-loaded to stretch the lead screw shaft; and thus reducevibration at the Critical Speed. Critical Speed is a condition where the rotary speedof the lead screw shaft sets up harmonic vibrations in the center area of the shaft.

Characteristics that increase harmonic vibrations are; smaller shaft diameters, longerunsupported length, position of the lead screw nut, and error in shaft straightness.Disadvantage: This is the most expensive of all methods. The bearings are more

expensive, and it normallyrequires the machine baseplate to be made from steel,adding cost and weight. Ifthe drive unit is mountedto an aluminum plate; thepre-load (that is lead screwstretch) of two thrust bearing

blocks will be modified bychanges in temperature.Application: This designis appropriate when highspeed movement is required.Its not required for normalengraving applications.

A fifth methodA fifth method which hasbeen used in the past isS i m p l e - F r e e .

This method is theDiagram B Thrust Bearing Block


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cheapest to produce. However, its the worst. It combines allof the disadvantages of methods one and two above. Anymachine which uses this design should only be considered forlow precision, light load work that can be accomplished withslow movements.

RecommendationsSupporting the lead screw properly is a very importantconsideration in the machines Drive Unit design. Anycomponent that allows looseness will affect the quality of theproducts produced. If jobs are large and/or offer little cuttingresistance, some looseness may be tolerated. If, on the otherhand, jobs include fine detail work, or work in materials that offersome cutting resistance, a machine that uses a Rigid-Simplebearing structure would be optimum

Finally, lets not forget bearing quality. As we discussed in

earlier articles, bearings are graded in quality by the ABECnumber. ABEC-1 is standard. As the number increases (upto ABEC-9), precision increases and bearing looseness isreduced.

As always the best test of a machine is its ability to produceproducts acceptable to your customers; with time and effortthats reasonable to you. Next time well consider guiderails.

Judy and John McDanielare owners of JHM Marketing and

CorelDRAW

help, Inc., in Albany, OR. They provide consultingand training services for the industry. They offer privatetraining at their facility in Albany and on location for corporatecustomers; as well as group training at the CorelDRAWhelpTour, events around the country. In addition, they provideone-on-one application support through an email subscriptionservice. (For information on training services offered andtheir application support service visit www.CorelDRAWhelp.com.) (For information on the Association of CorelDRAWProfessionals, please visit www.CorelDRAWPro.com.) They canbe reached by phone at 541-967-4271, via SKYPE (user nameJHMcDaniel), or via email at JHMcDaniel@CorelDRAWhelp.

com.Diagram C Supporting the Lead Screw


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GETTING AHEADBy Deborah Sexton Opportunity

Before spending a dime on equipment

and supplies, make sure you have a

solid plan for the physical layout of

your new creative team.

At one point or another, every decorator and awarddealer must answer the question: Should I use freelanceartists to do artwork and separations, or should I handleit myself? If your shop is considering bringing artwork in-

house, youre in for a challenging yet rewarding journeyone that requires some smart decision-making interms of design and layout but ultimately will help take

your shop to the next level.

Your first step is to determine the size of art departmentthats appropriate for your shops needs. Do you need asmall, one-man department or a full-blown staff with fouror more artists? In all likelihood, if youve been handlingart via freelancers up to this point, youll probably wantto start with a single in-house artist, but theres certainlyno right or wrong way to approach it. For a start-up,youre talking about adding an art station the basics,says Thomas Trimingham, consultant, Art4Screen.com,

McHenry, Ill.

Determining your art departments needs lets you moveon to the next big question: Where are you going to puteverything? It should be near customer service butseparate enough so that its not in a high-traffic area,Trimingham notes. Make sure it fits into traffic flow ofyour sales and production departments.

A few extra footsteps to take between the art departmentand other key areas of your shop may not seem like a

big deal, but order after order, day after day, those stepsadd up to a huge waste of time. Ive seen shops setup art departments on a separate floor, which makes itdifficult, because you have to walk a long distance toget to sales or production, Trimingham says. It slowsthings down.

Youll obviously want to keep artists away fromexcessively noisy areas (right by the embroiderymachines, for instance), as their job requires considerableconcentration. Also, if at all possible, avoid putting themnext to exposure units, dryers or inks hardly a setting

for creative stimulation.

Setting Up an Art Department

You may want the art department located a gooddistance away from the lobby where your clients will

normally visit. I say this because most creative peoplelisten to music, and depending on the mood for the day,it may be loud music, says Dane Clement, president,Great Dane Graphics, Maple Grove, Minn. Let them doit provided, of course, that its not disruptive to otherdepartments.

One handy technique for determining art departmentlayout is to plan out the artists location and seatingconfiguration by using grid paper to diagram differentoptions. Use the grid to look at how various placementsaffect traffic flow, as well as practical

considerations such as whether a desk will

Ideally, you want your art department to be close to sales andproduction but not in an area where there is a lot of in and outtraffic, which will be very distracting to working artists. Photocourtesy of Minds Eye Graphics, Decatur, Ind.

For art departments with multiple artists, its great when theycan all be in the same room. You want each artist to have hisown area but be able to see each others monitors so they canbounce ideas off one another during the day. Mitch Different,far left, is the art director at Sunline Products, Katy, Texas,

where he supervises four other artists.


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fit comfortably in a particular area. A lot of people get all theirfurniture, and then they set it up and shuffle it all around,Trimingham says. Use the grid to explore the possibilities.

The Right ArrangementYou should be mindful of the typical workflow for artists,

possibly creating a drawing station and a scanning station,

advises Clement. A typical scenario for an artist working on ajob is to sketch an idea and then revise it to finished pencil ontracing paper, he says. Then he scans it into the computerand turns it into a finished piece.

The drawing area should include all necessary art supplies

(pencils, markers, straight edges, sketch pads, etc.) so thatall the artists tools are ready to go when inspiration strikes.One of the biggest time wasters is having to locate all theappropriate tools and supplies and then start sketching,Clement says. One area devoted to this task will greatlyenhance productivity.

Shops with especially large art departments may want to groupartists together in clusters, with a designated team leader foreach area. Spread them out so they dont distract each other,Trimingham says. Its effective to have them in a horseshoeconfiguration, so they can talk to each other when they need

too, but they still have separation.

Not Too Far ApartIf at all possible, avoid putting artists in cubicles with highwalls, as creative types typically dont like to feel walled in ortrapped. Also, remember that artists need to be in a quietarea, but not necessarily totally secluded.An art department should be one room if possible; howevereach artist should have his own area, divided by acounter or walls so that others can see over them

ABOUT THE EXPERTS

Dane Clement is president of Great Dane Graphics, a companyspecializing in high-quality preseparated artwork that isspecifically designed for use by screen printers, embroiderers,and digital decorators. He also is the direct-to-garment digitalprinting application specialist for SPSI, an equipment and supplydistributor in Minnesota (www.sps-i.com). He has been in theindustry for more than 20 years designing artwork. He also isa frequent speaker at the Imprinted Sportswear Shows as wellas a regular contributor to industry trade publications. You cancontact Dane at [email protected] visit the Website at www.greatdanegraphics.com.

Thomas Trimingham has been doing artwork for screen printingfor the past 17 years. Hes worked as an art director, programdirector, illustrator, high end-separator, and head of R&D forone of the worlds largest apparel companies. He has been aregular contributor to IMPRESSIONS magazine since 1999 withmore than 50 articles to his credit. He has been consulting inthe areas of art, separation, and screen printing efficiency forthe past six years. You may contact him [email protected] visit his Web site and blog at www.art4screen.com.

Sometimes, the artist owns the company, as is the casewith Richard Reilly, Liquid Designs, Jacksonville, Fla. Inthe event the owner isnt an artist, he may want to getsome input from his incoming artist, hire a consultant, ortalk with other shops that already have an art departmentfor advice.


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from a sitting position, Clement says. This will allow theartists to bounce ideas off of each other without having toleave their station. One can offer suggestions to another

by simply looking at the others monitor. A design will

always benefit from the input of more than one person.

On the other hand, some artists may prefer completeseclusion when theyre working. Regardless, while youwant to give creative types a fair amount of latitude, itsprobably not a good idea to let them work in isolation.You want to minimize distractions but you have to makesure theyre staying on task, Trimingham says. Itsimportant to have accountability.

An easy way to make sure your artists arent spendingthe day playing solitaire or goofing around on Facebookis to set up their monitors facing out, so that you can seethe screens as you walk by. For some people, thesesites are an addiction, and they dont shut them off,Trimingham says.

LightingAs youre developing your area for the art department,be especially mindful of the spaces lighting. In general,the art department should be a low-light space, as

strong lighting can cause glare and eye strain, Clementsays. Each station should have its own desk lamp forworkable light, he says.

Ideally, the area also shouldnt have fluorescent lighting,which flickers extremely rapidly, giving employeesheadaches. Thats why your eyes get so tired. Your eyes

YOU ARE NOT ALONE

If you have enough experience with artwork, you may feel

comfortable doing the bulk of the planning about your newart department. However, if youre not comfortable going italone, or if you simply dont have time to research all thevarious factors that go into setting up an art department,you dont have to tackle it by yourself.

In fact, as with any business endeavor you undertake,its a good idea to consult with others in the industrywhove already tackled the task. Talk with decoratorswhove successfully integrated an art department intotheir company, and talk in depth about the challengesthey faced, and how they overcame them.

Besides relying on industry consultants, its also helpful

to work with your prospective artists to set up theirdepartment. After all, who knows better what works for anartist than the artist himself? Hes the one whos going tobe doing the work, so his input is primary, says ThomasTrimingham, consultant, Art4Screen.com, McHenry,Ill. But some owners are artists, and theyll make thedecisions themselves.

Deborah Sexton, former editor of ImpressionsMagazine, has been in the apparel graphics industrysince 1981. She currently does marketing and publicrelations for apparel graphics companies. She can be

reached at [email protected].

are actually dilating really quickly, Trimingham says.

Worse yet, fluorescent lighting can distort the way colorslook on the monitors. In other words, it may make aburnt orange look like a deeper shade of orange, whichin turn could lead to color-matching problems during theprinting stage. The ideal scenario is for the artist to have

natural light, either from windows or skylights; ambient,non-directional lighting also works well.

Natural light coming from the window is good, unlesstheres a lot of traffic buzzing by, or other distractions,Trimingham says. Also, you dont want windows on theeast or west side of the building or get some goodblinds to keep the glare away.

Clearly, creating an art department isnt as simpleas setting up a desk and a computer in a corner andletting the designer do his thing. But with some careful

forethought, you can make sure that the process ofcreating an efficient layout is a painless one andyou can ensure that your new department is creativeandproductive.

Its very important that the artist have a desk and a chair thatare adjustable so he or she is comfortable, which will avoidoveruse injuries such as carpel tunnel syndrome and neckpain. It is recommended that the computer monitor be at eyelevel so the artist does not need to look down.Photo courtesyof Minds Eye Graphics, Decatur, Ind.

Ideally, if artists cannot have space to draw right at their desks,you can provide a drawing station, which is a separate drawingboard or table that is stocked with any supplies an artist mightneed such as pencils, markers, and tracing paper. Photo

courtesy of Minds Eye Graphics, Decatur, Ind.


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GUEST COLUMNBy Scott Phillips Opportunity

For shops already using CorelDRAW, Draw Fusion is an easy and fast way toconvert existing artwork into stitches.

If you are a shop that uses CorelDRAW as your standard graphics program andyou want to branch out into embroidery, there is a digitizing program that has beendesigned specifically for you: Draw Fusion.

Draw Fusion, which has been developed by Pulse and distributed by HirschInternational, is specifically designed to cater to the CorelDRAW users who need toconvert existing artwork into embroidery. This versatile feature is included in all four

levels of software that is part of the Tajima DG/ML by Pulse 2009 suite of products.Draw Fusion supports all file formats currently supported by CorelDRAW, includingthe latest versions of those formats.The process isnt completely auto-pilot as it still requires some digitizing input. Usersneed a basic understanding of the embroidery process and how stitches are formed,

or can work with an embroiderer to fine tune designsfor the type of apparel. But, the format will be veryfamiliar to anyone who knows CorelDRAW, and DrawFusion gives the artist a big head start in gettinga design converted into stitches, saving time and

increasing quality.

Here is a look at the hard facts about Fusionscapabilities.

How It WorksDraw Fusion gives CorelDRAW users a quick, easyway to create embroidery designs, making it ideallysuited for decorators who havent yet developeddigitizing skills. The software comes with literatureand on-screen help menus that make it easy to beginconverting shapes into stitches with no digitizing

training.

The importance of this point cantbe overstated: A time-pressedshop can allow graphic artists tochange images into embroidery-ready designs without having tolearn an entire new program. They can take the artwork knowledge they already haveand essentially apply it into the embroidery world.

Of course, its not quite as simple as just opening an image in CorelDRAW and pressingconvert to stitches. Users need to understand and set a number of parameters in

advance pull compensation and stitch density, for instance. Those parameterscan be saved as presets, making it easy to open the settings for, say, fleece or nylon.User-defined parameters include underlay control, density, and pull compensation.You also can tweak the softwares default settings to increase underlay for fine silks,for instance.

The learning curve for Draw Fusion is minimal: Experienced CorelDRAW users shouldbe able to start converting images into stitches on day one. Where the learning curveenters is making sure those designs sew out as intended, gradually discoveringthat knits, wovens, and fleece all interact with stitches in different ways. In order toavoid a design looking distorted or out of registration, some trial and error will have

to occur.

The Human TouchEmbroidery is a skill and, in some ways, an art form one with countless variables

and nuances. Thats why no software can completelyreplace the human touch provided by an embroiderer with agood understanding of the decoration process. Meanwhile,automated digitizing makes certain assumptions or decisionsabout a design, some of which may not always fit what youreembroidering.

As with any kind of artificial intelligence, software

can only take you so far. Undoubtedly, Draw Fusion

The Facts about Draw Fusion


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does a great job of dramaticallysimplifying and speeding upthe digitizing process butthere are still points in theprocess where the decoratorwill need to intervene; think

of it as fine-tuning it after theinitial conversion. Softwaresimply cannot anticipate everysituation and vendors whopromise otherwise are sellingthe embroidery equivalent ofsnake oil.

For instance, you might decideto move an outline out a bitfurther, or change its shapeslightly, given your experience

with how the stitches willinteract with the particularfabric youre stitching. Clearly, a rich knowledge of embroidery will help users makenecessary adjustments to Draw Fusions output, thereby helping them make the mostof the softwares automated features.

Draw Fusion also providesthe abi l i ty to convert aCorelDRAW graphic intoa Tajima DG/ML by Pulseartwork segment to providetotal user control over thegraphic from start to finish.The user can make theconversion to stitches byapplying the stitch typesmanually. So you havethe option to have artworkautomatically converted intostitches or it can be doneusing Tajima DG/ML program,using the traditional manualmethod.

One of the great features of Draw Fusion is itsability to take an embroidered design and turnit back into a graphic. So if a customer wants

embroidered and screen-printed shirts, you havethe capability to convert the embroidery file to

a vector file to use it for screen printing. Photocourtesy of Hirsch International, Hauppauge, NY

This image shows the original graphic artwork on

the right and the converted-to-stitches file on the left,

which was done using Draw Fusion. Draw Fusion

works with all fileformats supported by CorelDRAW.

Photo courtesy of Hirsch International, Hauppauge, NY


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Saving TimeWhether youre a veteran digitizeror youve never even opened adigitizing program in your life, DrawFusion can save considerable time.For veterans, they can rely on

the software to do the heavylifting and then make tweaks a n dadjustments manually, based on their years of digitizingexperience. And for beginners, they can immediately getstitch-ready results, without spending months or evenyears learning the ins and outs of a particular digitizingprogram. Draw Fusion can essentially serve as the newdigitizers training camp, introducing him to the art ofdigitizing while hes creating good-quality designs.

Another time-saver:Art is ts wh o ha ve

little or no digitizingand embro ideryexperience can useDraw Fusion to getan understanding ofhow images interactwith stitches. In otherwords, theyll seehow Draw Fusion

interprets their images, and they can start factoring thatin when theyre creating artwork; over time, theyll learnto make their images more appropriate for embroidery,which makes the Draw Fusion conversion processeven more efficient. The more knowledgeable theartist becomes about embroidery and Draw Fusion, themore intelligently he can prepare his designs, includingthe way in which he arranges layers and connectssegments.

Convenience Vs. PowerAgain, Draw Fusion is not intended to replace aseasoned digitizing expert or a top-notch digitizingprogram with all the bells and whistles. However, a

decorator who has some familiarity with CorelDRAW and

wants to quickly move into creatingembroidery designs without yetlearning complex new software andtechniques will find Draw Fusionto be an ideal solution.

That said, if youre not already familiar with CorelDRAW,Draw Fusion may not be the most obvious softwarechoice. Thats because Draw Fusion is specificallydesigned to bring experienced CorelDRAW users intothe embroidery world.

Some decorators may find that it makes sense to usethe high-end digitizing software, keeping full control ofthe conversion process, and at the same time, haveDraw Fusion for automated conversion. This way,the decorator can examine the artwork supplied bycustomers and determine which solution will be the

fastest and most efficient.

Artwork ConsiderationsMost decorators have heardthe saying, Garbage in,garbage out, and thattime-proven maxim alsoholds true with automateddigitizing software. Thequality of Draw Fusionsembroidery is affected bythe quality of the vectorfile you feed it. The vectorfiles shapes should besmooth and clean, with even lettering. If you scanneda customers business card, for instance, it will needto be cleaned up and in vector format before putting itthrough Draw Fusion.

Once the artwork is cleaned up, little or no editing maybe required for simple designs; complex ones, however,are where the user will need to make adjustments. Forexample, a simple logo or silhouette of a

plumber may require little or no adjustments


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in Draw Fusion, where as amore complex one like aneagle or an American flag images with details, outlines,and multiple segments andlayers will almost certainly

require some adjustments.

On the topic of artwork,Draw Fusion has anotherpowerful feature: It allows

users to take designs converted into stitches and convertthem back into CorelDRAW artwork. This versatility allowsyou to vectorize many existing embroidery images with a fewadjustments.

Decorators who screen print can create designs that integratescreen printing with embroidery using Draw Fusion. Draw

Fusion also allows integration of other types of garmentdecoration so users can create multimedia designs.

As with any kind of software, Draw Fusion isnt a magicalsolution for every possible situation a decorator may

encounter. However, it is a truly powerful feature that cansave decorators serious time and money by quickly and easilyconverting their artwork into stitches. The program uses thesame logrithms as Tajima DG/ML by Pulse, meaning youreable to get professional-quality results. For decorators withCorelDRAW experience, theres perhaps no faster, simpler

way to begin creating top-quality embroidery designs.

Scott Phillips family has beenin the embroidery industry since1976. He has been involvedin embroidery and digitizing forthe past 18 years. He startedhis own company, JS Digitizing,Wi l l iamsport , Pa. , in 1990which offers full embroidery anddigitizing services. Phillips also

is an independent sales consultant for Hirsch International,

a distributor of Draw Fusion. For more information aboutthe program, visit www.HirschInternational.com . To contactScott Phillips, e-mail: [email protected] visit hiscompany on the web at http://www.jsdigitizing.com to seemore samples of his embroidery work.

Columnist Bill Leek out of contact in Houston

Editors Note: We wanted to let our readers know thatCorelDRAWProcolumnist Bill Leek, who writes a regular columnabout transfers and Corel PHOTO-PAINT, is alive and well at his

home in Houston, But

Since Hurricane Ike hit in early Sept., they have been withoutpower, without water, and with sewage backing up at the office.One tree was blown down and hit his roof and destroyed his airconditioner. Other than that, there was minimal damage. Housesall around him sustained much more serious damage.

After five days, he was able to get a cell phone connection workingand let us know how hes doing. He said as of Sept. 17, there isone grocery store open near them (where I assume theyre buyingwater), but he laughingly said everyone will have to be a vegetarianas they cant keep any meat in stock. He said there are about 150

cars lined up at every gas station, and the station often runs outbefore all the cars get serviced.

He said Houston is the fourth largest city in the U.S., and isspread out over a wide area of the Gulf plain. The power outagesand flooding have impacted millions of people there. Because ofhurricane clauses in many insurance policies, many people willhave to pay cash for repairs.

Bills company, JBL Graphics, a well-respectedsupplier of color laser transfer and sublimationsupplies, imprintables, and services, is obviouslydown for a while. He says he can receive ordersvia his Internet site at www.jblgraphics.com, but not

by phone. We urge you to save up some orders for him and forothers in the area when they get back on their feet.

http://www.hirschinternational.com/%22%20/o%20%22blocked::http://www.hirschinternational.com/mailto:[email protected]%22%20\o%20%22blocked::mailto:[email protected]://www.jsdigitizing.com/%22%20/o%20%22blocked::http://www.jsdigitizing.com/http://www.jblgraphics.com/http://www.jblgraphics.com/http://www.jsdigitizing.com/%22%20/o%20%22blocked::http://www.jsdigitizing.com/mailto:[email protected]%22%20\o%20%22blocked::mailto:[email protected]://www.hirschinternational.com/%22%20/o%20%22blocked::http://www.hirschinternational.com/http://www.coreldrawpro.com/RE/jbl.htm

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The Association of CorelDRAWProfessionalsis The Education & Business Resource for CorelDRAW Users Worldwide.Its goal is to help: 1) IMPROVEyour CorelDRAW skills, and 2) MAKE MONEY with those skills! You can participate in ACDRP services in four ways:

THE WORLDS ONLY ASSOCIATION FOR CORELDRAWUSERS

INVITES YOU TO MAKE MORE MONEY WITH CORELDRAW!

CorelDRAWPro E-Newsis a free digital newsletter delivered toyou twice a month focused on Industry News via the GraphicsNews Wire, Links to valuable resources, and a complete educa-tion and show Calendar. S

CorelDRAWPro, the Entrepreneurial magazine for CorelDRAWusers, features in-depth content on: How to Use CorelDRAW -- tips, tricks, advancedar twork , success s tor ies , interv iews, and more. How to Apply CorelDRAW -- for graphic productionprocesses such as embroidery, engraving, heat printing, laser,promo products, printing, sandblasting, signmaking, sublimation,and screenprinting.How to Profit from CorelDRAW-- Product news, businesscolumns, reviews, profiles, and advertising with live links.

SUBSCRIBE -- NO CHARGE JOIN -- $60 PER YEAR

All users of CorelDRAW Graphics Suite are qualified tosubscribe free to CorelDRAWPromagazine (PDF format) andCorelDRAWPro E-News.

Subscriptionto CorelDRAWPro&CorelDRAWPRo E-News

TTF Newsletter. Subscription to themonthly Tips, Templates & FixturesNewsletter only available to members.

GSG Basic Listing. You can list yourservices in the Graphic Services Guide

in one category as part of membership (a$25 value).

Access to QuickLearn. A keywordsearchable database of 100s of articleson CorelDRAW, graphics production, andbusiness.

All users of CorelDRAW are invited to join the Association andtake advantage of exclusive content, discounts, and profes-sional recognition. ACDRP membership includes:

TTF

QuickLearn

QuickTNT

Archives

BASIC GSG LISTING -- $25 PER YR

The Graphic Services Guide is the Industry Yellow Pages forServices and Finished Goods. GSG is promoted in all our publi-cations and our website to the world of CorelDRAW users. Yourlisting gives you the opportunity to promote your services (in anyof 40 categories) to other CorelDRAW users.The Basic Listing includes:your company descriptionemail link, andlisting in one category.Additional service categories are $10 each per year.

The Enhanced GSGListing is for companies that want to list intwo categories and add a photo or logo.

ENHANCED GSG LISTING -- $50/$75 PER YR

Classifieds

Access to QuickTnT.A growing databaseof CorelDRAW tips for understanding thefine points of the program, and templatesthat can be downloaded to speed up yourproduction.

Access to Archives. Past issues ofCorelDRAWPro are available to memberswith live links.

Bookstore Discounts.Members receive

a 10% discount on all products in the Corel-DRAWProBookstore.

Professional Recognition.Use of theACDRP logo for professional identificationon business cards, websites, and letterhead.You also receive a membership certificate.

Classified Ads. Members can placeone classified ad per year at no charge withphoto, and run it till the item is sold! (a $35value)

HOW TO PARTICIPATE

To Subscribe (no charge)To Join ($60/yr)To List in the Graphic Services Guide

($25 Basic $50/$75 Enhanced,

or $120/145 for Multi-Service)

CorelDRAW is a registered trademark of Corel Corp., and is used with permission.

Visit www.coreldrawpro.comand click on the appropriate links.

800-276-8428

The Multi-Service GSGListing allows you to list up to 40 differ-ent service categories with detailed descriptions and add a photoor logo.

MULTI-SERVICE GSG LISTING -- $120/$145 PER YR


MARKETING SECRETS
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MARKETING SECRETSBy Donna M. Gray, CRM Opportunities

Lets Get Our Heads Out of the Sand!

Donna Grays 2nd book,Its All Relative!Surviving & Thriving in a Family Busi-

ness, was published in September 2007.

It describes herquest to identify thekeys to success forsmall business, andfamily businesses inparticular. She inter-viewed top businessesnationwide and dis-covered five commonqualities implementedby successful businessowners. Check it outat the CorelDRAWProBookstore,www.corel-drawpro.com/AllBookstore.htm

Slumping sales in almost every industry in the country,along with rising prices for everything from apples toair fares, are taking their toll on our economy. Mostpeople have heard the story of Chicken Little andthe proclamation The sky is falling! The sky is falling!This year, Ive run into a few people with that frame ofmind. Burying our heads in the sand doesnt help thesituation.

No doubt about itits been a tough year! I haventtalked to many companies that are bragging aboutprofits. Some say, Business is different this year.

Some are wording it differently with, Business is a little

off this year. Ive even heard, Business stinks! Ivechatted with some who are into obsessive worryingsomething small business owners can do quite nicelyduring tough times. Some people dont even needthe excuse of tough times to make minor challengesand/or frustrations become desperate situations. Theyautomatically have this kind of reaction when stuffhappens. And, lately, stuff happens!

Everyones feeling the pinch. Although, this week, theprice of oil has gone down a bit (lets not celebrate yet),the cost of anything and everything fuel associated,

continues to escalate. This past week Ive beentrying, with no luck, to use some frequent flyer milesto arrange a trip to an industry conference. Since myhusband, Dave, and I travel quite a bit, one would thinkthat one of the three airlines we favor would be able toaccommodate our plans. Not so. In fact, no matter howhard Ive tried to accommodate their new schedules, Inow think its time to use miles for travel in 2015 or the fardistant future. Its the only way one can guarantee usingthe miles for when one really wants to travel. And then,one has to be prepared to ante up for additional fees for

things that used to be gratis. Ive just recently bookednew travel for a

corel 08 sept

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