prim a vision v6r1 user guide

PrimaVision V6R1 _________________________________________________________________________________

New Features Summary

Contents

1. ABOUT THIS DOCUMENT................................................................................................................ 6

1.1. Document Conventions ................................................................................................................... 6

1.2. Lectra Support .................................................................................................................................. 7

2. TOOLS TO SUPPORT FORMAL ILLUSTRATION........................................................................... 8

2.1. Improved Vector Object Selection .................................................................................................. 8

2.2. Improved Node Editing .................................................................................................................... 9

2.3. Revised Grouping Feature............................................................................................................. 11

2.4. Improved Change Order Command.............................................................................................. 12

2.5. New - Mirror Draw ........................................................................................................................... 13

2.6. New - Stitch Effects / Vector Line Styles...................................................................................... 16

2.7. New - Positioning Mode for Vector ............................................................................................... 19

2.8. Improved Draw Arrow Command.................................................................................................. 20

2.9. Enhance Vector option for Scale Print ......................................................................................... 20

2.10. Updated Vector Repeat Definition................................................................................................. 21

2.11. New - User-Defined Color Options for Node Selection............................................................... 21

3. TOOLS TO SUPPORT CREATIVE / TEXTILE DESIGN................................................................. 22

3.1. Bigger Pen Size............................................................................................................................... 22

3.2. New - Insert / Delete Line ............................................................................................................... 23

3.3. Improved Texture Mapping............................................................................................................ 23

3.4. New - Texture Map Combo............................................................................................................. 28

3.5. New - Pattern Fill Combo ............................................................................................................... 31

3.6. New - Directional Pen ..................................................................................................................... 33

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3.7. New - Bitmap Polygon Tool ........................................................................................................... 37

3.8. Improved Repeat Pen ..................................................................................................................... 37

3.9. Improved Reproportion.................................................................................................................. 39

3.10. Improved Positioning for Rotate................................................................................................... 40

4. IMPROVEMENTS TO SUPPORT PAGE LAYOUT......................................................................... 41

4.1. Clearer Layer Display ..................................................................................................................... 41

4.2. New - Instant Layer Identification ................................................................................................. 41

4.3. Pick Colors on Other Layers ......................................................................................................... 42

4.4. New - Multi-Layer Move.................................................................................................................. 42

4.5. New Features for Text Layer.......................................................................................................... 43

4.6. True Color Layers ........................................................................................................................... 44

4.7. New - Guide Lines........................................................................................................................... 45

5. PRINT EXPERT................................................................................................................................ 49

5.1. Layers for Print Expert ................................................................................................................... 49

5.2. New - Tonal Color Combo.............................................................................................................. 53

6. KNIT EXPERT .................................................................................................................................. 62

6.1. User Defined Structures................................................................................................................. 62

6.2. New - Thin Yarn Library ................................................................................................................. 63

6.3. Improvements to Casting............................................................................................................... 63

6.4. New - Draw Polygon in Stitches.................................................................................................... 64

6.5. Stitch Count on Ruler..................................................................................................................... 64

6.6. Overlay Grid in Knit Instruction Mode.......................................................................................... 64

6.7. Scale Print – Line number origin................................................................................................... 65

6.8. 1 : 1 Knit Stitch................................................................................................................................ 65

6.9. Black (box 0) in Knit ....................................................................................................................... 66

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6.10. Steiger Knitting Machine Interface ............................................................................................... 66

7. PANELSPEC.................................................................................................................................... 67

7.1. Weight Calculations ....................................................................................................................... 67

7.2. Lengthwise / Waistband Stretch Tension .................................................................................... 67

7.3. Casting Properties.......................................................................................................................... 68

7.4. Line Schemes.................................................................................................................................. 68

7.5. Knitting Instructions....................................................................................................................... 68

8. WEAVE EXPERT ............................................................................................................................. 69

8.1. More Stripes .................................................................................................................................... 69

8.2. Ruler Display................................................................................................................................... 69

9. UTILITIES......................................................................................................................................... 70

9.1. New - Technical Limitations .......................................................................................................... 70

9.2. Additional Drawing Area / Paper Sizes......................................................................................... 72

9.3. Improvements to Zoom Display .................................................................................................... 74

9.4. Copy / Paste .................................................................................................................................... 75

9.5. Improved Print Window Information............................................................................................. 75

9.6. Improved Last Window Options.................................................................................................... 76

9.7. New Selection Tools for Tonal Images......................................................................................... 77

10. FILE MANAGEMENT....................................................................................................................... 83

10.1. Improvements to File Export Processes ...................................................................................... 83

10.2. Browse files Outside PV_patt in Read & Save............................................................................. 87

10.3. Double-click Access to PrimaVision Via Windows Explorer ..................................................... 88

10.3. Faster Saving & Deleting ............................................................................................................... 88

11. USER INTERFACE IMPROVEMENTS............................................................................................ 90

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11.1. New – Additional Undo Shortcuts................................................................................................. 90

11.2. Scroll with Mouse Wheel................................................................................................................ 90

11.3. Updated Scan Icons / Access........................................................................................................ 90

11.4. Right Click Menu Buttons .............................................................................................................. 91

11.5. Knit Expert Files ............................................................................................................................. 91

11.6. Color Selection Feedback.............................................................................................................. 91

11.7. New Icon for Draping Object ......................................................................................................... 91

11.8. Graph Print in Graphics Mode....................................................................................................... 91

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New Features Summary PrimaVision V6R1

February 2004

1. ABOUT THIS DOCUMENT

Version 6 Release 1 sees significant changes in PrimaVision, with numerous revisions and new features. As well as new creative tools and features specifically to support textile design, there are many enhancements to the user-interface to improve workflow. The PrimaVision V6R1 New Features Summary provides details of the new features, updated menus, and dialogs.

If you need additional information about PrimaVision features or help getting the most out of your PrimaVision system, please contact your Lectra salesperson to schedule the appropriate training.

1.1. Document Conventions

The Note icon is used to provide additional facts. Notes can provide a larger context for information and procedures.

The Tip icon is used to indicate tips, tricks, and shortcuts.

The Caution icon is used to indicate potential problems or unforeseen results associated with certain workflows.

Click always refers to clicking with the top left puck button or left mouse button.

Double-click always refers to two quick clicks with the top left puck button or left mouse button.

Right-click always refers to clicking with the top right puck button or right mouse button.

PrimaVision command names and options within the software are always shown in bold Title Case to make it easy to scan through the document and locate steps in the workflow.

PrimaVision commands that are to be followed in a particular sequence are separated by a greater than sign >. For example, a procedure may include instructions to click File > Save. This means to click on the File menu, then click on the Save command that appears in the File menu.

Be sure to ask your instructor if you have any questions about information in the document.

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1.2. Lectra Support

If you have support questions related to PrimaVision, please contact:

U.S. Support Call Center: 1-877-4LECTRA [email protected] Europe Support Call Center: +33 (0)5 57 97 81 00 [email protected] Asia Support Call Center: +852-3406-1333 [email protected]

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mailto:[email protected]




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2. TOOLS TO SUPPORT FORMAL ILLUSTRATION

The Vector Layer option under Layer Setting provides comprehensive tools for producing editable drawings with perfectly smooth output, usually used for formal, flat illustrations. Vector objects can be combined with Bitmap and Text images in the same file through Layer Setting. The vector toolset has been enhanced, updated and reorganized with object selection and editing processes streamlined for easier use and faster image creation as well some significant new developments for stitch line creation and drawing in symmetry.

2.1. Improved Vector Object Selection

Select and De-select Object are now the root commands of Vector Layer. This results in far less ‘clicking’ when working with vector images.

2.1.1 To Select An Object

1. Left click on a node within the required object.

2. The object nodes are highlighted according to the color selected under the Node button on the Mode Toolbar.

2.1.2 Selecting multiple objects

3. Click a node on the first object to be selected.

4. Hold down the keyboard SHIFT key or the Ctrl key on the keyboard.

5. Click on a node on the next object to be selected.

6. Continue to hold the SHIFT or Ctrl key and select objects until all required objects are selected. These may then be edited simultaneously.

2.1.3 To De-select Object / All Objects

1. To de-select a selected object being added to a group, click on it again, whilst holding down the Ctrl key. (The Ctrl key toggles between select and de-select).

2. To de-select all current objects or groups of objects, simply click on the next object you want to select; the previously selected object(s) automatically de-select.

3. Alternatively, press the keyboard Esc key to de-select all objects.

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2.1.4 Selecting Objects Using Box Selection

The old box selection is still available for selecting complex images comprising numerous objects. The old Select command has been renamed Grouping to fit in with new features and workflow.

1. Click on Grouping

2. On the Status Assistant, change the Select option to Box Selection.

3. Click in the Drawing Area to make a box around the group of objects to select.

4. The selected object nodes will be highlighted.

2.1.5 Selecting / De-selecting Multiple Objects With Box Selection

The selection and de-selection of multiple box areas works in the same way as for individually-selected objects.

1. Box-select the first area, hold down the SHIFT or Ctrl key and repeat as necessary.

2. To de-select areas selected using Box Selection, hold down the Ctrl key, and make a box around the area to de-select. (The Ctrl key toggles the selection between Select and De-select).

2.2. Improved Node Editing

2.2.1 Auto Snap for Nodes

Nodes now automatically snap to the next closest node(s) within a tolerance of up to 3 pixels in any direction for zoom mode 1 (more if zooming out, less if zooming in). Nodes may be also separated manually.

When snapped, a set of nodes will now move together, instead of coming apart. This speeds up workflow by eliminating the need for manual node snapping. It also eliminates several steps when repositioning points where several lines meet (such as shoulders or underarms) ensuring that when an image is re-sized in vector, no gaps appear in a later conversion to bitmap.

Legacy files with pre-snapped nodes at line junctions will automatically behave as above.

Shoulder: Where 3 nodes meet, they are automatically snapped together

Click on a node and move – all snapped nodes move together

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2.2.2 Manual Node Snapping

This may still be required if, for example, needing to move a node from one group to another, or to snap a node that was positioned outside the current pixel tolerance.

To do this, simply position the node over the node(s) it should be snapped to, and press ‘S’ for ‘snap’ on the keyboard.

2.2.3 To Separate Nodes for Editing

Auto-snapped nodes may be separated as follows:

1. Click on the node and use the keyboard shortcut ‘N’ for Next Node.

2. Press N once to pick up the top node.

3. Press N again to pick up the second Node, etc.

4. Continue to Press N to rotate selection between all nodes snapped together in one place.

Next Node (middle) Next Node (bottom) 3 lines meet Next Node (top)

If this menu does not appear and only the normal Node Editing menu is available, it indicates that the node is part of a continuous line rather than a snapped node.

2.2.4 Editing Nodes

There are now two levels of node editing. With the introduction of Select/De-select Object into the root command, one-off node-editing (e.g. for one-off use or while drawing other things) is quickly achieved through two clicks; editing multiple nodes is made faster and easier by the single-click operation of the new Node Editing command.

2.2.4.1. One-off Node Editing

This option does not require entry into a menu or command.

1. Click once on the node (or snapped group of nodes) to select. This also selects the object.

2. Click again on the same node(s) to pick it up.

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3. Move the cursor to reposition the node and click to place the node in the

new position.

This is not like the conventional fast ‘double-click’; to activate node editing, leave a slight pause between the selection and editing clicks.

2.2.4.2. Multiple Node Editing

One-off node editing is inconvenient for editing several nodes on different objects as each node requires the related object to be identified first. The new Node Editing icon allows all nodes to be edited freely, without having to first select the object.

1. Select Node Editing .

2. Click on a node and edit as required. Repeat as necessary.

3. Click Command End to finish.

Reminder: where a group of nodes is snapped together, all the lines will now move together when editing, unless the nodes are deliberately separated. This applies to both auto-snapped and manually snapped nodes.

2.3. Revised Grouping Feature

The Grouping command now allows Grouped vector objects to be Ungrouped as well as Grouped. In other words, Grouped objects are no longer permanently fused together. This makes multi-object images easier to manage and edit; it is particularly useful for manipulating complex components such as embroidery simulations and repeated vector motifs or for building page layouts with logos and complex sketches comprising several parts.

2.3.1 To Group Objects

1. Select Grouping

2. Select multiple objects using either the SHIFT/Ctrl keys, Box Selection, or a combination of both.

3. In the Grouping sub menu select Group .

4. The objects will be merged into one, larger object. The individual nodes for each object and are replaced by 9 points around the grouped object.

5. To select the grouped object, simply click directly on any part of it (i.e. not the space surrounding it). Once the group nodes are highlighted, it can be resized, moved or copied.

To exclude Objects from the box selection process (and therefore from the grouped object), hold down the Ctrl key and select objects to exclude by clicking on them or making a box around them.

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Complex vector image: embroidery simulation

with all nodes selected.

Grouped embroidery simulation showing group nodes

Notes:

• Using certain advanced features such as Bend Window with grouped objects may have limited results, depending on the amount of detail in the image.

• Unlike most standard Windows products, in PrimaVision it is still possible to edit individual nodes even when grouped, simply by clicking on them twice or using Node Editing .

2.3.2 To Ungroup Objects

Unlike Combine Selected Objects , Grouping does not cause a permanent merging of objects, and a group can be separated if required for further editing or re-use.

1. Select the group to separate by clicking on it. The group nodes will be highlighted.

2. Select Grouping .

3. Select Ungroup .

4. The objects are then separated.

2.4. Improved Change Order Command

Change Order has been updated to bring it in line with many other Windows applications. The command now includes options to move objects Up and Down as well as the original Top and Bottom.


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2.5. New - Mirror Draw

This new feature enables you to draw one half of an image while the opposite side is automatically drawn in mirrored format. This speeds up sketching and helps image proportions to be judged more easily.

The mirrored objects may be drawn open, closed or a combination of both. Several mirrored objects can exist in the drawing area simultaneously and the software will locate the mirror line for each object as required. It is also possible to turn the mirror off to draw or edit the image in a non-mirror format – essential for images such as shirts with one arm folded and one straight.

2.5.1 Define Object Position

First define a Mirror Draw line to indicate position and axis:

1. Select Mirror Draw , then Define Mirror .

2. Click in the drawing area to mark the starting point of the mirror line and drag the cursor in the required direction.

3. Click again to end the line.

It is better to define a Mirror Line too big than too small. This avoids display problems after saving, if the image becomes bigger than the mirror line.

4. The line appears when one of the Drawing Tools is selected and disappears when not in use.

5. Draw with any of the vector drawing tools as usual; objects are mirrored as they are drawn.

Mirror line

Cursor in process of drawing left side

Mirrored object appears on right automatically

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2.5.1.1. Define Mirror to Specific Angle

The mirror line may be positioned freely, or drawn at a fixed angle. To do so:

1. Click the starting point for the Mirror line, then on the Status Asst. click the Fixed Directions box and move the cursor in the approximate direction required. The line will snap to vertical, horizontal or 45o angles.

The arrow keys on the keyboard can also be used to fix vertical or horizontal directions.

2. Draw as usual. The mirror line appears and objects are mirrored across the line as they are drawn.

2.5.1.2. Define ‘Open’ or ‘Connected’ Lines

The system defaults to drawing ‘open’ shapes – i.e. the lines of the symmetrical image do not connect each side. However, it is also possible to draw ‘connected’ shapes, where the lines from each side of the image are automatically joined in the middle; this is especially useful for garment fronts, graphics, badges, graphics and logos that may need subsequent filling in vector format.

1. When first drawing the Mirror Line, click the Connect Mirror Pt option in

the Define Mirror Status box. (If the line is already defined and drawing is in progress, this may also be accessed at any time via a right-

click menu on the Show Mirror button on the Mode Toolbar, but the end-result will not permit satisfactory object filling).

2. Draw the shape as usual; you will notice the mirrored lines are already connected and adapt to changes in the shape as it is drawn.

To create a mirrored image that fills successfully, it is essential to define it as a ‘closed’ shape before drawing begins, otherwise a center line will appear when filled. Arms or pockets, must be defined as whole, separate ‘closed’ objects.

2.5.2 Editing a Mirror Draw Image

An object which has been created using Define Mirror is edited in mirror format by selecting nodes and moving them in the usual way.

To turn off the Mirror Draw function and edit the image in a non-mirrored format, uncheck the Mirror Object option under Object Settings .

If turning off the Mirror Draw function, please note that once the mirrored image is edited or added to in a non-mirror format, the Mirror cannot be reactivated for this object and can no longer be edited in mirror format.

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2.5.3 To Combine Mirror Draw and Non-Mirror Objects

Certain workflows - such as drawing a shirt with symmetrical front and collar but different sleeves – require both Mirror Draw and non-mirrored objects. To achieve this, and retain the ability to edit in Mirror Draw format, a specific workflow is recommended:

1. Define the object position and mirror line as per steps above.

2. Use Mirror Draw to create the symmetrical parts of the garment such as front, collar and any other mirrored components such as pockets.

3. Save the image.

4. Reload the image using either New or Append Vector Layer (and delete the first version to save confusion).

5. Working on the re-loaded image, draw the non-mirrored components.

Do not re-activate the mirror via Find Mirror (see next) or turn off the Mirror Object function under Object Settings (see previous).

6. Re-save the image once the non-mirrored components are done.

7. It will now be possible to manipulate the non-mirrored parts of the image in the usual way, whilst retaining the ability to edit the Mirrored parts in Mirror format.

8. Additional mirrored components may also be added by reactivating the mirror via

Find Object Mirror (see next), but remember to re-set the mirror memory by re-saving and re-loading the file prior to adding any further non-mirrored components.

2.5.4 Locating Existing Mirror Line

It is possible to have multiple mirror lines in the same drawing area and the software provides two tools to automatically locate the relevant Mirror Line associated with an object.

The mirror line is automatically identified when one of its object nodes are selected. It is displayed as soon as the node is edited.

Click on object to auto-locate object’s Mirror line

However, you may also wish to locate the mirror without editing a node; the Find Object

Mirror command is provided for this purpose.

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To re-activate an existing mirror line:

1. Select Mirror Draw

2. Select Find Object Mirror

3. Click on the object in question.

4. The mirror line will appear and you may continue to edit in mirrored format.

2.5.5 Saving and Retrieving Mirror Draw Images

Files created using Mirror Draw keep the mirror line when saved. The mirror line is loaded automatically with the image, and is displayed as described in section 2.5.4.

2.6. New - Stitch Effects / Vector Line Styles

New stitch effects have been added to the line styles to provide a comprehensive and customizable selection for use in product illustrations and specifications. The Object Settings dialog has been revised to add numerous options for customizing and saving line styles, and includes a real-time preview pane.

The Pen Assistant takes on new significance in vector workflows; it has been re-designed to provide faster - and more visual - access to Pen Thickness. It also selects existing line styles to draw with, making vector line effects easier to implement and instantly visible.

The new Pen

Assistant The new default line styles available

in V6 R1

2.6.1 Choosing a Line Style

For drawing, it is no longer necessary to first draw a line and then apply the line style or thickness; lines may now be drawn with the chosen settings from the start – and of course they can still be changed later.

1. In the Pen Assistant, click on the Style pick list.

2. Scroll down to view and select the different line styles available.

3. Adjust the slider bars or click in the Thickness box to change the line size (up to a maximum line thickness of 6mm).

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4. Select a drawing command and draw as usual.

5. The new line settings are instantly applied when the line is drawn.

6. The current line style selection becomes the default for the next lines drawn until the setting is changed again.

Remember to press the Actual Size button on the Mode toolbar to ensure correct line size is displayed on screen.

2.6.2 Changing Existing Line Style

Where a line is already drawn, it is still possible to change it to a new format.

1. Click on the line to select it.

2. Click Object Settings on the Toolbar.

3. Scroll the list and select required line style.

4. Hit OK. The selected line will now change to the new style.

Notes: In terms of applying changes to a line, there are two default settings:

• When opened from the Pen Assistant, the Object Settings Dialog defaults to change the Default Setting, affecting new objects only.

• When opened from the toolbar, the Object Settings Dialog does the opposite; it defaults to affect the Current Selected Object.

Either default can be changed from within the Object Settings dialogue box:

Select Current Selected Object to affect existing objects.

Select Default Settings to affect new line styles.

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2.6.3 Customizing the Line Style

Apart from thickness, each line style has various other values that can be edited extensively to customize it. Values vary according to line style (or stitch type) – e.g. stitches such as zigzag - which comprise vertical as well as horizontal elements - include stitch length settings for both vertical and horizontal axis, whereas simple running stitch has horizontal options only.

Display Effects (Airbrush, Crayon etc.) are only available with plain Line and Double Line.

Revert to Default Settings

Save User-Defined Settings

Scroll to browse line Styles

User defined settings input here

Choose to apply settings to new / existing objects

Change display Effects here

Real-time Preview pane

1. Type in any new values required for Stitch or Gap Length, Density or Height.

• Stitch Length (horizontal) and Gap Length define the horizontal dotted lines.

• Zigzag Spacing defines the distance between the points in a Zigzag, Overlock or other styles where stitches run vertically as well as horizontally.

o Increasing the number in the Zigzag Spacing increases the distance between points resulting in a more open zigzag.

o Decreasing the number in the Zigzag Spacing decreases the distance between points resulting in a denser stitch effect.

For example:

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Zigzag Spacing = 20

Default Overlock

Zigzag Spacing = 6

• Stitch Length (vertical) refers to the length of the zigzag line, which effectively defines the height of the finished stitch line.

2. As new values are typed in, the stitch line in the Preview pane updates.

3. Select the final customized line style and draw as usual.

For finer line styles, effects such as Airbrush will appear on the printout but may not show up on screen as the screen resolution is not sufficient to display this level of detail.

2.6.4 Save Customized Line Style as Default

As most companies like to standardize on specific stitches, the option to save a customized version as the default for a certain Line Style has been included to avoid having to re-input the settings each time.

1. Change Object Settings as described in the section above.

2. Click Save User Default .

3. The settings are saved and each time this line style is selected the user-defined settings will be active unless changed back to the system default.

2.6.5 Reverting to System Default

1. In the Object Settings dialog, click System Default .

2. The User Default for that Line Style is then deleted and replaced by the System Default.

2.7. New - Positioning Mode for Vector

Previously only available for Bitmap, V6R1 introduces Positioning Mode into Vector Layers. It helps with the precise positioning of images on a page, allowing the user to ‘nudge’ the object into position one pixel at a time, or to position it at a precise X/Y location. Creating page layouts becomes much faster and easier eliminating repeated attempts at precise positioning.

2.7.1 Using Positioning Mode

1. Select the object.

2. Select Copy or Move commands (or sub-commands).

3. Move image to approximate new position.

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4. Press ‘P’ for ‘Positioning’ on the keyboard.

Status Assistant Positioning Mode. Nudge values can be added here.

5. Use the arrow keys on the keyboard to nudge the image into precisely the correct position. Alternatively, type in a Nudge value – i.e. the number of pixels by which to nudge the object.

6. Click to fix the final position of the object.

2.7.2 Using Positioning Mode with Rotate

In addition, Positioning Mode is now also available with Rotate to allow precise positioning of a rotated object.

1. Use the Rotate command in the usual way and click to fix the angle of rotation.

2. Position the rotated object as required.

3. Press ‘P’ for Positioning Mode

4. Use the arrow keys on the keyboard to nudge the image into precisely the correct position. Alternatively, type in a Nudge value as above.

2.8. Improved Draw Arrow Command

2

The Draw Arrow command has been expanded to provide more arrow-head styles. This is particularly useful for adding measurements andinstructions to technical illustrations. It is now also possible to move the head of the arrow without distortion of the shape.

Status Assistant Move Command

.9. Enhance Vector option for Scale Print

The Enhance Vector option has been introduced intoScale Print so that vector images printed via this command retain the same high quality, smooth line asprinting via Print Window . Simply check the Enhance Vector option in the Scale Print dialog.

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2.10. Updated Vector Repeat Definition

For easier access to a previously little-known command, a new icon has been added to the Repeat sub-menu to Define Repeat Area for vector objects. The old Speedclick-only method is also still available.

1. Select the object/s to repeat (a).

(d)

(c)

(b)

(a) 2. In Repeat , select Define Repeat Area .

3. Click to indicate first corner of repeat, drag the cursor and click to indicate opposite corner of repeat (b).

4. Move the cursor in the required direction of the repeat (c).

5. By default, the repeat area is shown in repeat box outline format (c). To change the display from Outline to Preview press T on the keyboard. To show both the image preview and repeat box, press T again.

6. Click to finish and the repeated objects are displayed with the original still highlighted (d).

2.11. New - User-Defined Color Options for Node Selection

It is now possible to change the color used to highlight selected nodes useful for backgrounds where the default green does not show up well.

1. On the Mode toolbar, right click the Node icon .

2. Click on Selected Node Color.

3. Pick the required color from the list.

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3. TOOLS TO SUPPORT CREATIVE / TEXTILE DESIGN

3.1. Bigger Pen Size

The maximum bitmap pen size has been increased from 32 to 200 pixels in diameter. This is particularly useful for creating airbrush textures over a large area, or when working at high resolution where a thicker pen is required.

The Maximum Pen Size sub-menu has three settings ensuring that precise pen size selection is easy to control.

3.1.1 Set Maximum Pen Size

1. Click on the + symbol in the bottom right hand corner of the Pen Assistant.

2. Select the required Maximum Pen Size from the sub-menu; 32, 100 or 200 pixels.

3. When set to Max Pen Size 100 or 200, a red outline appears on the Pen Assistant to indicate the maximum size limit has been set higher than can be illustrated. The current max. pen size selection is indicated numerically (bottom left).

4. Use the slider bars as usual to set the size and shape of the pen.

Pen Size 200 in relation to Pen Assistant (NB illustrations are not life-size)

Pen Asst with max size set to 200

Pen Asst with max size set to 32

When the Maximum Pen Size is set to 100 or 200 pixels, smaller pen sizes can be more difficult to set. In this case, change the setting back to 32 pixels for precise control.

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3.2. New - Insert / Delete Line

Insert / Delete Line works in both Graphics Mode Knit Expert , speeding up workflow enormously – especially for linear designs such as printed stripes, dobby weave peg plans or jacquard knits - by making it easy to insert or delete rows or columns, allowing vertical and horizontal adjustments to be made to a design without having to move or redraw sections.

Two-stitch column Use Insert Column to create three-stitch column

1. Special Effects > Insert / Delete Line

2. Place cursor on design at the point where a line is to be inserted or deleted and click.

3. The Insert / Delete pop-up menu appears.

4. Select the appropriate option from the menu.

5. The line inserted will be identical to

6. the row or column to the right / bottom of the point of insertion.

7. Repeat to insert multiple rows or columns.

The software automatically re-sizes the surrounding Window to fit the new design.

3.3. Improved Texture Mapping

In both Indexed Color and True Color, Texture Mapping has been improved to provide a more accurate match to the original colors of the target fabric. It will also now map not just within a Window, but onto individual colors or groups of colors - ideal for illustrating fancy yarns in knitting, or simulating appliqué effects for example.

The sub-menu has also been improved and updated and it is now possible to read texture files directly from Read & Save as well as from the Drawing Area. Texture selections can now be saved into a designated Texture Library, making it easy to re-use groups of frequently used textures.

Texture Mapping has also been expanded to include a significant new feature - Texture Map Combo , which is explained later in the document.

To use the new Texture Mapping features:

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3.3.1 Define Textures

First, define the textures to be mapped. The texture can be any color; it is automatically converted to grayscale. Textures are stored in the Define Texture dialog for easy access without needing to take up space on the drawing area.

1. In the Special Effects menu select Texture Mapping .

2. Select Define Texture in the Texture Mapping sub-menu.

• To read a texture from the Drawing Area, first ensure it has a Window around it, then select Read Drawing Area Bitmap .

• To access files directly from the PrimaVision Read and Save menu, select Read & Save , now available as a sub-command of Texture Mapping .

3. Select Save to retain the selection as a PV Texture File (.PVT format) for future use.

4. Select Open to access a previously saved selection of textures.

5. Select the first texture to map by clicking on it. It will highlight blue.

6. Click on Exit.

3.3.2 Define Area to Map

3.3.2.1. Mapping Texture Over Whole Image

The ability to texture map the entire contents of a window is retained as before.

Just use the SHIFT key or Select Last Window or Select Last Windows to ensure the Window is correctly positioned around the image to be texture

mapped.

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3.3.2.2. New - Select Color Regions to Map

As well as the original ability to texture map all the colors in a Window, it is now possible to texture map onto a single color or selected groups of colors. This means some areas can remain completely untreated and a specific group of shades (such as a single yarn color in a knitted design) can be treated independently of the rest of the image.

1. To define the different color areas to texture map onto click Select Color Region .

(c) (b) (a)

2. Select Single Color Region for separate area(s) made up of a single flat color, (e.g. the blue and turquoise in example (a) above).

• Back in the image to be texture mapped, capture the flat color areas to be mapped by clicking to place the first corner of a selection box. Stretch the box across the colors required and click to place the last corner. The selected colors appear in the Status Assistant, where any unwanted colors can be deleted.

• Click Enough either on the tool bar or via Speedclick.

• The selected colors appear in the Select Color Region dialog as a series of single color boxes; see example (a) above where the turquoise and blue are selected (colors 1 & 2), but not the white.

3. Select Multiple Color Region for area(s) made up of multiple shades or colors that are to be mapped with a single texture such as a garment with shadows and folds (example (b) above) or a knitted yarn (example (c), where only the colors making up the red yarn have been selected).

• Back in the image to be texture mapped, capture the shaded or multiple-color areas to be mapped by clicking to place the first corner of a selection box. Stretch the box across the colors required and click to place the last corner. The selected colors appear in the Status Assistant, where any unwanted colors can be deleted.

• Click Enough either on the tool bar or via Speedclick.

• The selected colors appear in the Select Color Region dialog as multiple colors within a single box (see (b) and (c) above).

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4. When all colors have been selected, click Command End .

5. If any color regions have been defined in error, select them and hit Delete . Multiple color boxes for deletion may be defined using the Ctrl key, or

all colors may be selected for deletion by clicking on Select All , then Delete .

3.3.3 Optional step - Define Modifiable Palette

For both Texture Mapping and Texture Map Combo, the software generates new colors to simulate the textured effect. In Indexed Color mode, it will automatically allocate sufficient palette boxes for the new colors without overwriting colors currently used in the image Window. However, it may be impossible for the software to do this without overwriting colors that may still be required later.

To manage this scenario, use Def Mod Pal in the usual way to define areas of the palette that may be used to accommodate the new colors. (Details on how to use this feature are found in the User Guide).

3.3.4 Apply Texture

1. Ensure the required texture has been selected under Define Texture .

2. Us use the SHIFT key or Select Last Window(s) / to ensure the Window is correctly positioned around the area to be texture mapped. (Color Region selection also requires a Window area).

3. Select Texturize to execute the command.

The texture will be mapped to the target fabric in the region specified by the Window and on specific colors, if defined.

3.3.5 Viewing and Adjusting Results

The new Brightness Setting dialog provides flexibility in and control over the match between the original fabric and the final color effect after texture mapping.

In order to obtain the best results, it is important to first understand how it works; the software analyses the tonal values of the texture (the pattern to be applied) and applies these to the target fabric (the pattern to be mapped onto). There are three different options for achieving this:

• Lightest texture areas unchanged (darker on all except highlights):

This is the original setting used in software versions prior to V6R1. It applies the texture by darkening all areas of the target fabric except those covered by the lightest (i.e. brightest) tone in the texture; these areas stay the same colors as before. No part of the target fabric becomes lighter.

When to use: when the predominant color in the texture is also very obviously the lightest color, or in other cases, when a darker overall result is required. (Unless the texture has a high percentage of the lightest tone, this option produces the darkest result).

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• Highest % texture areas unchanged (best dominant tone match):

This setting applies the texture by lightening and darkening all areas of the target fabric except those covered by the highest percentage (i.e. most-used) tone in the texture. These areas stay the same colors as before.

When to use: where both the texture and (ideally) the target fabric each have an obvious predominant color. This setting usually produces the best color match to the original fabric as it retains the greatest proportion of original colors.

• Match tonal average (best overall tone match):

This setting calculates the average brightness (lightness / darkness) of the texture. It then identifies any areas of the texture that are lighter or darker than this average and uses these areas to lighten and darken the target fabric. It chooses degrees of brightness that result in the average of these new colors matching the average of the original target fabric.

When to use: for small scale designs and textures without an obvious predominate color area, this option will give the best overall color match to the original, though individual colors will of course be different.

This method is not recommended for most bolder designs since visually, it may not appear to provide the best match - even though the average color after mapping is technically matched to the average of the original.

• Slide bar: brightness settings may also be varied by moving the slide bar manually.

Original target fabric

Texture to map

Lightest texture areas unchanged

Highest % areas unchanged

Match tonal average

Texture Mapping – example results from Brightness Setting options

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3.3.5.1. Changing Brightness Setting

1. Ensure the Window is still around the image; if not use the SHIFT key or Select Last Window or Select Last Windows to rectify.

2. If you had previously exited the command, select Texturize to re-enter.

3. The Brightness Setting dialog box appears. Click on the required setting and evaluate the results on the image in real time.

4. Click OK to finish.

The Brightness Setting may be used in the same way regardless of whether a selection of colors or the whole Window contents has been mapped. However, it operates only within the current Window.

3.4. New - Texture Map Combo

An extension of Texture Mapping, Texture Map Combo is a new tool similar in operation to

Color Combo , but designed to cycle texture maps instead of colors. It is ideal for trying out different fabric textures while retaining the color of the original design, or for experimenting with different fancy yarn effects in knitting.

As with Texture Mapping, it may be used to create texture map combinations with single color(s) or with a group (or groups) of shades (e.g. in Knitting). It also utilizes the new Brightness Setting.

3.4.1 Preparing Image A different texture will be applied to each area of color in the target image. These can be defined as different areas in different colors, or different areas of the same color.

1. Read in an image and Fill with the required color-matched color(s).

2. Where the same color is required in multiple areas but mapped with different textures, it is necessary to define different areas as if they were different colors. To do this:

• In the Palette , Copy and Paste the required color to at least as many new color boxes as the number of different textures to be mapped.

• Fill each area of the image requiring a different texture with colors from different color boxes.

• Select all these different versions of the same color when defining color regions; several boxes of the same color will appear on the Status Assistant.

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When activated, Texture Map Combo will then apply a different texture to each area, even though they appear to have the same source color.

Fill multiple areas with the same color from different palette boxes to achieve multiple texture-maps on the same color.

3.4.2 Prepare Textures

If the textures are not to scale for the image, first resize them using Transform Reproportion and Photo Mode.

3.4.3 Define Textures

Follow the steps defined under Texture Mapping – See section 2.2.1

3.4.4 Define Color Regions

Follow the steps defined under Texture Mapping – See section 2.2.2

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3.4.5 Viewing Results

1. Use the SHIFT key or Last Window(s) / to ensure the Window is correctly around the image to be texture mapped.

2. Select Texture Map Combo to execute the command.

3. The familiar Combo interface appears.

4. Other operations are carried out in the same way as for Color Combo:

• Alter the number of options shown on screen by changing the number of rows and columns.

• Use the arrows to change the speed of viewing the various combinations.

• Freeze, Save, Print or Keep combos by right clicking on a combo to invoke the menu.

3.4.6 Adjusting Results

The new Brightness Setting options available under Texture Mapping also appear under Texture Map Combo. To access:

1. Right click on any Combo to invoke the Brightness Setting dialog.

2. Select desired Brightness Setting from the list. (See Section 2.2.5 above for details on how to use).

3. After adjusting the brightness, Freeze, Save, Print or Keep by right clicking on a combo to invoke the menu and selecting the desired option.

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3.5. New - Pattern Fill Combo

Pattern Fill Combo is another new tool similar in operation to the existing Color Combo , but designed to cycle Pattern Fills. Pattern Fill Combo is ideal for printed textiles, appliqué effects, the creation of jacquard weave or dobby peg plans or for viewing different fabric combinations within an outfit or collection.

3.5.1 Prepare Image

1. Open the file to be filled.

2. Fill each pattern zone with a different color. Any colors will do – this process simply differentiates between each pattern area; e.g. if both arms on a jacket are filled with blue then those areas will be filled with the same pattern; if the skirt is yellow, it will be filled with a different pattern to the jacket.

Unlike Texture Map Combo, there is no benefit in filling multiple areas in different palette boxes of the same color, since the actual color of the fill is not reflected in the Pattern Fill process.

3.5.2 Define Patterns

1. From the Fill submenu, select Pattern Fill Combo .

2. Select Define Pattern ; the Pattern Fill Combo dialog box opens.

3. To read a pattern from -

• The Drawing Area: ensure it has a Window around it, then select Read Drawing Area Bitmap .

• The PrimaVision filing system: select Read & Save under the Pattern Fill Combo dialog.

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4. The selected patterns are displayed in the Pattern Fill Combo dialog box:

3.5.3 To Save/Retrieve Pattern Selection

1. To save a selection of patterns for future use, select Save . This saves the group as a PV Pattern File (.PVP)

2. To open a previously saved selection of patterns select Open .

3. Repeat to define as many patterns as required.

4. Command End .

3.5.4 Viewing Results

1. Use Last Window(s) / to ensure the Window is around the image to be filled.

2. Click Pattern Fill Combo .

3. Click on the color areas to include in the Pattern Fill Combo . To leave an area unfilled, do not select its color.

4. Alternatively, right click to select the All Window Colors via the Speedclick prompts.

5. To remove colors from the selection, click on them where they appear in the Status Assistant.

6. Click Enough .

7. Click Pattern Fill Combo .

8. The familiar Combo interface appears.

9. Other operations are carried out in the same way as for Color Combo:

• Alter the number of options shown on screen by changing the number of rows and columns.

• Use the arrows to change the speed of viewing the various combinations

• Freeze, Save, Print or Keep combos by right clicking on a combo to invoke the menu.

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Red areas not selected soleft unfilled

Combos displayed in Pattern Fill Combo Window

3.6. New - Directional Pen

Directional Pen is a new creative tool that rotates the source pattern according to the direction of the pen when drawing. It has various options that stretch or shrink the image according to pen size and/or original image size.

Directional Pen is useful for adding trimmings or any kind of linear embellishment to garments - for example embroidery, crocheted edge, ribbon etc.

The Wacom Tablet and Grip Pen (stylus) are particularly useful for getting the most out of this feature.

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3.6.1 Using Directional Pen

1. Read in or draw the image to use as the source pattern.

2. Define Rectangular Window around the image. The size of the Window defines the space between motifs when drawing with Directional Pen .

For significant directional changes (e.g. a half-circle as opposed to a gently waving line) a square-ish Window shape is usually the most successful.

3. If the source pattern has an uneven edge, use Change Color to change the background to Box 0 and turn on SuperImpose ; this allows the directional pattern to be drawn on top of another image and allows the area surrounding the motif to overlap effectively.

4. From the Special Effects menu, select Directional Pen .

3.6.2 Setting the Scale

• Scale: 1:1: this is used where the source image is already the correct scale for the illustration. Like Pattern Pen, it retains the original motif scale and shows as much as possible within the chosen pen size, cropping any excess.

• Scale: Pen Size: when drawing, this option re-sizes the motif to a larger or smaller scale to fit the entire motif repeat to the current pen size.

When working 1:1 it is only possible to draw with the entire motif if the pen size is equal to the motif Window. If smaller than the motif Window, it will crop the motif; if larger, additional fragments of the source image will appear.

To draw with the motif at 1:1 scale, but avoid both cropping and additional fragments, use Horizontal orientation and the Pen Size option; match the pen size to the height of the source image Window – e.g. if the original image is 30x50 pixels, set the pen size to 30.

3.6.3 Source Image Orientation The Orientation setting in the Status Assistant changes the direction in which the source image is repeated. For something like a simple stripe this choice is just a matter of aesthetics, but for representing trimmings (e.g. ribbon effect below), setting the correct orientation is critical.

In order to understand the orientation, think of the direction of the source image - not the

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line – as the former is static and the latter can be any direction.

• Vertical keeps the repeat of the source motif vertical as it repeats it along the direction used to draw the line.

• Horizontal keeps the repeat of the source motif horizontal as it repeats it along the direction used to draw the line.

• Mirror turns the repeat of the source motif upside down as it tiles it along the direction used to draw the line.

Horizontal; the pen tiles the original horizontally in the

direction of the pen

Vertical; the pen tiles the original vertically in the

direction of the pen

Source images

Mirror; turns source motif

upside down

3.6.4 Application Examples

In order to create the lingerie trim illustrated below, the original motif is scaled appropriately to the garment using Scale: Pen Size / Orientation: Horizontal and SuperImpose ON.

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Although shown to scale in this document, the knitted garment is created life-size; in order to draw the life-size crocheted trim, the original motif scale is retained using Scale: 1:1 / Orientation: Horizontal and SuperImpose ON.

3.6.5 Drawing

3.6.5.1. Freehand

1. Draw freely, using normal movements to change direction; the orientation of the pattern will change with the movements of the pen or cursor.

2. Click Command End to exit.

Drawing straight lines

Drawing freehand

3.6.5.2. Straight Lines

Directional Pen includes an option to draw using the Line command.

1. From the Directional Pen sub-menu, select Line .

2. Click to place the first point of the line, change direction if required and click again to anchor the next point. The orientation of the pattern will change according to the direction of the line.

3. To finish, click Command End .

4. Click Command End again to exit the entire command.

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3.7. New - Bitmap Polygon Tool

Previously available only in Vector Layers, the Polygon drawing tool is now available in bitmap format, making it useful for all textile applications – print, weave and knit. The interface has also been updated with clearer language to identify points, sides and indent factors.

Designing a good star or polygon manually taking into account the correct aspect/ratio for weave density or stitch tension is difficult and time consuming. Like all bitmap drawing tools, bitmap Polygon works in conjunction with Ruler and Scale Setting to address this problem, calculating optimum stars and polygons compensating for stitch tension or weave density. (Details of Ruler & Scale Setting are available in the User Guide).

3.7.1 Using the Polygon Tool

Select Polygon from the Drawing Tools menu.

3.7.1.1. Drawing Flat Sided Shapes

1. In the Status Assistant, type the number of sides required into the Sides / Points option.

2. Click in the Drawing Area to position the center of the shape.

3. Drag the cursor outwards to set the size.

4. Click to fix shape and exit.

3.7.1.2. Drawing Star Shapes

1. In the Status Assistant, type the number of points required into the Sides / Points option.

2. Type in the Indent % requirement. (A higher Indent % means a sharper indent angle and sharper points. For example, 50% indents half way between center and points; 10% indents by only 1/10th of the distance between center and points and 95% indents almost to the middle).

3. Click in the Drawing Area to position the center of the Star.

4. Move the cursor outwards to set the size.

5. Click to fix shape and exit.

Outline or Solid can be selected at any stage until the shape is fixed.

3.8. Improved Repeat Pen

Repeat Pen becomes a powerful creative tool with a significant upgrade that the ability to work with Drawing Tools as well as freehand drawing, plus additional direction options. Half Drop / Shift Values saved with the current design Window are now automatically loaded into Repeat Pen and the interface is enhanced with a visual preview of the repeat effects available.

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3.8.1 Drawing Orientation Preview

The new Preview box uses icons to show the number and direction of strokes for each type of Drawing Orientation (previously Line Style). The new visual feedback makes Drawing Orientation quicker and easier to select, significantly reducing the need to test before drawing. For example, differences between 3 types of 4-point orientation - 4 point Array (a), Mirror & Mirror (b) or Diagonal and USD (c) - are now clear before drawing!

(c) (b)(a)

Half-drop factor automatically set Drawing

Orientation pick list

Preview

3.8.2 Array options

Drawing Orientation accesses the newly-named Array option; this provides up to 10 strokes, extending the previously available tools.

1. Select Array from the Drawing Orientation list.

2. Select the Array Factor from the pick list (from 2 to 10 points). The Drawing Orientation is illustrated in the Preview box.

3. Position the cursor in the Drawing Area and draw either freehand, or using the Drawing tools (see below). The drawing repeats across according the Array Factor set.

Array Set to 5

Cursor draws one part of 5 point motif, the others 4 repeats are generated automatically. Orientation

Orientation Preview

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3.8.3 Drawing tools for Repeat Pen

Five Drawing Tools have been added to the Repeat Pen sub-menu; Line (with Curve toggle), Curve, Rectangle, Ellipse and Polygon.

1. Select the required tool from the sub-menu.

2. Select the Drawing Orientation required and draw.

3. The shapes are repeated according to the Drawing Orientation set.

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3.9.2 No More Additional Colors

Previously, when using Reproportion in True Color Mode, additional colors were introduced all over, including previously flat-colored areas of the image. This created an anti-aliased effect, but made it difficult to certain types of editing (such as Change Color) afterwards.

This is no longer the case; colors no longer blend at all when the image is Reproportioned in Fast Mode, and in Photo Mode, colors are now blended only around the edge of an image - not all over a flat color area. These changes make further use of the image easier in True Color Mode – e.g. for creating colorways, etc.

3.9.3 Blending to True Color Background Layers

When using Reproportion in Photo Mode with a multi-layer True Color file, PrimaVision now detects the colors on the background layer(s) and blends the edge of the Reproportioned image with these colors. This avoids the previous ‘halo’ effect (which could occur when the top layer had a plain color background such as Black Box 0) and gives a smoother, more professional result. It is particularly useful for cut-out photographs overlaid on a new background.

By choosing Fast Mode, the image can be re-sized without blending to the background and without any halo effect (use

3.10. Improved Positioning for Rotate

Rotate in bitmap format now incorporates a Positioning Mode for precise positioning of the

rotated object similar to that of the Move and Copy commands.

Please see section 2.7.2 (under Vector) for details of how to use.

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4. IMPROVEMENTS TO SUPPORT PAGE LAYOUT

Several new features have been added to Layer Setting which help with identify layers and formats and change the way certain commands react with multiple layers. A new keyboard shortcut locates an image’s layer, and switches to it instantly; a group of images located across multiple layers can now be moved together; font type and color can be changed in multiple text boxes simultaneously and Special Effects and Filters take account of the layers behind an image.

The new features provide more information, cut out steps, speed up navigation and improve end results.

4.1. Clearer Layer Display

New features provide a more detailed, yet clearer, layer status display.

• A check box has been added to each layer tab to provide faster display ON/OFF functionality. Simply check /uncheck the box to turn the layer on / off. When OFF the layers are grayed out.

• Bold type highlights the current selected layer.

• New icons indicate Layer format and color type as Bitmap, Vector and Text Layers combined with either Indexed or True Color formats. Default names such as Bitmap 1, Vector 2 still appear, ready for customization by double-clicking the tab as before.

New Layer display check box / current

active layer (bold text)

Currently dis(boxes

4.2. New - Instant Lay

The software will now autominstantly, eliminating the neeidentified by the name tab.

1. Simply position the cursomarks on bitmap layers,

2. Press the TAB key on th

3. The layer containing the

Indexed Color Bitmap: True Color Bitmap: Indexed Color Vector: True Color Vector: Indexed Color Text: True Color Text:

Layer switched off (box un-checked, layer

greyed out)

played Layers checked)

er Identification

atically identify the layer containing a specific image and switch to it d to turn layers on and off in order to find images that cannot be

r over the image sought. (Do not click. In order to avoid unwanted this feature is designed to work without clicking).

e keyboard.

image will become the current layer, displaying a bold title.

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4.3. Pick Colors on Other Layers

The ability to pick a color from the Drawing Area by placing the cursor above it and hitting the Spacebar now allows colors from other (i.e. not current) bitmap or vector layers to be identified and picked from the color palette.

This feature is not available when working in Text Layer.

4.4. New - Multi-Layer Move

Bitmap images, vector and text objects can now be moved together across multiple layers using a new tool - Multi-Layer Move . This eliminates the need to move each item independently on its own layer.

1. Define Rectangular Window around the group of bitmap images, vector or text objects to be moved.

If the Text Box does not appear in the move preview, check it is properly contained within the Window; only text boxes contained within the Window are included in the Multi-Layer Move. It is therefore is useful to get into the habit of creating text boxes tight to the text area required (or neatly aligned to key images such as palette boxes, where a text box might be there to name a color).

2. Select Move, Multi-Layer Move .

Selected layers

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3. Indicate which layers to include in the move:

• The current layer tab is automatically selected. Its name turns blue.

• Select the other layers by holding down the SHIFT key on the keyboard and clicking each layer tab. Each selected layer name also turns blue.

• Where an image is not to be moved with the others, do not select its layer.

• To de-select, simply click the same layer tab again. (The name returns to black).

4. When all required layers are selected, drag the cursor to the new location. A selection preview is immediately attached to the cursor. If anything is missing, revise window or layer selection now because…

Once the position is fixed, there is no Undo in Multi-Layer Move.

5. When satisfied with both selection and location, place in new position and click. On moving the cursor again, the images will remain in their new position, but a copy will also still be attached to the cursor: this allows for repeated re-positioning.

6. Click Command End to fix the position and exit the command.

4.5. New Features for Text Layer

Changes to Font Style and color can now be applied to multiple text boxes simultaneously as well as individually, helping to speed up formatting of layout pages and templates.

4.5.1 Change Font Style

1. Select the text boxes to change, either by clicking and holding down the SHIFT key on the keyboard or using Select All .

2. To make changes to the font type, size and style, click on the new Select Font icon on the main tool bar.

3. Select the required font, size, etc from the lists.

4. Click OK.

5. The font changes are applied to all selected boxes.

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4.5.2 Change Font Color

1. Select the text boxes to change, either by clicking and holding down the SHIFT key on the keyboard or using Select All .

2. Click on the new Change Color icon on the main toolbar.

3. Select the new color from the palette; as the cursor rolls over the colors in the palette, the selected text boxes show the color change real-time. Click to confirm the new color. (Unlike Change Color in other parts of the software, there is no ‘Change From’ indicator and it is not possible to select a new color from the Drawing Area).

4. The font color change is applied to all selected text boxes.

4.5.3 Select Last Window for Text Layer

Last Window / Select Last Windows have been added to the Window command group in Text Layers. Although this is of no direct use when working with the text itself, it is helpful for recalling the last window size for Saving, Printing or Moving groups of images located on various layers.

4.6. True Color Layers

4.6.1 Improvements to Special Effects

4.6.1.1. Smoothing

Smoothing now detects colors on layers behind the current layer and smoothes at the edge, blending the image to the whole background as opposed to the current layer only. This results in more control over the image and no unwanted black edges.

4.6.1.2. Filtering

All Filtering commands such as Averaging, Blurring, Embossing etc. now detect colors on layers behind the current layer and use them to blend with the image being treated.

4.6.1.3. True Color - Brush Effects

Whereas in previous versions Airbrush, Crayon and Pencil brush effects in True Color Mode would blend their edges to the background color on the same layer only (giving a black edge when working on a transparent background), these options now detect colors on layers behind and blend in at the edges.

4.6.2 Layer Setting Dialog Box

Under the new Color Management workflow, the Adjust Color ON / OFF option in the Layer Setting dialog box has been removed as this feature is redundant.

Where spectral data is present, users with Color Match Option should consult the separate documents Color & You, Color and PrimaVision and PrimaVision Color Upgrade Training Notes for further detail on how to manage colors between Indexed and True Color Layers.

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4.7. New - Guide Lines

This new feature provides user-defined guides to help with page layouts and templates. Working in conjunction with Grid Settings, Guide Lines do not appear on the printout and do not interfere with the Design process. They include snap-to options for faster more accurate image positioning, may edited at any time and can also be saved and retrieved with the file for future use.

This easy to use new feature speeds up the entire layout process and dispenses with the need for complicated page templates, additional layers and having to remember to make changes prior to printing.

4.7.1 Creating Page Template With Guide Lines

1. Right click on Grid / Guidelines to invoke the Grid / Guide Line Settings menu.

Top: Guide Lines menu

Right: page layout using Guide Lines auto-centered Vertically & Horizontally, plus Free-Aligned for top & bottom palette boxes

2. Select either Add Horizontal or Add Vertical.

3. From the sub-menu select one of the following options to position the Guide Line:

• Free Align allows the line to be positioned anywhere in the Drawing Area. Simply move the cursor onto position and click to fix the line.

• Center on Window automatically places the line in the center of the current Window (which may be different to the Drawing Area size).

• Center on Drawing Area automatically places the line in the center of the current Drawing Area.

• Numerical allows precise positioning by typing in a numerical value for ruler measurements or pixel position.

• Repeated: checking this option allows the line to be repeated at regular intervals – e.g. every 3 inches or every 10 centimeters.

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Unit Pick list

• Measurement unit: to change this, click on the measurement unit box and select from the pick list.

4.7.2 Switching guide Lines On / Off

1. Right click on Grid / Guidelines to invoke the menu.

2. Click on Guide Lines to turn on and off; the option is checked and unchecked accordingly.

4.7.3 Moving Guide Lines

1. Right click on Grid / Guidelines and select Move from the menu.

2. In the sub-menu select the type of Move required (Free Align, Centre etc.).

3. Click on the guide line to be moved.

4. Use the positioning options for moving in the same way as for adding.

4.7.4 Deleting Guide Lines

1. To remove individual Guide Lines, select Delete.

2. Click on the Guide Line to be deleted; it will be instantly removed.

3. To delete all lines, select Delete All.

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4.7.5 Using Snap To

The Snap To option makes it easy to align window contents to the Guide Lines.

1. Right click on Grid / Guidelines to invoke the menu.

2. Click on Snap To in order to activate / deactivate it; the option is checked and unchecked accordingly.

3. Using Move or Copy , simply drag the Window near to the relevant Guide Line(s). As it gets close it will automatically jump to align against the Guide Line(s). Snap To works in any zoom mode.

4.7.6 Customizing Guide Line Settings

1. Select Grid / Guide Line Settings from the bottom of the Grid / Guidelines menu.

2. Check the Guide Lines box to switch the display on and off and view results of settings.

Grid / Guide Line Settings

Switches Guide Lines

display on/off Changes the color of Guide Lines

Saves the current settingas Default. Saves the current guide

lines with the file for future

4.7.6.1. To Change the Color

1. Open on the drop down Color menu and select the color required.

2. Click on Apply and the new color is immediately used on existing and future Guide Lines.

3. Click OK to save the settings and exit.

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4.7.6.2. Save Guide Lines With File

Once a document has been set up with Guide Lines, it is possible to save them automatically with the file for future use.

1. Click on the Save with File check box.

2. When the file is next read in, the Status Assistant will show various options for displaying Guide Lines:

• Use New Guide Lines uses the Guide Lines saved with the file.

• Use Old Guide Lines uses the Guide Lines in the current drawing area instead of the Guide Lines saved with the file.

• Merge Guide Lines combines both the current and saved Guide Lines onto the current Drawing Area.

3. Click OK to save the settings and exit.

4.7.6.3. Save Settings As Default

Check Default Setting then Apply and OK to save settings and exit. Next time you go to create a new set of Guide Lines, the current options will automatically apply.

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5. PRINT EXPERT

Print Repeat has been re-named Print Expert and enhanced with sophisticated new design tools.

5.1. Layers for Print Expert

Print Expert now works in conjunction with Layer Setting, making it possible to create complex print designs in a far more convenient way. It provides many advantages and a few limitations:

• Advantages

o Reproportion or Move motifs on different layers before fixing repeat.

o Experiment by adding new images on top of or behind the current design without compromising the existing layout.

o Change order of images by moving layers up and down – in repeat format.

o Works with all graphics / image creation tools.

o Use Change Color on one layer without affecting elements with same color on other layers.

o Works with Repeat Window to reveal overall repeat effect.

• Limitations

o Repeat Expert works with Bitmap Layers only.

o All layers must use the same size window and the same repeat type (tiled or half-drop, or half-shift).

o The Adjust Repeat command is best used on one layer only. This is because by definition, using Adjust Repeat to change the position of the images changes the repeat spacing and thus the Repeat Boundary, so any images which cross the current window boundary on other layers will be cropped or exploded. In practice this means:

Once images have been put into repeat or cross the Repeat Boundary on one layer, the Repeat Boundary must not be resized (i.e. do not use Adjust Repeat) on any other layer.

The yellow Window, defining what is referred to in this document as the Repeat Boundary, must not be resized on the original layer once more than one layer has a repeat or motifs crossing the Repeat Boundary.

Repeat Boundary shown as yellow Window at the centre of the Repeat Grid (in gray).

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There are many ways to use Print Expert with Layers; the following is an example workflow which, after setting up the layers and entering the Print Expert module, can be varied by the user.

5.1.1 Prepare Main Motifs and Layers

1. Set up multiple bitmap layers in Graphics Mode (this cannot be done in Print Expert).

2. Draw or read the main design motif(s) into one of the layers (identified in this document as the dominant repeat elements / layer).

3. If the current Window size is inappropriate, use Define Rectangular Window to indicate the repeat area required.

4. Add other motifs and repeat elements to other layers if desired, but take care to heed warning:

If reading in new motifs, ensure they are placed well within the Repeat Boundary or they will be cropped when the dominant repeat elements are arranged. If the new images are too large for the current repeat area, either enlarge the repeat

area or open a New Drawing Area , read in the image(s), re-size and Save As new file(s) before adding to the existing design in the other drawing area.

5.1.2 Arrange Dominant Repeat Elements

1. Ensure you are on the dominant repeat layer (confirmed by its name being highlighted in bold text).

2. Open the Print Expert module; the software immediately tiles the window

contents into a repeat and opens the Adjust Repeat dialogue.

3. Use Adjust Repeat to position the dominant repeat elements; set required repeat parameters as usual (Half Drop, Half Shift, Back /Front (B/F) overlap, Grid On/Off etc.) and close the dialog to exit (see example 1).

This function moves motifs on the current layer only, but remember, it creates a new Repeat Boundary after doing so; it is therefore important to use it early in the design process before the repeat is set up for other layers, or images on those layers will be cropped.

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4. Continue to read in new images or draw as required to develop the design. For

example, draw freehand, or use Drawing Tools , Repeat Pen , Directional

Pen etc. or , Copy , Move , Rotate and use Special Effects to build up a design in the usual way, seeing the images evolve in repeat format.

5.1.3 Edit / Adjust Remaining Layers

1. Change order of layers if required.

As in Graphics Mode, navigate between layers using the layer tabs. Drawing and editing on one layer allows you work over the top of, or behind, the motifs on another layer, but in Print Expert the images are displayed in repeat format. Changing the order of the layers naturally changes the repeat effect – see examples 2-3.

2. Add more layers, or continue to add to or edit images to build the design – see examples 4-6.

When first selected on one layer, Adjust Repeat sets all the other layers to the same repeat setting (Tiled, Half Drop or Half Shift) by default. While it is technically possible to set up different repeat types on each layer, this is not recommended as it is then impossible to set up a single repeating unit accurate across all the layers.

1. Dominant motif set to half

drop repeat… 2. Add leaves on separate

layer above… 3. Move leaves behind

flower…

5. Detail: drawing new leaf over Repeat Boundary line

(shown in yellow).

4. Add more leaves. As dominant repeat motif (flower) is set up, leaves can now use the same Repeat Boundary – and cross the boundary line.

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6. Distribution and location of leaves changed; two additional layers added with small flowers

and yellow dots

7. Use Repeat Window to view all-over effect

5.1.4 Check Overall Effect

Use Repeat Window for viewing the overall design at small scale; right-click on the Repeat Window itself to enlarge or reduce the zoom ration. It works with the layers and is invaluable for spotting banding and adjusting the design before making a full-scale digital print or traditional strike-off. See example 7 above.

Repeat Window can be set up at any stage of the design process. It uses the current layer’s repeat format and updates if the Adjust Repeat command is used to change image positions. The results of drawing, copying, moving etc. are shown in real time.

5.1.5 Save the File

Save the file in Repeat Expert to ensure it is saved with its layers and repeat settings in order to be re-loaded and edited later.

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5.1.6 Prepare File for Other Applications

When the repeat is finished, go to Graphics Mode > Layer Setting and Combine the layers for use in pattern filling, etc. Use Save As to save it as a separate file to the one with the layers.

5.1.7 Editing Existing Multi-Layer Repeats

1. In Graphics Mode read in the file, then open Print Expert .

2. If there is an existing repeat area, the system will prompt with repeat area options; choose Create new repeat area.

3. The current layer will be shown in repeat automatically, whereas the other layers will

not. Click another layer, click on Repeat Area > Adjust Repeat ; the layer will then be shown in repeat format. Hit the ESC key to close the Adjust Repeat dialog and repeat for each layer in turn.

4. Edit as required using drawing tools, copy move etc. but…

…remember the Adjust Repeat restriction described under Limitations (section 5.1.) and the usage warning in section 5.1.1.

5.2. New - Tonal Color Combo

A new tool similar in operation to the existing Color Combo , Tonal Color Combo cycles tonal colors rather than just flat colors. It is invaluable for recoloring half tone prints or quickly simulating colorways on scanned prints, knits and weaves, without the need to ‘flatten’ or vastly reduce the number of colors first.

5.2.1 Background Information

In this context, tonal images may be broken down into two categories, which for identification in this document are referred to as follows:

• ‘Photographic’ – for example, a scanned image such as a print, knit or weave that has not been ‘flattened’ or ‘cleaned up’ and thus retains all the textures, colors and gray tones picked up by the scan. It might also be a photo-based print design, a texture-mapped image or a tonal bitmap image of a CAD-generated knit or weave.

In order to create colorways, this type of image is broken down into composite color tones plus grayscale tones.

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• ‘Clean’ - for example, a scanned design that has been color-reduced or ‘cleaned’ or a CAD-originated print design. Either would comprise only the colors or screens required for manufacture, without additional information such as fabric texture. Gray tones are only required in this type of image if the color gray is used in its own right.

The objective of Tonal Color Combo is to create colorways of either type of image or a combination; it therefore has the tools to accommodate both scenarios.

The Auto-Separation tool identifies the colors (or hues) within an image and separates them into different groups according to the number of different color tones specified by the user. Gray tones however, cannot be allocated in this way as they lack hue values; they must therefore be allocated separately. Auto-Separation therefore includes a sub-command, Grayscale Tolerance, which enables the user to specify a wider or narrower range of gray tones to allocate either to color tones, or to a separate set of gray tones.

All the color and grayscale tones are then displayed as a set of ‘image separations’, showing the relationship between each part of the design and the tonal group to which it has been allocated.

• A ‘photographic’ image will include the obvious colors used in the design, a grayscale separation, plus there may be additional tones and colors; these can be grouped with the more obvious colors if required.

• For a ‘clean’ image, the tones defined will usually appear to correspond to the separate screens that would be required in the traditional printing process, plus the substrate.

This is only a representation; Tonal Color Combo’s Auto-Separation does not create ‘real’ separations; this functionality is found in the optional professional color separation module, PrimaVision Print Mask Film.

5.2.2 Define Color Areas

1. With the design to recolor on screen, select Tonal Color Combo from the Color menu. The Define Tones dialog appears:

2. Select Auto separation to identify the different tonal color groups used in the design. First, set the viewing parameters:

• The image can be viewed either in its original colors, or using flat, bright colors via the Enhanced Saturation check box to make it easier to identify the different tonal color groups. This helps in deciding whether the different colors have been correctly identified. The objective is to define the minimum number of tonal color groups whilst retaining the closest possible match to the quality of the original image.

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• To enlarge the Auto Separation dialog box, click on a corner and drag the cursor, or use the Windows Maximize icon. The box will enlarge, magnifying the design. It may also be zoomed up using the Zoom check box and slider bar. To navigate around a zoomed image use the vertical and horizontal slider bars on the image preview windows.

The user-defined display parameters become the default next time the command is used.

Separated imageSeparated image

Tonal Color Groups Grayscale tolerance

Original image

Zoom function

Display sperated image with enhanced saturation OFF Display sperated image with enhanced saturation ON

3. Set required number of Tonal Color Groups numerically, or via slide bar.

Notes:

• Aim to have the number of tonal color groups match the number of ‘real’ colors in the design, unless you specifically want to see the design with more or fewer colors than the original. Don’t forget small details such as flower stamens that may require a different tonal group to retain the character of the design.

• On a ‘photographic’ image where colors have not been cleaned up, the tonal color groups will be mixed.

4. Use the Grayscale Tolerance option to control the selection of white, black and gray tones.

• Sliding the bar to the left decreases the tolerance, reducing the number of grays allocated to a separate grayscale set of tones (and therefore allocating them to the nearest group(s) of color tones.

• Sliding the bar to the right increases the tolerance adding to the number of grays allocated to a grayscale set of tones (so therefore fewer gray tones are allocated to group(s) of color tones.

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For a ‘photographic’ image, the objective is to adjust the grayscale until the closest possible match to the original is achieved. For a ‘clean’ image, without gray as a color in its own right, either set it to 0 to eliminate all grays, or adjust the tolerance until the desired range of grays has been allocated to other color tones.

Gray Tolerance = 50; shows shadows and folds, but keeps print colors pure.

Gray tolerance = 50

Scanned image that has been partially cleaned, but still retains gray tones required to keep the image looking ‘real’.

5. Click OK to open the Define Tones dialog and view the separations.

Gray tones (includeswhite)

Tonal Color Groups

Notes:

• If the number of Tonal Color Groups are defined as three, then four ‘separations’ of the existing design and colorway will appear – the three tonal color groups defined, plus the single set of gray tones defined in Grayscale Tolerance.

• Any additional tonal groups added (i.e. those not already existing in the design), are represented as color blocks. However, if newly-defined colors also happen to appear in the existing design, they are shown as separations, not color blocks. (If these color areas are small, it may be hard to identify them – for example this may be caused by a few dots accidentally placed in the original design).

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5.2.3 ‘Extra’ Tones

Sometimes an ‘extra’ tonal color group is detected by the software that at first glance appears incorrect. These extra tones will appear in the Define Tones dialog as either a plain black box or a few dots of color on an otherwise black background. They results from the software identifying small areas of color in the design that do not fit in with the other tonal color groups identified. They may represent details that are genuinely required to maintain the integrity of the design. Alternatively, they could be areas that are too small to see easily with the naked eye such as scattered dots that do not constitute a valid group of tones in their own right; such colors may be reallocated to another tonal color group if required.

5.2.3.1. Eliminating Extra Tonal Color Groups

First, identify the area(s) of the design creating the extra Tonal Color Group(s) in order to confirm whether they should be merged with another group.

To achieve this, check the Zoom option and maximize the window, then scroll around the image. Selecting and de-selecting the Enhanced Saturation option also helps identify the location of scattered dots.

Using Zoom helps identify some stray yellow dots that will cause an additional (unnecessary) tonal group

1. Select the Tonal Color Groups to be combined (click + Ctrl key highlights selected tonal groups in blue). In this example, two sets of green (leaves) are combined.

+

2. Click on Combine Tonal Color Group .

3. A confirmation message appears; click OK to proceed.

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4. The selected groups are now merged into one.

5.2.4 Excluding Areas of an Image

1. To keep certain colors unchanged in the colorways (e.g. the substrate or a background color), click on its tonal color group (e.g. white in the illustration above) and Delete . This also applies to any grayscale tones which may be required to remain gray for all colorways.

2. The deleted tonal color group will now remain unchanged during the Combo process.

5.2.5 Viewing Colorways

Tonal Color Combo has 4 different color options (Modes) for producing different types of colorway, depending on the colors to be cycled and the effect required. The user may either cycle just the tonal groups found in the existing screens, or, by adding colors to the Define Tones dialog, may define new tonal groups to substitute for those in the existing colorway.

5.2.5.1. Creating Colorways With Existing Colors Only

1. When the tonal groups have been created, click Tonal Color Combo in the Define Tones dialog box.

2. To rotate the original tonal groups only, change the Mode to Combo – Use Existing Colors.

Mode = Combo – Use existing colors

3. The colors are cycled around the image using the hues and values found in each set of tones used in the original image.

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The Use Existing Colors mode does not create new tones to match intensity or value; it uses all colors as they are. It is therefore advisable to avoid adding new colors from the palette when using this Mode as new colors will be displayed as solid color areas within the design as opposed to tonal images.

5.2.5.2. Creating Colorways With New Graduated Shades

1. To pick more colors from the palette to add to the design, click Add Tonal Color Group .

2. The Color Palette appears. To define the new graduated shades, work in a similar way to the Color Spread command: select two tones (one light, one dark) to represent a color to spread from and a color to spread to. The selected colors will be verified by a check box ; to de-select, click again on the relevant color.

The software will calculate the graduation from light to dark to match the number of shades in the original design.

For best results go to Color Chooser , Color Palette or Color Library and pre-define sets of two new tones that closely match the intensity/value

of those on the original colorway. For example, the original tonal image illustrated in this document includes a blue rose with HSV values of S20% / V100% (light blue) and S68% /V 60% (dark blue); the light and dark tones of the new tonal group will work best where they reflect similar intensity values.

• Where the intensity between the two colors differs from the original, the character of the motif will too – see colorway 1 below; the pink and pale blue shades (rose) and green tones (leaves) are similar to each other in intensity/value when compared to the contrasting tones of the original blue rose and green leaves.

• In colorway 2, the red & yellow have been ‘spread’ to create shades of orange, but the contrast between them means the new rose emulates the contrast of the original. The blue tones of the leaves came from the original separation of the rose, so again the intensity is similar between the original and the colorway.

• Colorway 3 has been created by selecting high contrast tones lilac/purple (rose).

3. Click Enough . The selection appears as a pair of colors in the Define Tones dialog (see illustration overleaf).

4. Repeat the color selection process above as required.

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5. Click Tonal Color Combo in the Define Tones dialog box.

6. To view the new colorways, change the Mode to Combo – Color Spread

If one of the other modes is selected the new colors will not have a tonal spread from one to another; instead each will be displayed as a single flat color according to the current Mode in use – which may look unsatisfactory.

Original image

Colorway 1 Colorway 2 Colorway 3

Top: 3 old sets (separations) and 3 new sets (color blocks) of colors indicated for color spread. Right: some of the results.

Mode = Combo – Color Spread

5.2.5.3. Creating Colorways Through Hue / Hue and Value

As the operation for these two options is the same, and the differences in the result are subtle, they are explained together to allow for easy comparison.

1. To pick more colors from the palette to add to the design, click Add tonal color group .

2. The Color Palette appears; select a new color to use in the colorway.

3. The selected colors will be verified by a check box; to de-select, click again on the relevant color.

4. Click Enough . The selection appears as single color box in the Define Tones dialog (see below).

5. Repeat the above until sufficient new colors (hues) have been defined.

6. Click Tonal Color Combo in the Define Tones dialog box.

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7. To view the colorways using new hues, change the Mode to Combo –

change hue or Combo- change hue and value.

• Combo – Change Hue retains the original image values (i.e. the light / dark tones) and applies them to the new colors, changing only the color (or hue). For example, where the original is a pastel print and the new colors chosen are bright, the software will generate pastel versions of the bright colors to match the tonal values of the original; thus bright magenta would become pale pink, royal blue would become baby blue.

• Combo – Change Hue and Value changes both the hue (color) and value (lightness/darkness), matching them to the new colors, not the original design. Therefore, if the original design was pastel and the new hues are bold, the colorways will include new bold hues, but will still retain a tonal format. Depending on the colors selected, this can produce an ‘Pop Art’ effect where some colors may appear to be very bright compared to the look of the original image.

Mode = Combo –Change Hue and Value. Note the much bolder orange, matching the tonal image to the new hue,

rather than the tones of the original image.

Mode = Combo – Change Hue. Note the subtle tones of the orange, which have become shades of brown

matching to the original tonal ratio.

Original designDefine Tones dialog with original tones (3 x screens) plus 3 x single colors defined

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6. KNIT EXPERT

6.1. User Defined Structures

Under Read and Save in Knit Expert there is a new option to save a file in Knit Structure Library Format. This enables user-defined structures to behave in the same way as the stitch structures provided in the library; they are visible in Read and Save as monochrome thumbnails and thus easily identifiable. When read into the Drawing Area, these structures take on the color and tension currently set in the Drawing Area.

This makes it far easier for designers to expand and customize the Knit Structure Library. Previously, user-defined knit files could be saved, but the thumbnail appeared as a plain color box in Read and Save. It saved structure and tension, but the structure could not be seen and when re-loaded, it would bring in its own tension and color, changing the settings for the file currently in the Drawing Area).

6.1.1 Save in Knit Structure Library Format

1. Create the structure on screen ensuring the structure is in a single or whole multiple repeat unit.

2. Read & Save , Save As.

3. Check the option Save in Knit Structure Library format.

4. Click on Save to proceed.

=

Notes:

• When overwriting existing knit files, the option Save file in Knit Structure Library format is also offered.

• When saving a file using the Ctrl + S shortcut, the existing file is overwritten with the original settings, i.e. if Save in Knit Structure Library Format was checked when first saved the file will retain this setting.

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6.2. New - Thin Yarn Library

A new library of ‘thin yarn’ or ‘loose knitting’ structures has been introduced to offer an alternative to the existing yarn style.

6.2.1 Drawing With Thin Yarn Stitches

1. Right click on the stitch in the palette to change from the default icon to either front or back thin yarn stitches.

2. Draw freehand or using the Drawing Tools as normal. Thick and Thin yarn stitches may be combined in the same design.

Normal stitches

‘Thin Yarn’ stitches

When changing an area of knit (e.g. a stripe) from a normal yarn to thin yarn it is

necessary to Fill the relevant area as opposed to using Change Color .

6.2.2 Thin Yarn Structure Library

The Knit Structure Library now includes a library of thin yarn structures for use with thin yarn knitting. These new structures are accessed in the usual way through Read & Save

and behave in the same way as the thicker yarn structures.

The Thin Yarn Library includes Tuck, Miss, Cable and Fully Fashioning Marks.

6.3. Improvements to Casting

The Casting function now has its own dialog window.

There are 2 new options under Style, providing a choice between Thick Yarn and Thin Yarn. Otherwise, operation is the same as before.

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6.4. New - Draw Polygon in Stitches

The Polygon drawing tool is now available in Knit Expert Stitch Display, enabling the software to calculate optimum stars and polygons automatically, compensating for stitch tension. This eliminates the need to create a polygon in vector and then combine it to bitmap in order to bring into knit, or to manually Reproportion it to fit with knit tension.

Please see section 2.8 for details of using Polygon tool in bitmap; operation is the same for Stitch Display mode.

Star and Polygoncreated directly in

Knit Expert withcorrect Aspect Ratio

for stitch tension.

6.5. Stitch Count on Ruler

The ruler now includes the option to display stitch count as well as measurements, making it easier to navigate around larger designs such as Intarsia.

1. Right click on Ruler .

2. Select Stitches from the list.

6.6. Overlay Grid in Knit Instruction Mode

Under Grid / Guidelines , Overlay Grid is now visible under Knit Instruction Mode, offering the option to work with a graph paper style grid on screen. This is particularly useful for jacquard and intarsia design.

The overlay grid is not available under Stitch Display Mode .

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6.7. Scale Print – Line number origin

A new Option has been added to the Scale Print dialog to print line number origin Bottom Right – particularly useful for hosiery design.

1. Select Instruction Display. Ensure Window exactly fits the boundary of the image.

2. Go to Print Scale Print .

If image is not in Instruction Display mode, the Line Number options are grayed out in Scale Print . To get around this without closing the command, select a Grid option (White Grid / Black Grid) under Printout Style and the Line Number options will then become active.

3. Select the appropriate option.

4. Click OK to print.

6.8. 1 : 1 Knit Stitch

1:1 Knit Stitch now predicts the technical outcome of the operation, instead of simply activating the command without warning or feedback.

The new information box displays final image size, number of stitches, etc. This allows the designer to make decisions at an earlier stage in the design process as to size and image clarity. For example, if a very low stitch count is indicated, it is possible to predict an unsuitable outcome and take steps to prevent it such as enlarging the desired image or selecting a higher tension.

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6.9. Black (box 0) in Knit

Black (box 0) is no longer recognized as a color in Knit Expert. This provides numerous operational advantages and affects three areas of the Knit Expert application:

6.9.1 Keep Stitch

When using Keep Stitch , any areas where the color is Black (box 0) will no longer be shown as ‘invisible’ black stitches in bitmap. The software assumes that these areas have been left blank and fills them with solid black making it easy to change the background color. This avoids the previous process of manually changing all the composite stitch colors to a single color.

6.9.2 Use With Technical Limitations

This refers to a new feature explained in section 9.1.1 When setting Technical Limitations for Total Number of Colors, Black (box 0) is not counted as a color.

6.9.3 Transfer to Steiger Knitting Machine Interface

Black (box 0) is not conveyed as stitch information to the Steiger interface meaning that fully fashioned panels are transferred accurately.

6.10. Steiger Knitting Machine Interface

An alternative Knit Structure library has been created specifically for use with the Steiger Model software that controls the Steiger knitting machine.

Changes have also been made to Steiger Model software itself, to ensure that all stitches and structures exported from PrimaVision in the .PKS format are correctly interpreted. In addition, PrimaVision can now import a bitmap file from Steiger, useful for creating variations on existing Intarsia, jacquards and shapes. Stitch structures (cable, lace etc. as opposed to color-only designs) can be communicated from Knit Expert to Steiger, but not the other way round.

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7. PANELSPEC

7.1. Weight Calculations

A new option has been added to input the known weight of either a panel or swatch. The software then calculates the weight of the rest of the panels automatically; information which can be used for costing.

7.1.1 Input Known Weight of Panel

1. In the Options menu select Input Known Weight.

2. Where the weight of a full panel is known, select Panel Weight and select the panel name from the pick list.

3. Type in the precise weight. Change between Ounces or grammes by selecting from the pick list.

7.1.2 Input Known Weight of Swatch

Where the panel weight is not known, a swatch may be used instead.

1. Select the Stitch Weight option.

2. Enter the number of stitches in the sample swatch.

3. Enter the weight.

4. OK.

7.2. Lengthwise / Waistband Stretch Tension

New features have been added to define the elasticity of each panel, excluding the waistband as well as for the waistband itself.

1. On the Information tab, select the Style sub-tab and then click on Different Tension.

2. Click on the Selection icon .

3. Enter the inch per unit (stitch).

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4. Click on OK.

5. Repeat for each panel.

7.3. Casting Properties

A new option 1-1-1 has been added to Casting Properties for fine casting.

1. In Options activate Advanced Editing.

2. On the panel image, right click on the line to which the casting rule will apply.

3. Select the 1-1-1 style from the list.

7.4. Line Schemes

A new dialog box has been added to allow users to add comments to the instructions.

1. In Options activate Advanced Editing.

2. On the panel image, right click on the line to which the comments will apply.

3. Type in the comments as appropriate

4. Click the check box to apply to all sizes.

5. There is also a check box to specify Target Knots.

6. Click OK.

7.5. Knitting Instructions

A new instruction has been added to calculate from the neckline.

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8. WEAVE EXPERT

8.1. More Stripes

The maximum number of yarn color sections or stripes (not warp / weft count or threads) has increased dramatically - from 200 to 2000 to 4000 or more, depending on hardware specification (RAM).

The main advantage of this is that it is now far easier to design very large and / or complex repeats such as tablecloths and duvet covers or to create complex warp/weft patterns with numerous small stripes and multiple repeat areas for production on double-width looms.

The software has been tested extensively up to 2000 stripes on a system with 512Mb RAM. It is also possible to go much larger; the example below was created on a system with 1Gb RAM and consists of 4,160 warp stripes and 14,000 threads in the warp for a single repeat. The example above could have been made even larger; however, above 2000 stripes, it is impossible to say exactly how large a design can go as the stability of the system is dependent on the amount of RAM. For this reason we recommend the user to test a sample on their own system before committing to a large and complex design.

8

Ty

Tsle

.2. Ruler Display

he ruler can now be set to display the warp / weft count - useful for counting the number of arns used, especially on large designs.

o toggle between warp/weft count and inches/cm display, imply right-click the warp/weft / inches/cm box to the bottom ft of the ruler.

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9. UTILITIES

9.1. New - Technical Limitations

This new option allows the user to set Technical Limitations for Jacquard knit or weave and Intarsia designs, such as the maximum number of colors per design or per row and maximum float length. Once the limitations are set, the software alerts the designer if the restrictions are exceeded, enabling commercially viable designs to be created with less manual checking and helping to speed up workflow.

It is designed to work in Knit Expert > Stitch Display or Instruction Display for

knitting; in Graphics Mode for use with a dobby weave peg plan and in conjunction with

Ruler and Scale Setting for use with a jacquard weave point paper graph. In this document, it is illustrated with a knit structure.

9.1.1 Setting Technical Limitations

This function is window-dependent, so ensure the design has a Rectangular Window around the area to be checked.

1. Go to Miscellaneous , Technical Limitations

2. Select the type of limitation required by clicking the relevant button and inputting the required limitation number.

9.1.2 Types of Technical Limitation

There are three types of technical limitation:

• Number of Colors Per Row: this enables you to set a restriction matching limitations on feeders, shuttles or number of yarns per row that can be manufactured.

In the example below, the limitation is set to 3; the rows indicated by the red arrow have 4 colors, so they are highlighted by the yellow box.

Technical Limitation: Number of Colors Per Row

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• Total Number of Colors: this analyses the total number of colors in the whole design and provides message feedback indicating either that the limitation is not exceeded, or that X number of colors are found compared to a Limitation set of Y. In the example below, a total of 4 was set as the limit.

Technical Limitation: Total Number of Colors

• Float Size: this analyses the size of continuous rows of color or the spaces between them. When this option is selected, the grayed out area at the bottom of the dialogue box becomes active, showing additional options for float direction and separation/continuity lengths.

o Direction

- Horizontal float direction is relevant to both knitting and weaving

- Vertical float direction is relevant only to weaving.

o Mode

- Maximum Continuity of Same Color(s) (Stitches / front floats). This refers to the length of a continuous row of stitches in the same color (knitting) or the length of single front float (weaving). These are the colors that can be seen on the front of the design.

- Maximum Separation Between Same Color(s) (Back floats). This refers to the space that separates an area of color from the point on the line where that same color reappears. These are the color(s) that cannot be seen on the front - i.e. the floats at the back of the design.

In example (1) that follows, the maximum float size is set to 6, Horizontal, Continuity. Where floats fall outside these limitations, the areas are highlighted with a yellow box, making it easy to identify the parts of the design requiring amendment.

In example (2), the maximum float size is still set to 6, Horizontal, Separation. The top two rows are highlighted because the separation between cream squares is longer than 6 stitches (7 stitches). The 5th/6th rows down are highlighted because the separation between cream squares is again longer than 6 stitches (7 stitches), although the separation between red blocks is within the limit at only 6 stitches.

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(1) Technical Limitation: Float Length, Horizontal, Continuity

(2) Technical Limitation: Float Length, Horizontal, Separation

Even if some colors in the row do not exceed the separation limitation set, a problem with any colors is indicated by highlighting the entire line, which must then be checked by the user. Example (2), rows 7-8, illustrate this; the separation between cream blocks and blue blocks do not exceed the limitation (6 stitches and 2/3 stitches respectively), but the separation between green blocks exceeds the limit (7 stitches) as does the separation between navy blocks (8 stitches), so the entire line is highlighted. This is because, with several colors to a row, there would be several overlapping windows if each color were indicated separately, making it impossible to see clearly where the problem lies.

If 2 or 3 options were to be viewed together it would be difficult to identify the nature of the Technical Limitations exceeded. The command therefore limits checking to just one restriction type at a time.

9.2. Additional Drawing Area / Paper Sizes

The number and range of Default Drawing Area sizes has been extended to include standard paper sizes (A4, A3, etc) and User Defined sizes. There is also an option to set a specific drawing area size to be the default selection.

The new features are available in both Drawing Area Setting and New Drawing Area .

Old PV default page sizes

New standard paper sizes

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Add more User Defined sizes

Set selected paper size as default

9.2.1 User Defined Paper Sizes

1. Next to the Drawing Area Size pull-down menu, click . The following dialog box appears.

2. Select New.

3. Give the Page Size a name and input size (in inches, cm or pixels are available on the pick list) and resolution.

4. Click OK.

The new paper size is then displayed in the list of available paper sizes in the section marked User Defined Size.

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9.2.2 To Set Default Page Size

1. Select the page size from the list or create a new User Defined page size.

2. Check the Default box (bottom left).

9.3. Improvements to Zoom Display

9.3.1 More Zoom Levels

Additional increments have been added to zoom levels between 200% and 400% rising in 20’s. Levels 400% and above still rise in increments of 100.

9.3.2 Keyboard shortcuts

Keyboard shortcuts have been introduced to zoom up and down in large stages more conveniently. Each keyboard hit will zoom up/down by double the previous setting (200%, 400% 800% etc.)

F8 = Zoom Mode 0 (50%) •

•

•

•

F9 = Zoom Down

F10 = Zoom Up

Ctrl W = Zoom to Window (fits zoom to current Window size).

9.3.3 Correct Aspect Ratio Display For All Zoom Levels

The Image will now be correctly displayed under all zoom percentages when displayed in Aspect Ratio Mode. Previously the correct aspect ratio was only available for Zoom Mode 2 or above.

1. Access Ruler and Scale Setting via Miscellaneous or right click on the Ruler icon.

2. Select Scale Setting.

3. The lower section of the dialog box becomes active.

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4. To set an uneven aspect ratio change the Graphic Reference unit to Warp/Weft or

Stitches/Rows and type in the appropriate values.

5. Tick the box Display Graphic in Different X / Y Ratio.

6. Draw as normal, or use Transform / Reproportion with X : Y ratio off to resize an existing image to be correct under the new aspect ratio.

7. The image will now be displayed correctly at all times when zooming in and out.

9.3.4 Zoom Reference Points

When zooming using the bar on the Scroll Assistant, the point of reference on the image is the last point of zooming via the Speedclick Assistant (puck/mouse button), or the last position of the cursor after the use of any freehand and line drawing command.

This is an improvement on previous versions where the zoom position moved away from the point of origin as the level increased.

9.4. Copy / Paste

Copy to Clipboard now retains proprietary information such as color codes, color names, repeat information etc, enabling copy/paste between both Windows and Bitmap Layers. This saves time when working with the same images in many files.

9.5. Improved Print Window Information

In addition to color information, Print Window now offers additional options for information to be printed with the file; File Name, File Path, Color Names.

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9.5.1 Changing Print File Information Settings

1. In Print, Print Window , check the Print File Information option. The Setting button then becomes active.

2. Press the Setting button to open the menu

3. Select the information to display by checking the options required.

4. Click OK to confirm choices and exit the menu.

5. Click OK again to print.

9.6. Improved Last Window Options

9.6.1 More ‘Last Windows’

There are now up to 500 levels in Select Last Windows , making it easy to select an image without re-defining the window - even where dozens have been used in the drawing area.

9.6.2 Auto-Detection of Last Windows

In order to Copy, Move or carry out various other functions, it is first necessary to position a Window around the image in order to select it. For images that have already used a Window (i.e. anything that has been read, saved, copied or moved in the current work session), image selection via Window is now as fast and easy as the object-oriented equivalent, but with the advantage of retaining the partial image selection, editing and fast re-coloration of a non object-oriented program.

Existing Windows can now be automatically located by the cursor. Activated by a keyboard shortcut, this feature operates with up to 500 Last Window positions, eliminating the need to activate Define Window / Select Last Window, or to re-draw Windows *.

1. Hold down the SHIFT key.

2. Point the cursor to the approximate position of image required.

3. Available windows appear in the area. Move the cursor until the required Window appears.

4. Click to confirm selection.

There is one restriction; where one Window position totally covers another (smaller) Window positions, the cursor may occasionally prove unable to locate the position of the smaller Window beneath.

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9.7. New Selection Tools for Tonal Images

New commands within Define Irregular Window , Pick Tonal Object and Magnetic Window are designed to make the selection of tonal images such as painted effects and photographs faster and easier. Both include user-editable parameters to make selection as accurate as possible and both allow the user to fine-tune any difficult areas after the initial selection by adding to or subtracting from the Window.

9.7.1 New - Pick Tonal Object

Pick Tonal Object is particularly useful for working with photographic or tonal prints. It is primarily intended for the selection of isolated tonal images - i.e. whole images of an identifiable hue that can be seen as different to the background, or other images such motifs in a tonal design. It is less suited to selecting images such as a photograph of a model in a landscape, for which different tools are provided.

9.7.1.1. Using Pick Tonal Object

This feature operates in a similar way to the existing Pick Object / Pick Outline, but whereas those commands rely on flat color boundaries, Pick Tonal Object can automatically detect the boundaries of a tonal color image.

1. Under Define Window , select Define Irregular Window .

2. Select Pick Tonal Object .

3. Place the cursor just inside the edge of the image to select, then click. (If the cursor placed outside, the background may be selected instead of the desired image).

4. A yellow Window will outline the object.

5. When the tonal object is selected to your satisfaction (and you may wish to select several areas to achieve this), click Done .

6. Continue selecting tonal objects as required. When sufficient images have been selected, click Enough .

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9.7.1.2. Changing the Settings

The sensitivity of the settings can be changed to capture a wider or smaller tonal area and changes are displayed in real-time before committing to the selection.

If the area captured is not exactly the intended area, use the Hue, Saturation and Value slide bars in the Status Assistant to alter the settings.

• Slide the Hue bar to the right to increase the range of colors selected. For example if a pink area is selected slide the bar a little to the right to increase the color selection to include some of the transition from pink to green, etc.

• The Saturation bar controls the irregular window based on the richness of the color in the area selected. Move the slide bar to the left to place the window around the richest, most saturated area of color. Move the slide bar to the right to increase the range of color to include less saturated shades of the same color.

Increasing the Saturation range selects darker

shades of pink until the whole flower is perfectly selected.

Initial selection does not go right to the edges of the flower

• The Value bar controls the selection based on the brightness (lightness / darkness) of the area to be defined. Sliding the bar to the right increase the tolerance for lighter and darker tones, thus including a greater part of the image in the selection.

Here the majority of the flower is selected, but not the darkest colors in the center, or the

palest on the edges.

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Increasing the Value increases the rnage of light / dark colors, so the centre and edges are

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9.7.2 New - Magnetic Window

In earlier versions of the software, the selection of difficult tonal areas such as overlapping tonal motifs or cutting a model out of a photograph was largely dependent on the user’s skill with the Irregular Window tool. The new Magnetic Window tool makes this type of image selection much easier; it speeds up the entire process, enabling fast and precise flat color or tonal image selection.

The software analyses the differences in color in the region being selected and the Window line automatically ‘finds’ the outline of the shape being defined and sticks to it as if attracted by a magnet.

There is no need to define the area as precisely as before, and there are tools to provide control over subtle tones that may difficult for the software to detect automatically in the way the user wants. Magnetic Window is particularly useful for working with photographs and images where the tones are continuous and the contrasts subtle.

9.7.2.1. Selection By Magnetic Window

1. Select Magnetic Window from the Define Irregular Window menu.

2. Make the first click close to the edge of the area to be defined. Then define the Window either -

• Continuously – by holding down the top left button (or pressing on the stylus) and guiding the cursor around the outline of the area to be selected.

• In steps, by clicking the cursor at meaningful points such as changes in direction or in order to precisely define the path of low-contrast areas. This process is like the old Define Irregular Window process, but instead of tracing a straight line between each point, the software uses the point as a reference and auto-detects the path between each point.

3. When area selection is complete, use C or Close Loop to close the yellow Window boundary.

9.7.2.2. Fine Tuning Magnetic Window Settings

Each photograph has different tones and contrast, so the sensitivity of the Magnetic Window settings can be altered using the settings displayed on the Status Assistant.

• Width: when set to, say, 20, the software searches for the boundary within 20 pixels of the cursor position. To make the search more precise decrease the number of pixels.

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• Contrast: where colors along the boundary are very close, decrease to improve selection, by moving the slider bar to the left. Where there is a high contrast between colors increase the Contrast setting by moving the slider bar to the right.

To cope with all types of image, these commands can be changed at any time during the selection process.

• Add Node: Keyboard shortcut A adds anchor points around the image; these may be used to ensure the Window line includes certain specific points. However, note that the Window will then be defined along the shortest path between the anchor points and not necessarily accurately to the desired boundary. It may therefore be necessary to position anchor points very close together.

• Undo: use the keyboard shortcut U.

• Close Loop: use keyboard shortcut C which will also finish the window.

9.7.2.3. Editing the Magnetic Window Selection

Having completed an initial selection (above) it can be added to or subtracted from.

Ensure you have Closed the loop as above.

1. Choose either Add to Select’n (Selection) to Subtract from Select’n (Selection).

2. Click around the area to be excluded from the selection. (This will be highlighted with a cyan outline for subtracting and a yellow outline for adding).

3. Type C or select Close Loop when finished. The turquoise / yellow selection line will disappear as the original yellow Irregular Window will

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immediately adapt itself to the new shape defined by the Add to / Subtract from area.

4. Repeat as required.

5. Click Done to indicate that selection through Magnetic Window is complete. (Other selections can be made using other Irregular Window commands at this point).

6. Click Enough to indicate that all selection through Irregular Window is complete.

Tips for using Magnetic Window:

• Trace close to, but not necessarily on, the boundary, allowing the Window line to automatically find the boundary.

• If the line strays out of the desired path, simply Undo (U) and add an anchor point via Add Node (A) to keep the line on the path required, before continuing as before.

• When clicking round a design, a larger number of small steps is usually more effective that fewer large ones.

9.7.3 Add to / Subtract from Existing Irregular Window

The entire Define Irregular Window now includes a Selection Mode on the Status Assistant that enables you to add to or subtract from an existing Window selection in the same way as from within the Magnetic Window option.

Final cut-out image

Section highlighted for Subtraction

Section of Window to be removed.

1. Select the main areas of an image required or go back to last selection through the Define Irregular Window / Last Irregular Window command.

2. Change the Selection Mode according to whether you wish to add to or subtract from the selection and work as described in section 9.7.2.3.

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9.7.4 Positioning Mode for Move Window

The Move Window command now uses keyboard arrows to control direction of the move. These can also be moved incrementally using the Positioning Mode in the same way as Move, Copy etc, thus providing easily achieved, yet precise positioning of window for copying/moving contents.

9.7.5 Define Window – Auto-Definition of Drawing Area Extremities.

New keyboard shortcuts start Window creation at the various extremities of the page, making such selection faster and easier by eliminating the need to zoom in for detail, as well as the danger of cutting of a few pixels at the edge of an image.

7 8 9

4 5 6

1 2 3

The keys on the number pad relate to the areas of the Drawing Area.

1. Go to Define Rectangular Window .

2. Press the number on the keypad which corresponds to the starting point of the window, e.g. to start the window at the bottom left hand corner of the drawing area press #1; to start top right, press # 9.

3. The first point will be made.

4. Move the cursor to the finish point of the window and click again to fix.

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10. FILE MANAGEMENT

10.1. Improvements to File Export Processes

All Import and Export features have been rationalized and expanded to add more options and speed up workflow. A new dialogue allows re-usable links to be set up and shared across Mass Export and Multi-Save functions. The links may be selected and de-selected at will and edited at any time after creation.

• Mass Export has been completely revised and now has all the same options as File > Export, providing additional formats.

• MultiSave has been re-named Mass MultiSave to better reflect its usage. Once this feature is switched on, it saves all subsequent files in all of the formats selected every time a file is saved, until switched off again.

• One-Off MultiSave is a new feature that ‘multi-saves’ on demand, as opposed to multi-saving with every save.

10.1.1 Create Links

1. If you already know which folder you wish to export, select it under Read & Save – it will save time setting the link later.

2. Under Read and Save > Tools, open Mass Export, Mass MultiSave or One-Off MultiSave; they each have a new links dialogue box in the same style that shares links and features, but can activate the links individually.

3. Adjust the column headings as required to view the various categories.

4. If you already selected a folder to export in the PV_Patt directory structure, the option to Use current R&S folder as source will be available; check the box to activate it.

The Link dialog shared by Mass Export, Mass MultiSave and One-Off MultiSave The links options remain the same, but the heading and selected links change according to command selected.

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5. Click the Add Link button; the following dialog opens:

10.1.1.1. Set Name, Paths and Format

• Name refers to a name for the link, not necessarily a filename – for example, Export to bureau, Shapes for womenswear.

• Source refers to the path for the files to be exported. If the option to Use current R&S folder as source was activated, the current folder path will

already appear in the Source path. If not, Click on the Selection button and navigate the Choose Directory dialog to access the required directory path.

• Destination refers to the path of the directory to export the files to. Click

on the Selection button and navigate the Choose Directory dialog to access the required directory path.

• Format accesses all the available export formats via a pull-down menu; TIFF, JPEG, BMP etc.

• Resolution allows you to type in the required resolution and shows previously used inputs on a convenient pull-down menu.

• Color Format enables the export to be set to Default (the format of the existing file), or Indexed Color (256 Colors) or True Color (24 bit or 16.7m color format).

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10.1.1.2. Set Size

• Original keeps the exported image size the same as the existing image size (in pixels, not file size).

• Scale allows you to export a whole batch of files to a larger or smaller format – e.g. where high resolution files have been used to create presentation images, but smaller versions are required for Web use.

• User Defined is useful for setting a maximum width or height into which the image must fit. It is then exported to this size.

10.1.1.3. Set Color Palette Format

• Export file with current palette only uses only the current palette and ignores any other palettes attached to the file through the Multiple Palette option in Color Palette.

• Export files for each palette creates a separate file for each Multiple Palette attached to the file to enable software that cannot read multi-palette setting to still receive all the colorways.

• When this option is selected, the grayed out Filename + Palette Name boxes become active; select Filename to have the exported files use the same name as the original plus the palette name, or select NIL to use just the palette names.

10.1.1.4. Choose Global Settings

• Antialias will smooth all images if selected - useful when reducing large images to thumbnails.

• Include Subfolders exports not just the directory level specified in the Source path, but all its sub-folders as well.

• Remarks provides a place to type in information relevant to the link; this is very useful when several links in different formats exist and you need to differentiate between them- for example those being exported at high resolution for a bureau to print and the same files being exported as thumbnails for Web use.

10.1.2 Confirm and Exit or Repeat

1. Click OK to save the settings and Exit.

2. Repeat from section 10.1.4.1 to section 10.1.4.4 for each link required. Each new link will appear as a line in the Link dialog shown in section 10.1.1.

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10.1.3 Choose Link(s) to Export

1. After clicking OK above, the software will prompt Use New Path Now? to know whether you wish the use the new link to export immediately.

• Choose Yes to have the path automatically checked in the Links dialog.

• Choose No to leave the path unchecked and continue other work, or choose other links to export.

2. Check the boxes next to the link(s) to be exported once the chosen export command is activated. In the example opposite, the links icons and icons export will export whereas Bureau files and test 2 will not.

10.1.4 Start Export Process

The steps vary slightly depending on the export process required.

10.1.4.1. To Activate Mass Export

1. If not already inside the Mass Export command, select it under Read and Save > Tools.

2. In the links dialog, press the Go button.

3. The files will then export according to the chosen links.

10.1.4.2. To Activate Mass MultiSave

1. If not already inside the MultiSave command, select it under Read and Save > Tools.

2. In the links dialog, press the OK button.

3. The current file will then export according to the chosen links each time a file is saved.

10.1.4.3. To Activate One-Off MultiSave

1. If not already inside the One-Off MultiSave command, select it under

Read and Save > Tools.

2. In the links dialog, press the Save button.

3. The current file will then export according to the chosen links and the command will be deactivated.

10.1.5 To Edit a Link

1. If not already inside Mass Export, MultiSave or One-Off MultiSave, select one

under Read and Save > Tools.

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2. Highlight a link to edit by clicking on it, then click the Edit Link button; the Edit Link

dialog opens, showing all the current settings.

3. Edit settings as required and click OK to overwrite the current settings for that link.

10.1.6 To Remove a Link

1. If not already inside Mass Export, MultiSave or One-Off MultiSave, select one

under Read and Save > Tools.

2. Highlight a link to delete by clicking on it, then click the Remove Link button; the link is immediately deleted.

There is no warning or confirmation when removing a link.

10.2. Browse files Outside PV_patt in Read & Save

Traditionally, PrimaVision has employed a built-in filter to simplify file management under Read and Save hiding all directories other than the default storage location for .PV files, PV_Patt. It is now possible to switch off this filter and view the full Windows Explorer directory structure through Read and Save. This adds flexibility and resolves issues in three areas:

• Copying / Moving: Files can be copied and moved to and from other folders outside PV_patt or across the network; in support of Open Systems communication, it is particularly useful for organizing and collating data without switching applications.

• Viewing: Files can now be viewed outside the root directory; previously it was only possible to view files in Read and Save which were saved in the PV_patt directory on the root drive. This could be inconvenient when reading files from CD ROMs, floppy disks, or copying/moving files to other locations outside PV_patt.

• Network access: This update also eliminates the need to create a second PV_patt directory under the main one (e.g. E:\ PV_patt \PV_patt) in order to view PV files in .PV thumbnail format across the network.

10.2.1 Viewing Full Directory Structure

1. In Read and Save, go to View.

2. The option Browse from PV_patt. is checked to ON by default.

3. Click on it to switch it OFF.

The Read and Save Directory structure is then refreshed to show the full Windows Explorer file structure, allowing the user to search in other directories and drives in which .PV files may be stored.

As Read and Save is specially designed to view .PV format files, it is not possible to view other formats as thumbnails. This can be done through File > Open. Non .PV format files can also be accessed in Read and Save by selecting Details on the toolbar; the files are listed with file format type and file size information.

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10.3. Double-click Access to PrimaVision Via Windows Explorer

Double-clicking on PrimaVision files in Windows Explorer loads the files and launches the PrimaVision software (all formats).

10.4. Faster Saving & Deleting

10.4.1 New - Keyboard Shortcut to Save

A new shortcut on the keyboard has been introduced to enable quick saving of files. This speeds up workflow as there is no need to open the Read and Save command to save.

1. Save the file for the first time in the usual way using Save As option in Read and Save .

2. For subsequent saves Press CONTROL + S on the keyboard to overwrite the file when changes have been made.

3. An egg-timer appears on screen for as long as required to re-save the file.

The shortcut depends on the filename, not the window. It therefore overwrites the currently-named file even if the file’s original window is not active. As with standard Windows applications there is no warning when using this function that the current file will be overwritten. It is therefore important to check that the current Window is around the desired area to save and that the file name is correct (see top left hand corner of the screen on the blue bar). Remember that when working on one file, if other files are opened onto the drawing area, e.g. fabrics or sketches, the open file takes on the name of the new file. Take care to ensure that newly-opened files are not accidentally overwritten.

10.4.2 Save Files in Series

When saving a new file in Read and Save the name of the last saved file appears in the Save As box, as in standard Windows applications and can be edited to create a new file name. This allows the user to save a series of files with similar file names, e.g. ‘SS04 117B45671’, ‘SS04 117B45672’, etc, offering a much faster and more accurate way of saving files and avoids typing mistakes.

This function also allows files names to be picked from other files in the same directory and used to create a new file name.

1. In Read and Save , go to Save As.

2. Click on the file name to be re-used.

3. Edit File Name as required.

4. Click Save to save the new file with the adapted name.

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10.4.3 New - Keyboard Shortcut to Delete

In Read and Save :

1. Click on the file to delete or hold down the SHIFT key on the keyboard and select several files.

2. Press DELETE on the keyboard.

3. A message appears asking for confirmation of the deletion.

4. Click Yes (or hit the Enter key) to delete the file or No to cancel.

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11. USER INTERFACE IMPROVEMENTS

Most changes to the user interface have come about as a result of upgrading a feature and are covered under the relevant section of this document. The following are global interface updates.

11.1. New – Additional Undo Shortcuts

11.1.1 On 5th Puck Button.

The top-middle button on the Wacom Lens Cursor now performs the Undo function, and the default Speedclick icon is updated to reflect this. To activate this feature:

1. Open the Wacom tablet driver.

2. Set the middle button of the Lens Cursor to Keystroke > Ctrl + Z. For more details on setting up the Wacom tablet and its tools, please refer to the PrimaVision Setup Guide.

3. The new image is set as default. If it has been changed, right-click on the Speedclick Assistant and select Default Image

11.1.2 Keyboard Shortcut

The standard Ctrl + Z now operates in PrimaVision; simply old down the Ctrl Key and press the ‘Z’ key at the same time.

11.2. Scroll with Mouse Wheel

The user can now scroll across the image using the mouse wheel (where installed) as well as the standard slider bars and PrimaVision Scroll Assistant.

11.3. Updated Scan Icons / Access

It is now possible to scan from TWAIN scanners via the Scan command, instead of having to go via the File menu to access. For users who may still have old equipment, the old ‘PV supported’ scanners also still operate in this way.

Scanner icons for Scanner , Scan to Window , Scale Scan and 1:1 Scan have also been updated to better reflect the appearance of today’s flatbed scanners.

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11.4. Right Click Menu Buttons

A small triangle has been added to buttons where a right-click menu is available for advanced options. Buttons affected are:

• Ruler ON / OFF

• Grid ON / OFF

• Vector Layer Node ON / OFF

• Vector Layer Mirror ON / OFF

11.5. Knit Expert Files

The Key symbols are now redundant and have been removed from Read & Save Knit Structure thumbnails.

11.6. Color Selection Feedback

For commands such as Color Grouping and Change Color Multi to Single/Multi, where a selection of colors is verified on the Status Assistant, the status box now indicates the number of colors selected as well as showing what they are.

11.7. New Icon for Draping Object

There is a new icon for the toggle Draping Object ON /OFF.

11.8. Graph Print in Graphics Mode

Graph Print is now available under Graphics Mode (it was previously a feature of Knit Expert / Knitting Mode only). This is useful for printing knit and weave designs in the correct aspect ratio to check prior to use in Knit Expert or ColorJaq.

1. Go to Print then Graph Print .

2. Change settings as required.

3. To alter graph size:

• Normal prints full size.

• Condense prints smaller.

If the Graph Print is too small, decrease number under Resolution setting.

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User Guide

Z.I. de Marticot – BP 34 - 33611 CESTAS Cedex – FranceTél. +33 (0)5 57 97 80 00 - Fax +33 (0)5 57 97 82 32 - www.lectra.comLectra, Société Anonyme au capital de 331 083 378 francs - RCS Bordeaux B 300 702 305

PrimaVision TCXUser Guide

V5.2

521413 AAEdition 2

January 2002

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©2002 Lectra.Any copying, reproduction, or translation of all or part of theinformation in this document without the express writtenpermission of Lectra is forbidden under the provisions of copyrightlaw.

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Lectra reserves the right to modify, without prior notice,information relating to its products in order to improve theirreliability or operating capacity.

The publication of this information does not imply that thematerial presented is free of all industrial property rights and doesnot grant a license to these rights. In addition, Lectra assumes noresponsibility regarding the consequences of its use for anypurpose whatsoever.

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PrimaVision TCX is a Lectra trade mark.

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pí~êíáåÖ=ìé=mêáã~sáëáçåKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NQJÄìííçå=í~ÄäÉí=ãçìëÉKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OjçìëÉ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OpíóäìëKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK P

qÜÉ=mêáã~sáëáçå=ëÅêÉÉåKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QqÜÉ=ãÉåì=Ä~êKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK RqÜÉ=ãçÇÉ=Ä~ê=~åÇ=Åçãã~åÇ=Ä~êë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK RjçÇÉ=Ä~êKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK RléÉê~íáåÖ=ãçÇÉ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK Smêáã~sáëáçå=^ëëáëí~åíë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK Taáëéä~óLÉÇáíáåÖ=çéíáçåë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK U

`çãã~åÇ=Öêçìé=Ä~ê=~åÇ=Åçãã~åÇ=Ä~ê KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK V`çãã~åÇ=Öêçìé=Ä~ê=Ñçê=íÜÉ=dê~éÜáÅë=jçÇÉKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK V

mêáã~sáëáçå=^ëëáëí~åíë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NM^ëëáëí~åí=íçÖÖäÉ=Äìííçå=çå=L=çÑÑKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NMqçÖÖäáåÖ=ÄÉíïÉÉå=^ëëáëí~åíë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NMpí~ÅâáåÖ=~åÇ=ìåëí~ÅâáåÖ=^ëëáëí~åíëKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NNpéÉÉÇÅäáÅâ=^ëëáëí~åíKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NO

pÅêçää=^ëëáëí~åí KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NQaáëéä~ó=ãçÇÉ=çéíáçåë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NRwççã=äÉîÉê KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NRm~ååáåÖ=~êÉ~KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NS

`çäçê=^ëëáëí~åíKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NS

mÉå=^ëëáëí~åíKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NUmÉå=íóéÉë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NUmÉå=Åçåíêçä=é~åÉä KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NV

RONQNP=^^ mêáã~sáëáçå=q`u=rëÉê=dìáÇÉ

^ÇàìëíãÉåí=çÑ=uLv=o~íáç=Ñçê=mÉå=pÜ~éÉ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NVmêÉëëìêÉJëÉåëáíáîÉ=ëíóäìë=EéêÉëëìêÉ=éÉåFKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ON

áî q~ÄäÉ=çÑ=ÅçåíÉåíë

pí~íìë=^ëëáëí~åí KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OO

`ìëíçãáòáåÖ=íÜÉ=ëÅêÉÉå=ÉäÉãÉåíëKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPjçîáåÖ=ÉäÉãÉåíë=~êçìåÇ=çå=íÜÉ=ëÅêÉÉåKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPoÉëáòáåÖ=ïáåÇçïë=~åÇ=Çá~äçÖ=ÄçñÉëKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OQpïáíÅÜáåÖ=ÉäÉãÉåíë=çå=~åÇ=çÑÑ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OQ`ìëíçãáòáåÖ=íÜÉ=Åçãã~åÇ=Öêçìé=Ä~ê KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OR`Ü~åÖáåÖ=Åçãã~åÇ=Öêçìé=Ä~ê=çêáÉåí~íáçåKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OT^ÇÇáåÖ=~åÇ=ÇÉäÉíáåÖ=Äìííçåë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OToÉ~êê~åÖáåÖ=Äìííçåë=áå=íÜÉ=Åçãã~åÇ=Öêçìé=Ä~êKKKKKKKKKKKKKKKKKKKKKKKKKKKK OT`çåÑáêãáåÖ=çê=Å~åÅÉääáåÖ=ÅÜ~åÖÉë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OU

råÇçLoÉÇç KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OU

`Ü~éíÉê=O=`Ü~éíÉê=O=`Ü~éíÉê=O=`Ü~éíÉê=O=qÜÉ=ãÉåì=Ä~êqÜÉ=ãÉåì=Ä~êqÜÉ=ãÉåì=Ä~êqÜÉ=ãÉåì=Ä~ê KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PNPNPNPN

qÜÉ=ÄäìÉ=êÉÅí~åÖäÉLÅáêÅìä~ê=Åçäçê=ÅÜ~êí KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PNcáäÉ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PNkÉï KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK POléÉåKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK POp~îÉ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK POp~îÉ=^ë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK POiÉÅíê~=p~îÉ=^ë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PPmêáåí KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QMmêáåí=pÉíìéKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QMfã~ÖÉ=fåÑçKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QNfãéçêí KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QNbñéçêí KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QOpÉåÇ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QPpÉåÇ=íç=nìáÅâqÉñ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QQpÉäÉÅí=pÅ~ååÉêKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QQpÅ~å=fã~ÖÉ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QQpÉíìé KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QRkÉíïçêâ=pÉíìéKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QThçÇ~â=`çäçê=j~å~ÖÉãÉåí= KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QTbñáí KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK RM

bÇáí KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK RM

mêáã~sáëáçå=q`u=rëÉê=dìáÇÉ RONQNP=^^

råÇçKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK RM`ìí KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK RN`çéó KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK RN

q~ÄäÉ=çÑ=ÅçåíÉåíë î

m~ëíÉKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK RNm~ëíÉ=^ë=kÉï KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK RO

táåÇçï KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK RO`~ëÅ~ÇÉKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ROqáäÉKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK RO^êê~åÖÉ=fÅçåëKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ROpïáíÅÜáåÖ=ÄÉíïÉÉå=çéÉå=Çê~ïáåÖ=~êÉ~ë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK RPléíáçåë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK RPsáÉïKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK RQ

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pâÉïI=mÉêëéÉÅíáîÉ=~åÇ=aáëíçêíKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NTM

`Ü~éíÉê=NO===`Ü~éíÉê=NO===`Ü~éíÉê=NO===`Ü~éíÉê=NO===oÉéÉ~íoÉéÉ~íoÉéÉ~íoÉéÉ~íKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NTPNTPNTPNTP

oÉéÉ~íáåÖ=~=ÇÉëáÖå KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NTP

aá~Öçå~ä=oÉéÉ~íKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NTQ

e~äÑJaêçé=oÉéÉ~íKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NTQ


e~äÑJpÜáÑí=oÉéÉ~íKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NTR

oÉ~äJíáãÉ=êÉéÉ~í=ÉÇáíáåÖ=ïáíÜ=íÜÉ=oÉéÉ~í=táåÇçï KKKKKKKKKKKKKKKKKKKKKKKKKKKKK NTS

q~ÄäÉ=çÑ=ÅçåíÉåíë ñá

oÉ~äJíáãÉ=êÉéÉ~í=ÉÇáíáåÖ=ïáíÜ=íÜÉ=oÉéÉ~í=mÉå KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NTT

péäáíLoÉÑçêã=táåÇçï KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NUMpéäáííáåÖLêÉÑçêãáåÖ=íÜÉ=ïáåÇçï=Ñçê=ëáãéäÉ=oÉéÉ~íKKKKKKKKKKKKKKKKKKKKKKKKK NUNpéäáííáåÖLêÉÑçêãáåÖ=íÜÉ=ïáåÇçï=Ñçê=e~äÑJaêçéLe~äÑJpÜáÑí=oÉéÉ~í KKK NUO

fêêÉÖK=oÉéK=dÉåK=KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NUQ

mêáåíáåÖ=êÉéÉ~íëKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NUR

`Ü~éíÉê=NP=`Ü~éíÉê=NP=`Ü~éíÉê=NP=`Ü~éíÉê=NP=cáääcáääcáääcáää KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NUSNUSNUSNUS

cáääáåÖ=~å=~êÉ~=ïáíÜ=~=ëáåÖäÉ=ÅçäçêKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NUS

cáääáåÖ=ãìäíáéäÉ=~êÉ~ë=ïáíÜ=~=ëáåÖäÉ=Åçäçê=KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NUS

cáääáåÖ=ãìäíáéäÉ=~êÉ~ë=ïáíÜ=ãìäíáéäÉ=Åçäçêë= KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NUT

m~ííÉêåJÑáääáåÖ=~å=~êÉ~KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NUU

m~ííÉêåJÑáääáåÖ=ïáíÜ=Ü~äÑJÇêçéLëÜáÑí=ÉÑÑÉÅí KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NUV

m~ííÉêåJÑáääáåÖ=ïáíÜ=êçí~íÉ=ÉÑÑÉÅíKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NUV

m~ííÉêåJÑáääáåÖ=ïáíÜ=êçí~íÉ=~åÇ=Ü~äÑJÇêçéLëÜáÑí=ÉÑÑÉÅíKKKKKKKKKKKKKKKKKKKKKKKKKK NVM

`Ü~éíÉê=NQ=`Ü~éíÉê=NQ=`Ü~éíÉê=NQ=`Ü~éíÉê=NQ=péÉÅá~ä=bÑÑÉÅípéÉÅá~ä=bÑÑÉÅípéÉÅá~ä=bÑÑÉÅípéÉÅá~ä=bÑÑÉÅíKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NVNNVNNVNNVN

`çäçê=pÜ~ÇÉ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NVN

`äçåÉ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NVO

m~ííÉêå=mÉåKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NVP

qÉñíìêÉ=j~ééáåÖ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NVQ


t~íÉêÅçäçê KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NVR

lîÉêä~ééáåÖ=bÑÑÉÅí= KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NVS

ñáá q~ÄäÉ=çÑ=ÅçåíÉåíë

oÉãçîÉ=lìíäáåÉ=KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NVT

båä~êÖÉ=lÄàÉÅí= KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NVU

oÉãçîÉ=pÅ~ííÉê=açí= KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NVUoÉãçîÉ=pÅ~ííÉê=açí=NKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NVVoÉãçîÉ=pÅ~ííÉê=açí=O=L=oÉãçîÉ=pÅ~ííÉê=açí=PKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK NVV

`Ü~éíÉê=NR==`Ü~éíÉê=NR==`Ü~éíÉê=NR==`Ü~éíÉê=NR==qÉñíqÉñíqÉñíqÉñí KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OMOOMOOMOOMO

båíÉêáåÖ=íÉñíKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OMOaÉÑáåáåÖ=~=pä~åí=Ñçåí=é~íÜ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OMPaÉÑáåáåÖ=~=`áêÅìä~ê=Ñçåí=é~íÜKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OMPaÉÑáåáåÖ=~=qìååÉä=Ñçåí=é~íÜ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OMQ

oÉ~ÇáåÖ=íÉñí=áå=mêáã~sáëáçå KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OMQ

`Ü~éíÉê=NS===`Ü~éíÉê=NS===`Ü~éíÉê=NS===`Ü~éíÉê=NS===mêáåímêáåímêáåímêáåíKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OMSOMSOMSOMS

mêáåí=táåÇçïKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OMS`Ü~åÖáåÖ=íÜÉ=éêáåí=çéíáçåë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OMS

mêáåí=nìÉìÉ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OMTaÉäÉíáåÖ=~=àçÄKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OMUoìëÜáåÖ=~=àçÄ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OMU

fã~ÖÉ=mêáåí=xêÉèìáêÉë=íÜÉ=håáí=bñéÉêí=~ÇÇJçå=ãçÇìäÉz KKKKKKKKKKKKKKKKKKKKKK OMV

pÅ~äÉ=mêáåí=xêÉèìáêÉë=íÜÉ=håáí=bñéÉêí=~ÇÇJçå=ãçÇìäÉz KKKKKKKKKKKKKKKKKKKKKKK OMV

dê~éÜ=mêáåí=xêÉèìáêÉë=íÜÉ=håáí=bñéÉêí=~ÇÇJçå=ãçÇìäÉz KKKKKKKKKKKKKKKKKKKKKK ONN

póãÄçä=mêáåí=xêÉèìáêÉë=íÜÉ=håáí=bñéÉêí=~ÇÇJçå=ãçÇìäÉzKKKKKKKKKKKKKKKKKKKK ONO

oÉéÉ~í=mêáåí KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ONP


`Ü~éíÉê=NT===`Ü~éíÉê=NT===`Ü~éíÉê=NT===`Ü~éíÉê=NT===pÅ~ååÉêpÅ~ååÉêpÅ~ååÉêpÅ~ååÉê KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ONQONQONQONQ

q~ÄäÉ=çÑ=ÅçåíÉåíë ñááá

pÅ~ååÉê=~åÇ=áã~ÖÉ=ëÉííáåÖëKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ONQpÅ~ååÉê=ëÉííáåÖëKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ONQfã~ÖÉ=ëÉííáåÖë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ONR

p~îáåÖ=íÜÉ=ëÅ~ååÉê=ëÉííáåÖëKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ONR

rëáåÖ=íÜÉ=päáÇÉ=pÅ~å=jçÇÉ=çéíáçå KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ONS

N=íç=N=pÅ~åKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ONS

pÅ~äÉ=pÅ~å KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ONT

pÅ~å=íç=táåÇçïKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ONU

`Ü~éíÉê=NU===`Ü~éíÉê=NU===`Ü~éíÉê=NU===`Ü~éíÉê=NU===i~óÉê=pÉííáåÖi~óÉê=pÉííáåÖi~óÉê=pÉííáåÖi~óÉê=pÉííáåÖKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OOMOOMOOMOOM

i~óÉê=pÉííáåÖ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OOMi~óÉê=íóéÉë=~åÇ=ÅçåÅÉéíë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OOM`~ääáåÖ=ìé=íÜÉ=i~óÉê=mêçéÉêíáÉë=Çá~äçÖ=Äçñ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OONqÜÉ=ä~óÉê=fåÑçêã~íáçå=íççäÄ~êKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OOP^ÇÇáåÖ=~=åÉï=ä~óÉêKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OORpÉäÉÅíáåÖ=ä~óÉêEëF KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OOR`çãÄáåáåÖ=ä~óÉêë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OORaÉäÉíáåÖ=~=ä~óÉê KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OOS

sÉÅíçê=ä~óÉêë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OOS`çäçê KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OOTaê~ïáåÖ=qççäë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OOUoÉÖìä~ê=mçäóÖçåë=EçÑ=ÄÉíïÉÉå=P=~åÇ=NMM=ëáÇÉëFKKKKKKKKKKKKKKKKKKKKKKKKKKKK OOVpí~êë=EÄÉíïÉÉå=P=~åÇ=NMM=éçáåíëF KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPMbÇáíáåÖ=çÄàÉÅíë=Äó=éáÅâáåÖ=~åÇ=Çê~ÖÖáåÖ=íÜÉ=åçÇÉë KKKKKKKKKKKKKKKKKKKKKKKK OPNpÉäÉÅí=lÄàÉÅíKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPNlÄàÉÅí=pÉííáåÖKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPOqç=ÅÜ~åÖÉ=íÜÉ=ÇÉÑ~ìäí=~ííêáÄìíÉë=KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPP`Ü~åÖÉ=lêÇÉê KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPQaÉäÉíÉ=lÄàÉÅí KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPQcáää=L=råÑáää KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPR`çéóKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPR


jçîÉ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPSqê~åëÑçêãKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPSoÉéÉ~í KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPS

ñáî q~ÄäÉ=çÑ=ÅçåíÉåíë

qÉñíKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPTjáëÅÉää~åÉçìë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPTtáåÇçï KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPToÉ~Ç=C=p~îÉKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPUmêáåí KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPUråÇç=L=oÉÇçKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPUqÉñí=ä~óÉêëKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPV`êÉ~íáåÖ=~åÇ=ÉÇáíáåÖ=ÅçäçêëKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPV

`êÉ~íáåÖ=íÉñí KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPV`êÉ~íáåÖ=é~ê~Öê~éÜ=íÉñí KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OPV`êÉ~íáåÖ=~=íÉñí=ÄäçÅâ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OQMbÇáíáåÖ=íÉñí=ïáíÜáå=~=íÉñí=çÄàÉÅí KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OQNbÇáíáåÖ=íÉñí KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OQNpÉäÉÅíáåÖ=íÉñí KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OQOaÉäÉíáåÖ=íÉñíKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OQO`çéóáåÖ=çê=ãçîáåÖ=íÉñí KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OQO`Ü~åÖáåÖ=Ñçåí=~åÇ=Åçäçê=çÑ=íÉñí KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OQPfãéçêíáåÖ=^p`ff=íÉñíKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OQPpÉäÉÅíáåÖ=íÉñí=çÄàÉÅíëKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OQQjçîáåÖI=ÅçéóáåÖ=~åÇ=ÇÉäÉíáåÖ=íÉñí=çÄàÉÅíë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OQQqÉñí=ÄäçÅâ=ÉÇáíáåÖ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OQQ

`Ü~éíÉê=NV===`Ü~éíÉê=NV===`Ü~éíÉê=NV===`Ü~éíÉê=NV===jáëÅÉää~åÉçìëjáëÅÉää~åÉçìëjáëÅÉää~åÉçìëjáëÅÉää~åÉçìë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OQUOQUOQUOQU

aê~ïáåÖ=^êÉ~=pÉííáåÖ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OQUaê~ïáåÖ=^êÉ~=páòÉKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OQUoÉëçäìíáçåKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ORM`çäçêKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ORMhÉÉé=m~äÉííÉKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ORNhÉÉé=fã~ÖÉKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ORN_~Åâìé=^êÉ~ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ORNhÉÉé=i~óÉê=pÉííáåÖKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ORN

kÉï=aê~ïáåÖ=^êÉ~ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ORN

aê~ïáåÖ=^êÉ~=lêáÉåí~íáçå KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ORO


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oìäÉê=~åÇ=pÅ~äÉ=pÉííáåÖKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ORQ~=J=qç=^Åíáî~íÉ=pÅ~äÉ=pÉííáåÖ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK ORTÄ=J=qç=aÉÑáåÉ=~=iáÑÉJpáòÉ=d~êãÉåí=jÉ~ëìêÉãÉåí KKKKKKKKKKKKKKKKKKKKKKKKKKK ORVÅ=J=qç=^Åíáî~íÉ=aê~ïáåÖ=^êÉ~=oÉëçäìíáçå KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OSNÇ=J==^ééäáÅ~íáçå=bñ~ãéäÉë= KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OSN

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pçìåÇ=oÉÅçêÇáåÖ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OUO

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tçêâáåÖ=áå=cçêã=j~å~ÖÉêKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OUP`êÉ~íáåÖLÉÇáíáåÖ=~=Ñçêã KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OUPfåéìííáåÖ=Ç~í~ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OUQ

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aê~ï=oÉÅí~åÖäÉ=KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OUSaê~ï=q~ÄäÉ=KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OUTqÉñí=WKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OUTpÉäÉÅí=cçåí=KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OUTqóéáåÖLbÇáíáåÖ= KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OUUaÉÑK=qÉñí=_äçÅâ= KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OUU`äÉ~ê=cçêã= KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OUUaÉÑáåÉ=fåéìí=KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OUUpÉäÉÅí=cçåí=KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OUVaÉÑK=páåÖäÉ=iáåÉ=KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OUVaÉÑáåÉ=`çããÉåí= KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OUVaÉÑáåÉ=cçêãìä~= KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OUVjçîáåÖ=ÑáÉäÇë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OVMgìëíáÑáÅ~íáçå KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OVNaÉäÉíáåÖ=ÑáÉäÇëKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OVN`äÉ~êáåÖ=ÇÉÑáåÉÇ=Ñçêãìä~=çÑ=~=ÑáÉäÇKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OVN`çéóáåÖ=ÑáÉäÇë=áå=í~ÄäÉ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OVOlêáÉåí~íáçå=KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK OVO

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aê~éáåÖKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PMO

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pí~êíáåÖ=ìé=pìéÉê=péÉÅíêìãKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PMQ

rëáåÖ=pìéÉê=péÉÅíêìã=íç=ÑáåÇ=~=ÅçäçêKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PMR

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pìéÉê=péÉÅíêìã=áåëí~ää~íáçå KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PNM

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aê~éáåÖ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK POQ

jìäíáéäÉ=çÄàÉÅíë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK POR

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v~êåë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PRUv~êå=íóéÉë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PRU`êÉ~íáåÖ=~=ó~êå KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PRVaìéäáÅ~íáåÖ=~=ó~êå KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PSNfãéçêíáåÖ=~=ó~êå KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PSObÇáíáåÖ=~=ó~êåKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PSPj~å~ÖáåÖ=óçìê=ó~êåëKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PSQ

tÉ~îÉë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PSR`êÉ~íáåÖ=~=ïÉ~îÉ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PSRbÇáíáåÖ=~=ïÉ~îÉKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PSSbñéçêíáåÖ=~=ïÉ~îÉ=éÉÖJéä~åKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PSSj~å~ÖáåÖ=óçìê=ïÉ~îÉëKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PSU

qê~åëÑçêãáåÖ=~=ïÉ~îÉ=áåíç=~=Äáíã~é=áã~ÖÉKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PSV

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jáêêçê=ÅçéóáåÖ=ó~êå=ÄäçÅâë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PTPoÉéÉ~íáåÖ=~=ó~êå=ÄäçÅâ=ëÉäÉÅíáçåKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PTQ`Ü~åÖáåÖ=~=ó~êå=Åçäçê KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PTR

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v~êåëKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PVOv~êå=íóéÉëKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PVO`êÉ~íáåÖ=~=ó~êå KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PVPbÇáíáåÖ=~=ó~êå KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PVSj~å~ÖáåÖ=óçìê=ó~êåë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK PVT

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qê~åëÑçêãáåÖ=~=ïÉ~îÉ=áåíç=~=Äáíã~é=áã~ÖÉ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QMM


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v~êå=ÄäçÅâ=íççäíáéë KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QMOpÉäÉÅíáåÖ=~=ó~êå=ÄäçÅâ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QMOoÉëáòáåÖ=~=ó~êå=ÄäçÅâKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QMP`Ü~åÖáåÖ=íÜÉ=ó~êå=ìëÉÇ=áå=~=ó~êå=ÄäçÅâ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QMPaÉäÉíáåÖ=~=ó~êå=ÄäçÅâ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QMPjçîáåÖ=~=ó~êå=ÄäçÅâKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QMP`çéóáåÖ=~=ó~êå=ÄäçÅâ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QMQoÉéÉ~íáåÖ=~=ó~êå=ÄäçÅâ=ëÉäÉÅíáçåKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QMQ`Ü~åÖáåÖ=~=ó~êå=Åçäçê KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QMSbÇáíáåÖ=ó~êå=ã~ééáåÖëKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QMSp~îáåÖ=~=Ñ~ÄêáÅ KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QMT

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lîÉêîáÉï KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QNR

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^Çàìëí=oÉéÉ~í KKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKK QON


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Welcome to one of the most widely-used CAD/CAM systems in thetextile and garment industries. Known for its user-friendliness,color accuracy and speed, PrimaVision can help you create someof your best designs both efficiently and economically.

The PrimaVision TCX V5 User Manual is a reference guideintended for both the novice and experienced user. Note that it isnot intended as a replacement for the formal training and practicethat is essential to becoming productive with the system. It isrecommended that new users read the first two introductorychapters before turning to the rest of the manual. The laterchapters from chapter 23 onwards detail more advanced featuresand therefore assume knowledge of commands and conceptsintroduced in earlier chapters.

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To start up PrimaVision for Windows, you must first be runningWindows 95, Windows 98 or Windows NT:

1. Click the Start button on the Windows desktop, and point toPrograms.

2. Point to the PrimaVision for Windows program group, andclick PrimaVision for Windows to start up thePrimaVision system.

Note: If you are using a tablet, remember to switch it on beforeswitching on your PC.

3 different types of pointing device are recommended for use with


PrimaVision: the 4-button tablet mouse, the tablet stylus or the3-button mouse.

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The 4-button tablet mouse is one of the most popular mousedevices amongst PrimaVision users. Its four buttons aregenerally color-coded yellow, white, green and blue. Fornon-color-coded tablet mouse, this manual will refer to the upperbutton as the Yellow Button, the left button as the White Button,the right button as the Green Button, and the lower button as theBlue Button. The function of each button depends on the commandcurrently in use and on the location of the mouse pointer, but as ageneral guideline:

Yellow Button: the most frequently-used button for selectingitems and commands. When it is not specified which mouse buttonshould be used, use the yellow button

White Button: shortcut for terminating an action or exiting from acommand

Green Button: shortcut for zooming in on the drawing area

Blue Button: re-executes the previous command.

Note: The functions of the mouse buttons are indicated with the fourcolor diamonds in the Speedclick Assistant (see Speedclick Assistant section).

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PrimaVision may operate with a 3-button mouse or a 2-buttonmouse. For both mouse types, use the left button to selectcommands and items, and to pick up objects on the screen. If aninstruction tells you to click without specifying which button touse, click the left button.

The cursor is generally arrow-shaped, but it is displayed as across-hair in the PrimaVision drawing area.


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This is the most popular general input/pointing device for a PC.

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Although the use of a 2-button mouse with PrimaVision is notrecommended, it is nevertheless possible.

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Some tablet users find it more natural to use a stylus (the pendevice that comes with a tablet).

Yellow Button Left button

Green Button Right button

White Button Press the left button whilst holding down themiddle button

Blue Button Press the right button whilst holding down themiddle button

Yellow Button Left button

Green Button Right button

White Button F2 key on keyboard

Blue Button F3 key on keyboard

Yellow Button Tip of the stylus

Green Button F4 key on keyboard

White Button Button on the stylus body


Blue Button F3 key on keyboard

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The PrimaVision screen for Windows consists of a menu bar, modebar, command bars and five PrimaVision Assistants.

The following sections contain a detailed description of eachPrimaVision screen element. The Customizing the screen elementssection describes how to reconfigure, hide or display each of thePrimaVision screen elements to suit your individual workinghabits and enhance work efficiency.

Note: If your PrimaVision TCX V5 is upgraded from previousversions, you can revert back to the classic PrimaVision interface atany stage. Select File, Setup in the menu bar, deactivate the NewUser Interface check box in the Setup dialog box, and click OK toconfirm and exit. Restart PrimaVision, and you will be returned to


the classic interface. Files created using the two interfaces are fullycompatible, but a few features and commands are available only inPrimaVision TCX V5.

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The above PrimaVision screen uses small command icons. Largeicons, however, are most useful on monitors operating on highresolutions. Switch between large and small icons by selectingView, Large Icon or View, Small Icon respectively on thePrimaVision menu bar.

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The menu bar contains a variety of functions, many of which arecommon to all Windows applications. Many functions can also beaccessed though other means in PrimaVision, e.g by clicking abutton in the mode bar. See The menu bar chapter for details.

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In the mode and command bars, click to activate the buttons. Activated buttons remain pressed in. If the button is a toggle, click itagain to deactivate it. If it is not a toggle, deactivate it by selectinganother button in the same group.

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To display/hide the mode bar, click View, Mode Bar on the menubar or select Mode Bar from the right-click menu of the displayedbutton bar in the drawing area.


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The mode bar is divided into 3 main button groups: operatingmode, PrimaVision Assistants and display/editing options. Allmode bar options can still be accessed via the PrimaVision menubar. The operating modes and display/editing options are found inthe Options menu, whilst the Assistants are found in the Viewmenu.

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Choose the operating mode from this button group:

Graphics Mode : the default mode.

Draping Mode : for draping pattern designs onto imageswhilst retaining the three-dimensional look of the image.

Form Manager : to create and manage spec-sheets and otherforms.

Knit Expert : for more realistic knitwear design and simula-tion.

Knitting Mode : a simple version of Knit Expert.

Weave Expert : for weave design and simulation.

Weaving Mode : a simple version of Weave Expert.

Jacquard : for ultra-simple jacquard weave design.

QuickTex : explore different colorways and simulate pro-duction using different separation options.

Print Repeat : to create repeat designs.

Print Maskfilm : for separating colors in textile printing.

LectraOnline : to access LectraOnline.


Note: Some of these operating modes are options which will notappear on your screen unless they have been purchased and

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installed on your PrimaVision.

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Select from this button group to display the Assistants in thedrawing area. The buttons are toggles. If an Assistant is switchedon but stacked behind the other Assistants in the drawing area,clicking the button will not immediately hide the Assistant fromthe drawing area, but brings it to the front of the stacked Assistants. Click the button again to hide it.

Speedclick Assistant : contains the mouse shortcut indicator

Scroll Assistant : contains the panning area, zoom lever anddrawing area display mode buttons

Color Assistant : stores the color palette and commonly-usedcolor commands

Pen Assistant : contains the pen dimension control panel andpen type buttons

Status Assistant : provides options and status information forthe currently-selected command.


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Select the display and editing options from this button group, thebuttons are toggles:

Superimpose : anything drawn in the background color 0 (thecolor contained in the first color box of the palette) will betransparent when moved over the rest of the drawing area (forexample, during copying)

Grid : grid lines enable you to see pixels clearly. Right-clickingthis button displays a menu in which you can select Light Grey,Dark Grey, Black or White as the grid color. ( For details onAdvanced Grid Settings, please check the MiscellaneousChapter. )

Ruler : displays the ruler. Right-click the button, select inchor cm as the ruler measurement unit.

Display Window :when selected, the current window isdisplayed with a yellow boundary; when off, no window boundary isdisplayed.

Rect. Window and Irre. Window : select the rectangularwindow or the irregular window as default window type.

Orientation : change the orientation of the drawing area.


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Command bar for the Window command group (the Define Rect.Win subcommand is activated)

To display/hide the command group bar, click View, CommandGroup Bar in the menu bar or select Command Group Bar fromthe right-click menu of the displayed button bar in the drawingarea.

Clicking one of the command groups calls up its command bar(unless the command group does not contain any componentcommands), by default positioned alongside the selected commandgroup. If you select a command that has subcommands, thesubcommand menu will appear in the command bar underneaththe displayed commands.

Only one command bar can be displayed at a time. But it is possibleto use more than one command at the same time, example you canuse the Drawing Tools while selecting a color from the PantoneLibrary called from the color command group.


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The five PrimaVision Assistants enable consistent access to keycommands and features in a handy space-efficient format.

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By pressing the right button when pointing the cursor on the modebar, the user now have the option to show or hide the assistanttoggle buttons. This feature can be helpful to free up some space insystems using small display.

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To activate a displayed Assistant, simply click its page tab.

If many Assistants are stacked together in the same window, itmay not be possible to display all their page tabs at once. Using theleft- or right-arrow buttons in the top right corner of the Assistantwindow, scroll to the required page tab, and then click it to bring itto front.


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By default, PrimaVision Assistants come stacked together in asingle window for compactness. They however operateindependently, and may be unstacked to display more informationat a glance.

To unstack an Assistant from this window, click its page tab anddrag it outside the window boundary. The separated Assistantwindow may automatically adjust in size to suit its contents.

To stack one Assistant on top of the other, for example to stack theScroll Assistant on top of the Speedclick Assistant. Click on theScroll page tab and drag it to the Speedclick page tab. The Scroll Assistant will be moved on top of the Speedclick Assistant.


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It shows a mouse shortcut indicator.

To change the image:

1. Right-click the picture in the Speedclick Assistant, selectingthe Load Image option.

2. Choose the appropriate file from the options available.


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3. Close and re-open the software. The new image will nowappear as the default for your system.

The new default imagefor the Speedclick Assistant (Wacom Intuos5 button Puck / Lens Cursor) showingright-click Menu optionto change image or selectdefault.

3 button mouse

Wacom 4 button puckimage (old)

4 colour diamondimage(SummaGraphics /old Wacom puck


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Note: The color of the single pixel in the lower left corner of thebitmap file can affect other colors displayed in the image. OnWindows NT, the color used for this pixel will always becometransparent i.e. the color will be replaced by the Speedclick Assistants grey background color wherever else it is appears in theimage. To avoid any transparency, make sure that the color of thisspecial pixel is not used anywhere else in the image. On a Windows95 or Windows 98 platform, only pure white (RGB code FFFFFF)can be made transparent in this manner. To avoid possible colordistortion of the image on Windows 95/98 should you choose not touse white, make sure that any color you select for the special pixelhas not been used anywhere else in the image.

To change the mouse picture back to the default, right-click thecurrent mouse picture, select Default Image, and click OK.

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It contains the panning area, up to 3 display mode options and azoom lever.

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A maximum of three display modes are available: Normal

Display , Stitch Display and Instruction Display .

Normal Display is the default display mode.

Stitch Display is available in all PrimaVision knit modules.

Instruction Display is available only if you have purchased KnitExpert. (See Knit Expert chapter for detailed information.)

Switch between display modes by clicking the requested displaymode button.

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The zoom ratio ranges from 25% to 3200% in Normal Displaymode, and 25% to 300% in Stitch and Instruction Display modes ofany PrimaVision knit module.

Note: The available range of zoom ratios will vary according to thecurrent drawing area size.

To zoom to any magnification, you can either drag the zoom lever tothe desired position or just click on it. You can also click the GreenButton in the drawing area to zoom to the next zoom ratio exceptwhen you are using commands that assign specific functions to theGreen Button.


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The panning area reflects in miniature form what is contained inthe drawing area. The area bounded by the green rectangle withinthe panning area is the part of the drawing area that is currentlyshown in the main window. Unless the zoom lever set to the lowestratio that the green rectangle bounds the whole panning area,otherwise, the drawing area window displays only part of the wholedrawing area at a time.

To pan to a new position within the panning area, drag the greenrectangle to that position, or simply click the new position. It is analternative to the drawing area scroll bars.

The X (horizontal) and Y (vertical) coordinates of the current cursorposition are displayed in pixels along the Assistants title bar.

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The main component of the Color Assistant is the color palettecontaining 256 colors numbered from 0 to 255. The palette is bydefault in 4 x 8 color box format. To display the palette in 8 x 16format, select File, Setup in the menu bar, and activate the SmallColor Palette Box check box. Restart the program for the change

to take effect. The most commonly used Color commands arealso accessible within the Color Assistant

When you first start up PrimaVision or call up a new drawingarea, a default palette is displayed. You can edit the colors in thepalette and save the palette with the image in the drawing area asa PV file (see Color Palette section in the Color chapter).

To select a color, click it once in the palette. Use the vertical scrollbar to scroll through the color boxes. The bracketed color boxnumber and the Pantone code of the selected color are shown alongthe top of the palette (example [12] 13-0758 PT). If a color isretrieved from a user-defined library, the color name is displayed(example [12] Sun Flower). Colors contained in color box 0 to 7and 236 to 255 by default do not have any Pantone code or name(e.g Color 236). Nevertheless, you can assign a new name to each

palette color by using the Color Levers command (see ColorLevers section in the Color chapter).

Important Note: It is recommended that you do not change anycolors reserved for system use.


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When it is not used as a pointing or selecting device in the drawingarea, your mouse or stylus behaves as a pen for freehand drawing.The size and shape of the pen affect all drawing commands, mostspecial effect commands and a number of other commands such as

Chg. Col. By Pen .

The Pen Assistant consists of the pen control panel and up to fourpen type options.

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In a 256-color layer, Normal Pen and Airbrush pen

types are displayed; in a TCX layer, Crayon Pen and Pencil

are also available.

The Normal Pen draws in solid color. For Airbrush, Crayon Penand Pencil, you can adjust the Rate of Flow and Soft Edgelevers. Rate of Flow determines the flow of paint (move the lever tothe right to release more paint). Soft Edge adjusts the softness ofthe pen edge (move the lever to the right to soften the pen edge).


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This panel controls the pen shape and size. The current pen shapeis displayed to the left of the pen control panel, and the current pensize (width and height) are given in pixels along the Assistant titlebar.

• To select a circular or rectangular pen shape, click the circle orsquare icon to the left of the panel.

• To change the pen size or pen shape, adjust the vertical orhorizontal scroll bars

• To draw freehand in the drawing area using the current color,hold down your mouse button and move the cursor

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The Square/Circle icon, enables the designer to drawsquares, circles and borders according to the selected Pen shapeand size. In the same way as the Square and Circle commands takeaccount of stitch tension and uneven aspect/ratio.


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Pressing the button down activates the Square/Circle Pen.Pressing it again brings the button up, which deactivates it. .

In the Figure 1 diagrams, the Square/Circle button is off.The outline of the square - created with Drawing Tools,Rectangle command, with border thickness controlled by thesettings in the Pen Assistant - is thicker on the sides than the topand bottom and the solid ‘circles’ and ‘squares’ drawn with the Penare flattened; this is due to the uneven aspect ratio of the stitchtension.

Figure 1 - Circle / Squarebutton OFF

Figure 2 - Circle / Squarebutton ON


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In the Figure 2 diagrams, the Square/Circle button, is on.The outline of the square is as even as possible for the currentstitch tension. The solid circles and squares drawn with the Penare no longer flattened, due to the tension-adjusted pen shape that

results when the Square / Circle button is turned on.

Notes:

• The success and accuracy of this command is dependant oncorrect aspect ratio settings on the computer screen. Pleaseensure screen is adjusted correctly so that the ruler display andall sides of a large square drawn in Graphics Mode are equal.

• This feature applies to both Knit Expert and Knitting Mode.

• In Graphics Mode and Print Repeat, the Circle/Square Penworks in conjunction with the Ruler and Scale Settingcommand; it is effective only when the option to Displaygraphic in different X/Y ratio is activated. This is achievedby selecting row/stitches per unit or warp/weft per unit, whichautomatically turns on the command. It can also be turned offmanually.

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Note: The pressure pen is available only when using the Wacomtablet stylus.

If you think of the typical stylus as the equivalent of a ball-pointpen, the pressure-sensitive stylus (pressure pen) would be theequivalent of a fountain pen or a brush. When the pressure pen isoperational, the harder you press on the stylus, the more paint isreleased, hence the heavier the drawn line (or spray density when


using the airbrush).

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When the Wacom tablet is recognized by PrimaVision, and whenthe stylus tip is touching the tablet, a teardrop icon is displayed inthe pen control panel. Click this teardrop icon to activate thepressure pen.

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It provides information about current command status, availablecommand options and many mouse-driven shortcuts.

The Status Assistant switches on automatically when a commandis selected, and shuts down automatically when the command isterminated.


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This section describes how the screen elements can be customizedto suit your individual preferences. All PrimaVision screenelements except the menu bar are free-floating, that is, they can bedrag-&-dropped anywhere on the screen as you work. You can savescreen space by temporarily switching off any of the command barsor Assistants that are not needed, to maximize drawing space.

The screen elements stay in their new positions whenPrimaVision is shut down and restarted.

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The drawing area and PrimaVision Assistants are ordinarywindows, and you can move them on the screen by positioning yourmouse pointer on its title bar and dragging it to the new location.

Buttons bars can be docked along an edge of the drawing area, orreleased as free-floating windows. When docked, a command bar isarranged as a single row or column of buttons, has no title bar andcannot be resized. When released, it behaves as an ordinarywindow and can be moved and resized as such.

Tip: A docked command bar is easiest to pick up (for dragging to anew location) if you position your mouse pointer in the empty greyarea between two button groups.


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Simply position your mouse pointer on the appropriate border ofthe window/dialog box, and when the pointer becomes atwo-headed arrow, hold down the Yellow Button and drag theborder to its new position. You can also use the standard Windows

Maximize and Minimize buttons in the top right of awindow/dialog box to resize it to a full-screen window/dialog box or

icon on the Windows task bar. The Restore button will restorea maximized window/dialog box back to its original size.

Note: Docked command bars and PrimaVision Assistants cannot beresized.

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All the following screen elements can be switched on and off tomaximize drawing space whilst maintaining a high workingefficiency:

Mode bar: Select Mode Bar from the View menu

Command group bar: Select Command Group Bar from theView menu

Command bar: displayed automatically when you select theappropriate command group. Hide it by clicking the standard

Windows Close button in its top right corner (note that hidingthe command bar will not exit from a currently active command,which must be cancelled in the usual way)

Any PrimaVision Assistant: the appropriate button (Scroll A

ssistant , Color Assistant etc.) in the second buttongroup of the mode bar. Alternatively, select the appropriate option


on the View menu.

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Any window and dialog box with the standard Windows C

lose button: Click the Close button to shut down thewindow/dialog box. Method for redisplaying it depends on theindividual dialog box.

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You can delete, add to and rearrange the buttons in the commandgroup bar by a simple drag-&-drop mechanism.

Right-click the command group bar, select the Customize optionand a dialog box appears:

Note: If the command group bar is not currently displayed, selectView, Command Group Bar.


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Recycle

Bin

The above dialog box shows the command group bar in its defaultstate. You can edit this command group bar, and when you clickOK, its contents will be used as the current configuration of theactual command group bar. The button pool contains all theavailable command groups that may be used in the commandgroup bar. The Recycle Bin is used to delete buttons from the

Button Pool


command group bar.

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To change command group bar orientation, click the Horizontal orVertical button.

Tip: When dragging buttons to the command group bar, the targetlocation of the button is depends on the position of your mousepointer when you drop the button. Position your mouse pointer onthe requested button boundary rather than over a button. Forexample, to insert a button between Fill and Change Color, drop it

when your mouse pointer is positioned between the Fill and C

hange Color commands in the command group bar.

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To copy a button from the button pool to the command group bar,drag the required button from the button pool and drop it in therequired position on the command group bar.

To delete a button from the command group bar, drag it to theRecycle Bin. Or right-click the button in the command group barand select Delete.

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To move a button from one position to another on the commandgroup bar, drag the button from its original location to the requiredposition.

To insert a space after a button to create a button group, right-clickthe button in the command group bar and select Insert Space.

To close a space between two button groups, drag the first buttonin the second group to the end of the first button group.


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To cancel all changes made to the command group bar since callingup this dialog box, click the Cancel button.

To revert the command group bar to its default buttonarrangement, click the Default button.

To confirm your new settings, click the OK button. The newconfiguration will immediately be applied to the command groupbar.

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PrimaVision TCX V5 allows multiple-level undo and redo of

editing changes using the Undo and Redo commands inthe command group bar. The number of operations you can beundone or redone varies, depending on the complexity of theindividual editing changes and the amount of RAM reserved in theUndo/Redo Memory (MB) field under File, Setup (see File,Setup section in The menu bar chapter).

Note: The multiple-level undo and redo is available only in bitmapand vector layers (i.e. not in text layers). (see the Layer Settingchapter). The undo/redo memory is erased by some operations, suchas switching from one layer to another or changing the drawingarea dimensions or color type (e.g. changing between 256-colour andTCX - true-color).

Undo reverses only editing changes effected by PrimaVisioncommands. Operations effected via the display/editing options suchas Superimpose or Zoom level cannot be reversed.


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Sometimes, it may be more convenient to use the keyboard thanthe mouse. Here is a list of function keys used by PrimaVision:

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To exit from PrimaVision for Windows, select File, Exit in the

Primavision menu bar, or click the standard Windows Closebutton in the upper right corner of the main window.

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F2 Has same effect as the White Button

White Button

F3 Has same effect as the Blue Button Blue Button

F4 Has same effect as the Green Button

Green Button

F5 Switch cursor shape between fullcross-hair and small cross-hair

Cross-hair Size option under File,Setup on the menu bar

F6 View pen shape at the cursor The Show Pen at Cross-haircheck box under File, Setup on themenu bar

F9 Zoom Out The next zoom ratio of the zoomlever in the Scroll Assistant

SpaceBar

Find the color in the color Assistantpalette at which your cross-hair inthe drawing area is pointing

Not available


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The PrimaVision menu bar contains a variety of functions, many ofwhich are common to all software applications that run on theWindows platform. Many of the functions can also be accessedthough other means in PrimaVision.

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The left end of the menu bar shows either a blue rectangle or acircular color chart which is used to indicate the color type of thecurrent PrimaVision drawing area: PV 256-color or TCX true-color.Click the small icon to open a menu offering alternatives to thestandard Windows buttons e.g. Restore. The PV<>TCX option is

a quick shortcut for the Color option of the Miscellaneous ,

Drawing Area Setting command, it switches between 256-and true-color drawing area.

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The File menu contains a range of commands including filemanagement, printing and default system settings.


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Creates a new drawing area (to allow work on multiple designs at a

time). This has the same effect as the Miscellaneous , New

Drawing Area command (see Miscellaneous chapter foradditional information).

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Opens a PrimaVision sketch file. This has the same effect as the

Open button in the Read & Save window (see Read & Savechapter for additional information).

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Saves changes to the current sketch file. If the title bar shows“Untitled”, this command will prompt you to save the currentwindow contents to a new file name. This command has the same

effect as the Save button in the Read & Save window (seeRead & Save chapter for additional information).

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Use Save As to save your design to a (new) file:

1. Select File, Save As.

2. Specify the location of the new file.

3. Type the file name, or select the file you want to replace. Click


Save.

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This command has the same effect as the Save As button inthe Read & Save window (see Read & Save chapter for additionalinformation).

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The Lectra Save As ... command provides options for exportingPrimaVision files one at a time to different pre-specified directoriesand in pre-specified file formats.

Note: Users may at first feel that the 'Lectra Save As ...’ commandgroup appears to be similar to the Gallery Connection commandunder the Read & Save, Tools menu. However there is a difference;the Lectra Save As commands perform the file export operationonce only for the current PrimaVision file whereas the GalleryConnection command automatically carries out the same exportoperation every time a PrimaVision file is saved, as long as theGallery Connection command is activated.

There are currently four different Lectra Save As options:


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Gallery is Lectra's versatile product development package -today's collaborative communication platform designed specificallyfor the fashion industry. Web-centred technologies enablecolleagues and business partners to collaborate on productdevelopment without disrupting business operations.

Image files can be exported from PrimaVision to Gallery,streamlining the entire product development process from sourcingto assortment planning via an intuitive, easy to navigate interface.The result is better workload management, faster decision makingbased on more accurate information and improved time-to-market.

Select File, Lectra Save As, Gallery, to open the dialogue boxbelow. Click on the OK button and the current PrimaVision file(i.e. the one with a Window around it) is exported with its existingfile name to the directories and in the formats already specifiedwithin Gallery Setting. The existing Gallery-linked directoriesare shown on the dialogue box. To check details of the formatsselected, go to Read and Save, Gallery Setting.

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Lectra Catalog is a powerful fashion / furnishing visualisationtool that enables customers, buyers and salespeople to view instantvirtual prototypes of garments or interiors in different colours andfabrics. It is a powerful selling tool, enabling variations to be shown


instantly - without the need for a PrimaVision system to beavailable at the same time - making it ideal for selection meetingsand off-site presentations.

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Lectra Catalog does not replace PrimaVision Draping Mode; itcomplements it by enabling users without CAD expertise to use thedraping files and fabrics created in PrimaVision for viewinginstant variations via Lectra Catalog.

The Lectra Save As, Lectra Catalog command provides a one-offexport facility for sending the Draping Objects and the DrapePattern (fabric) to the directories specified in the Lectra CatalogExport dialogue box, for use within Lectra Catalog. It requires aPrimaVision file that has just been draped in order to exporteffectively; this is referred to as the 'current draped image' in thefollowing description.

The Lectra Catalog command is only activated from withinPrimaVision Draping Mode. In order to execute the command onthe current draped image, the designer must, upon completing thedraping process, select Lectra Catalog whilst remaining in thePrimaVision program - and without reading in another drapepattern/object.

Should the designer exit from PrimaVision or read in a second fileprior to exporting the current draped image, the current grid anddraping data will be lost and the command will no longer workwith the current draped image.

To illustrate:

On the left of the illustration below is the Draping Object (thedress), which is to be draped with the Drape Pattern (the fabricrepeat) on the right. Follow the procedure over the page to carryout the 'export to Lectra Catalog' process.


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1. Enter the Draping Mode by clicking on the Draping Mode

icon.

2. Carry out the draping process in the usual manner to producethe final Draped Image (as in illustration below).

3. Define a window around the final Draped Image as shown

above (hint: use the Select Last Window commandcommand to save having to recreate the Window).

Note: Do not exit from PrimaVision at this stage, or start anotherdraping process, or the Lectra Catalog command will not work onthe current file.

4. You are now ready to execute the 'export to Lectra Catalog'function. Select File, Lectra Save As, Lectra Catalog to callup the Lectra Catalog Export dialogue box below. By defaultthe first two options have been checked. If the final DrapedImage has more than one fabric (i.e. different fabrics indifferent parts of the garment) tick the 'Separate Regions'check box as well, or click on the Default button.


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5. By checking the Re-scale for Optimum Display option,users may choose any of the display configurations available inthe pull-down menu. When the optimum dimensions have beenselected, the entire Final Draped Image to be exported toLectra Catalog will be rescaled accordingly (e.g. reduced) andshown in the image display window in Lectra Catalog,making use of the maximum length of the display window.

6. Select destination folder for the exported files; this may beeither the system default or a user-defined default location.

• The system sets the default export directory as'E:\LsCAT\Creator', the directory used by the LectraCatalog program for storing draping-related image files.

• If this default export directory is appropriate, go to step 7

• To change this directory: Click on the button to the right ofthe Directory field to call up the Choose Directory dialogue box.

• Select the drive and directory path as appropriate.

• Click OK twice to close the Choose Directory and LectraCatalog Export dialogue boxes respectively.

7. Click on the OK button to complete the export.


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This completes the 'export to Lectra Catalog' procedure, sendinga set of Silhouette and Fabric image files to Lectra Catalog,together with their existing file names and new file extensionssuch as .TIF - as opposed to original .PV.

Note: Repeated export of image files bearing the same file nameswill cause existing files to be overwritten by subsequent ones.

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3D Visual Merchant enables garments to be visualized in avirtual store environment; it is Lectra's state-of-the-arttechnological solution for defining and implementing a visualmerchandising strategy, in order to enhance brand and collectionimage in the retail environment and improve sales performance atthe point-of-sale.

Specially designed to meet the needs of apparel sector brands andretailers, 3D Visual Merchant is an essential strategic tool forMerchandising Directors and Collection Directors. The program iseasy to use and offers a fast, low-cost solution to enablemerchandising teams to simulate and finalise store layout as wellas in-store assortment and display for different sales areas.

The 3DVM option under Lectra Save As, enables the designer tocarry out a one-off export of the current PrimaVision image tospecified directories for use by 3D Visual Merchant.

In Graphics Mode, select File, Lectra Save As, 3DVM to call upthe Export to 3DVM dialogue box shown below. The defaults areset as follows: file format -TIFF (.TIF); colour -24-bit Colors (forRGB) and file compression - LZW. These options need no furtheralteration for exporting to 3DVM. Simply select the directory pathand file resolution and enter the file name. Click on the Savebutton to confirm the selections and complete the 'export to 3DVM'operation.


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Note: As with the Gallery option, when you select the exportlocations for use by 3DVM, make sure that those are the exactlocations pre-defined in the preference dialogue box in and incurrent use by the 3DVM software application.

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The Digital Printing command provides a one-off export of thecurrent PrimaVision image to the specified directories for digitalprinting with the Stork Amber Printer.

Select File, Lectra Save As, Digital Printing to call up theExport to Digital Printing dialogue box below. The default fileformat is .TIF, the default colour format is CIE L*a*b* (for Lab)and file compression is LZW. These options need no furtheralteration for the purpose of exporting images for Digital Printing.


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The designer need only select the directory path and file resolutionand enter the file name. Click on the Save button to confirm theselections and complete the 'Export to Digital Printing'operation.

Note: When you select the export locations for Digital Printingpurpose, make sure that the drive selected is exactly the one that hasbeen mapped on the Amber Print Server.

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Prints your image through a standard Windows printer driver.

This has the same effect as the Print , Print Windowcommand (see Print chapter for additional information).

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Controls page setup and settings on the current the Windowsprinter driver. The standard Windows printer driver dialog box can


also be called up by selecting Printer... button, followed by theappropriate printer driver name, then selecting the Propertiesbutton.

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Provides information about the current window dimensions, andabout the drawing area dimensions and resolution.

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Use Import to read a non-PrimaVision graphics file into thedrawing area:

1. Select File, Import.

2. In the Look in field, select the drive containing the requiredfolder. Then open the folder that contains the file. Click the fileto be imported. To preview the file before opening it, activatethe Preview check box.

3. Click Open. Click in the drawing area on the location of therequired file.

Graphics file formats that may be imported into PrimaVision are:

*.BMP Bitmap format *.PCX PCX format

*.CAL CALS format *.PSD Adobe Photoshop format

*.DCX DCX format *.RAS Sun Raster format

*.GIF GIF format *.TGA TARGA format

*.IFF IFF format *.TIF TIFF format

*.JPG JPEG format *.WPG WordPerfect metafile format

*.PCT PICT format *.XBM X Bitmap format

*.WMF Windows Metafile format


*.EMF Enhanced Metafile format

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Use Export to save a design in a non-PrimaVision graphicsformat:

1. Define a rectangular window around the image to be exported.

2. Select File, Export.

3. Select the required file format in the Save as type field.

4. If necessary for the selected file format, select a color format.(PrimaVision sketch files are 256-color images; PrimaVision-TCX sketch files are 24-bit color images).

5. In the Save in field, select the drive that is to contain therequired folder. Then open the folder where you want to exportthe file.

6. Type a file name for the new file. Click Save.

Graphics file formats that may be exported from PrimaVision are:

*.BMP Bitmap format *.PCX PCX format

*.CAL CALS format *.PSD Adobe Photoshop format

*.DCX DCX format *.RAS Sun Raster format

*.GIF GIF format *.TGA TARGA format

*.IFF IFF format *.TIF TIFF format

*.JPG JPEG format *.WPG WordPerfect metafile format

*.PCT PICT format *.XBM X Bitmap format

*.WMF Windows Metafile format

*.EMF Enhanced Metafile format


*.EPS Encapsulated PostScript format

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JPEG export now accepts three types of compression: low, medium,and high. Low compression gives higher quality and results in alarger file size; high compression results in lower quality and asmaller file size.

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Use Send to send a copy of your image via e-mail.

Note: Use of this feature requires that your PC has an operationalelectronic mail system.

Define a window around the image to be sent and select File,Send. Click OK. This calls up a message to which the currentwindow contents are attached as a PrimaVision file. Add text to thee-mail and send it in the usual manner. The recipient of your e-mail should rename the attachment to avoid confusion because allPrimaVision attachments are given the same file name. The filecan be detached in the usual manner and read by using File, Openin PrimaVision.


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The QuickTex option under the File menu allows the user to sendprinted textile design files directly to QuickTex, which is a newoptional module for version 5.1. QuickTex allows the designer toperform simulated color separation on the image currently in thePV window.

1. Define a window around the PrimaVision image to be sent toQuickTex.

2. Pull down the File menu and select Send to QuickTex.

3. The window contents will then be sent to the top window of theQuickTex module as shown in the illustrations in theQuickTex section.

4. Further editing required may then be performed withinQuickTex.

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If you have installed on your PC a scanner which is not supportedby PrimaVision, you may use this command to operate thescanner, provided that it is TWAIN-compatible. Activate SelectScanner, click the required scanner and click Select. This calls upan application that controls the scanner settings (refer to themanufacturer’s manual for use instructions).

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After you have selected a TWAIN-compatible scanner with theabove option, and adjusted the scan settings as necessary, place theobject to be scanned in the scanner, and select Scan Image to startscanning.


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Setup changes the default settings for your PrimaVision. Youmay need to restart the program for some settings to take effect.

1. Default Pattern Drive specifies the default disk drive towhich sketch files are saved

2. Drawing Area Size determines the default drawing area size

3. PPU Printer Type refers to the PPU (Parallel Printing Unit), apredecessor of the Prima Server. Each PPU can only supportone printer at a time. PPU-supported printers are listed in thisdrop-down menu

4. Language defines the language in which on-screen text isdisplayed within PrimaVision. You should only select alanguage that your Windows platform is able to support. Forexample, PrimaVision can only display Japanese text if it isrunning under Japanese Windows

5. Number of Prima Servers determines the number of PrimaServers recognized by your PrimaVision


6. Super Spectrum Port tells PrimaVision where to find theSuper Spectrum device

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7. DAT/DDS Drive SCSI ID controls the DDS tape backupconfigurations, which includes two settings: the SCSI IDnumber and the DDS version

8. Default Unit determines the default unit of measurement (cmor inch)

9. Cross-Hair Size changes the appearance of the cross-hair

10. Default Command, when enabled, immediately invokes thefirst command in a command bar upon selection of thatcommand group

11. Show Pen at Cross-Hair determines whether the pen shapeis shown at the cursor

12. Show Tooltips displays next to the cursor the relevantcommand name when the cursor is positioned over a commandicon

13. Use Windows Printer enables your PrimaVision to recognizeall Windows drivers installed locally

14. Use PSR Windows Printer enables your PrimaVision torecognize all Windows drivers installed on any Prima Serversin the Prima network

15. New User Interface determines whether your PrimaVisionuses the new or classic interface

16. Small Color Palette Box displays the Color Assistant palettein 8 x 16 color box format, instead of the default 4 x 8 format.

17. Undo/Redo Memory (MB) determines the amount of memorythat your computer reserves for the PrimaVision Undo/Redofeature. It therefore determines the number of operations theuser can undo or redo, after taking the complexity of eachoperation into account.

18. Setup Printers is used for configuring printers (their


connections, default resolutions, etc.) used with PrimaVision

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19. Setup Scanners is used for configuring scanners used withPrimaVision.

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Most PrimaVision software are connected to a device called aPrima Server that handles print jobs which you send to printersconnected to it. If you have the Print MaskFilm module, yourPrimaVision will also be connected to a Print MaskFilm devicecalled an Print Film Generator Server.

Your PrimaVision uses a type of language called a protocol tocommunicate with these devices. Unless your PrimaVision andPrima Server/Print Film Generator Server communicate with eachother using the same language, they will not be able to understandeach other. Network Setup changes the network protocol used byyour PrimaVision to communicate with each device to which it isconnected.

By default, PrimaVision uses NetBIOS to communicate with alldevices. If any of the devices have been set up to use TCP/IP,appropriate changes must be made to the Network Setup dialogbox. Refer to your systems support department or to your localagent for assistance.

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PrimaVision supports the Kodak Color Management Systemwhich is based on the Lab color representation model. Each devicesupported by this system has its own profile of Lab values, used tointerpret colors transmitted to or from that device. KCMS profilesexist for not only printers, but also for many other devicesincluding scanners and monitors. KCMS therefore facilitatesaccurate color matching across a wide range of different input/output media.


1.Kodak is a registered trademark of Eastman Kodak Company.

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PrimaVision supports Lab color representation for all printerswith Super Spectrum color support as listed in the accompanyingPantone and Super Spectrum Color Support documents.

Note: Although in PrimaVision TCX V5 the user may generateSuper Spectrum support for any Windows printer driver of yourchoice, accurate Lab color representation is available only forprinter drivers that are officially supported by PrimaVision.

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The advantage of KCMS over the existing PrimaVision RGB orCMYK colour matching method is that it is far more accurate inthe way that it defines a colour. Although commonly used acrossmany industries, RGB and CMYK are rather vague ways ofdefining a colour. This is because RGB and CMYK codes areinterpreted differently by different devices - in other words, theyare device-dependent colour models. For example, the way inwhich a monitor displays an RGB code is dependent on a number ofdifferent factors such as the brand and model of the monitor and itscurrent brightness setting. However KCMS LAB is designed to bea device-independent colour model, with the result that it is farmore precise.

One benefit of PrimaVision's new LAB support is that the usercan now define colours using an accurate, widely recognised systemthat is entirely independent of medium or device. It also bringsabout a substantial improvement in the conversion accuracy ofprinted colour when switching between different printers to print adesign.

PrimaVision converts the printer code for the original printer intoa LAB value, which is then translated into the printer code for thenew printer. Because LAB is a device-independent colourrepresentation model, the colour match between the two printerscan be made much more accurate.


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Before you apply any KCMS profile, PrimaVision comes with aset of standard Lab codes to interpret colors for all input andoutput devices regardless of their brands and models, just like RGBor CMYK.

Note: Just as you would for RGB or CMYK, you can edit the Lab

code of a particular color by using the Color Selector and Color

Levers commands of the Color command group, and view

the Lab codes of all used colors by using the Color Percentagecommand (see the relevant sections in the Color chapter for details).The Lab code of a color that is obtained by using the Super Spectrum

command can be bought into the drawing area (see the SuperSpectrum chapter for details).

However, in Prima Vision TCX V5, the user can select the KCMSprofile for a device according to its particular brand or model. Ifboth devices on a data transmission channel (input-monitor/monitor-output) use the KCMS profiles to interpret colors by Lab,the colours transmitted from the source device will be translatedinto Lab according to the selected profile, which will then bematched with the Lab codes of the selected profile for thedestination device. This communication process relies solely onKCMS. However, if only one device on a communication channeluses KCMS, the Lab codes for one device will be matched with theRGB/CMYK codes of another device to be connected.

Note: Tests have shown that defining a monitor KCMS profile foryour PrimaVision monitor, while leaving the input/output deviceto use the original colour libraries supported by PrimaVision,results in better print quality than that achieved when applyingboth the KCMS monitor and and input/output profiles.

1. Select File, Kodak Color Management on the menu bar.Three check boxes are available: Monitor Profile, InputProfile and Output Profile, which are deactivated by default.


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2. Activate the check box as required, click . Select anappropriate KCMS profile with file extension *.icm for thatdevice, click Open.

3. Repeat step 2 to define another profile. When the requiredKCMS profiles have been defined, click OK to confirm. It is nowpossible to read in a new LAB input/putput.

4. If a KCMS monitor profile has been selected, the user can viewandedit the LAB codes for the screen colours using the relevant

Color commands. When the user inputs/outputs theimage, the monitor, all input devices and/or all output devicesconnected to the PrimaVision will use Lab to color-matchwith the connectng devices.

5. The user can save the file with the LAB codes of the imagecolours by using the *.TIFF LAB file format. The savme set ofLAB codes are retrieved when the file is read in later.

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Exit from PrimaVision.

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Use the Edit menu to copy or move elements in and out of thePrimaVision drawing area, or to undo a previous editing action.

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Reverses the last-executed action. This has the same effect as the


PrimaVision Undo command (see the Undo/Redo section ofthe Introducing PrimaVision chapter for details).

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To cut information from PrimaVision and store it in the Windowsclipboard so that it might be used by another Windows application:

1. Draw a window around the text or graphics you want to cut.

2. Select Edit, Cut.

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To copy information to the Windows clipboard so that it might beused by another Windows application:

1. Draw a window around the text or graphics you want to copy.

2. Select Edit, Copy.

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To paste information from the Windows clipboard into the currentPrimaVision drawing area:

1. Select Edit, Paste.

2. Click the position into which you wish to copy the clipboardcontents.

Note: The quality of the clipboard contents cannot be guaranteed,because it is controlled by Windows rather than by PrimaVision.


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Automatically creates a new drawing area to hold the informationpasted from the Windows clipboard. The size of the new drawingarea will be only as large as the size of the pasted information.

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Each drawing area in PrimaVision is displayed in a separatewindow. The Window menu controls the arrangement of drawingareas opened in PrimaVision. (“Window” is used in this instanceto apply to the Windows element that contains an application orpart of an application. It is recognized by its title bar that containsdescriptive text and up to three standard buttons in the top right

corner. Do not confuse it with the PrimaVision Windowcommand described in the Window and Clear chapter.)

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Cascade displays all open windows in a cascade of overlappingwindows.

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Tile displays all open windows side-by-side in a tile format.

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A standard Windows command that arranges in a row all drawingareas that have been minimized into an icon.


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To make another drawing area the current window, simply clickthat window if it is visible. If not, select the appropriate drawingarea name from the Window menu. (The name of the drawingarea will be the name of the file that was last read into it, or simply“Untitled” if no file has yet been read.)

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Provides an alternative means of changing a variety ofPrimaVision operation settings.

The first 3 menu options use submenus which slide into view whenyou move your mouse pointer over the relevant option. The firstoption displays the current operating mode, the second optiondisplays the current pen type. (These have the same effect as theoperating mode buttons and the Pen Assistant in the mode bardescribed in the Introducing PrimaVision chapter.) Select therelevant submenu option to change the current selection.

The third option toggles between Fabric and Photo Mode. Itdetermines the graphics quality when applying any commandsthat involve color grouping e.g Color Grouping, Scan. As ageneral rule : use Fabric Mode when you are working on a piece offabric or a pattern design; use Photo Mode when you are workingon a photograph or a picture.

All other options on this menu are alternative ways of changingsettings that are handled by the last button group in the mode bar(see the Introducing PrimaVision chapter).


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Hides or displays various screen elements. A tick alongside anelement means that the element is displayed. Hide or display anelement by simply selecting it on the menu. Elements that can becontrolled in this way are the PrimaVision Assistants, the modebar and the command group bar.

Switch between displaying large or small command buttons byselecting Large Icon or Small Icon. The screen resolutions towhich large icons are best suited depend on how the command barsare arranged by the user. A screen resolution of 1280 x 1024 orhigher will ensure that large-icon command bars can be displayedin full, whatever the bar orientation. If large icons are used onlower screen resolutions, horizontal command bars arerecommended, and resolutions lower than 800 x 600 are notadvisable.

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Calls up the on-line help. You can search for a topic in the table ofcontents on the Contents page, or search for it in the listing on theIndex page.

To search the table of contents, double-click any heading to see thetopics that it contains. Double-click a topic to call up its help page.

To search the index, type your search-word in the first field. Theclosest match index entry will be highlighted below. Double-clickan index entry to call up its help page.

Links and buttons available on help pages are:


Underlined green text A help cross-reference. Calls up arelated help page when clicked

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Contents Returns to the Contents page

Index Returns to the Index page

Back Returns to the last displayed help page

Print Prints the current help page

<< Displays the previous page in thecurrent chapter

>> Displays the next page in the currentchapter

Exit PV help Exits from the on-line manual/help

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Explains how to use the on-line help.

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Provides general information about your copy of the PrimaVisionsoftware.


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The Window is the basic selection tool in PrimaVision.Defining a closed boundary (a window) around a section of thedrawing area will allow you to perform a wide range of editingcommands on the contents of that section, such as copying, moving,transforming and changing color.

There are two basic types of window: the rectangular window

(Define Rect. Win ) and the irregular window (Define Irre.

Win ). Use the Define Rect. Win command to select a

single rectangular area; use Define Irre. Win to create a moreadvanced window such as an irregularly-shaped window. Note thatsome operations require that the defined window be rectangular.

The defined window is merely a selection tool and is not part of thedrawing: any modification to the window definition does not alterthe drawing.

Commands in the Clear command group are for clearingimages from selected portions of the drawing area.

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To create a single rectangular window:

1. Select Window , Define Rect. Win .

2. Move the cursor to one of the corners of the required window


and click once. As you move the cursor around in the drawingarea, you will change the dimensions of the defined window.

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3. Select the appropriate option button in the Status Assistant todisplay any of the following can in the drawing area: as X-Ycoordinates in the drawing area (Cursor coordinate), relative toits start-point in pixels, inches or centimeters (Dimension inpixel/inch/CM) when defining a window, or not displayed offigures at all (Off).

4. Move the cursor until the window is of the correct dimensionsand click once. The window will be displayed as a thin yellowboundary.

Note: If you require a window of a specific size, execute step 1 aboveand then edit the window’s width and height fields in the StatusAssistant, pressing <Enter> to confirm each entry. Move the cross-hair around in the drawing area and click once the window iscorrectly positioned.

Steps 2 to 3 of the above procedure will be used by many commandsin this software, and they will be referred to as defining arectangular selector.

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This feature is introduced to simplify the process of defining aRectangular Window to the maximum width or height possible inthe current drawing area.

1. After selecting the first corner in Define Rectangular

Window , use the arrow keys to automatically stretch thewindow to the full width / height possible for the currentdrawing area.(The up/down arrow keys extend the height and the left/rightarrow keys extend the width).

Then drag the cursor to select the other side of the rectangularwindow and complete the window as normal.


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The Define Irre. Win command allows you to define windowsthat are non-rectangular in shape, and that consist of multipleboundaries enclosing several discrete sections of the drawing area.

2. Select Window , Define Irre. Win .

Tip: If, rather than defining a new irregular window, you wish toadd more objects to the existing window definition, click the Last

Irreg. Win subcommand to call up the last definition.

2. You may now combine any of the methods described in thefollowing 5 paragraphs to define an irregular window thatconsists of multiple objects (window boundaries) of variousshapes and sizes.

3. When the window definition is complete, click Enough . At

any stage before clicking Enough , you may use the Undo

command to remove the last-defined object from thewindow definition.

Tip: Keyboard shortcuts are available to define an irregular

window: C (Close Loop ), E (Enough ), F to confirm yourselections and fill the irregular windows with the selected color in

the palette and U (Undo ).

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1. You can trace the boundary of a window object by drawingeither freehand or assisted by line or curve definitions. To tracea freehand boundary, select Line in the Status Assistant. Hold


down the mouse button and begin drawing the boundary in thedrawing area. Release the button when you have completed the

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freehand boundary or wish to continue with a line or curvedefinition.

• To trace a straight section of the boundary, select Line in theStatus Assistant. If this is the first section of the objectboundary, click once in the position where the boundary is tobegin. Move the cursor to the other end of the straight section,and click to confirm.

• To trace a curved boundary section, select either Curve 1-2-3 orCurve 1-3-2 in the Status Assistant. If this is the first section ofthe object boundary, click once in the position where theboundary is to begin. For the 1-2-3 curve-drawing procedure(start-point, middle-point, end-point), move the cursor to therequired turning point of the curve and click once, then movethe cursor to the end-point and click again. For the 1-3-2 curve-drawing procedure (start-point, end-point, middle-point), clickthe end-point followed by the turning point.

2. Repeat step 1 to add freehand, straight or curved sections untilyou have almost closed the window boundary.

3. Select the Close Loop subcommand to close the boundary.

4. Repeat steps 1 to 3 to trace other boundaries for the samewindow definition. Return to step 2 of the Defining an irregularwindow procedure.

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The Define Rect. Obj. subcommand, like the Define Rect.

Win command, creates a rectangular boundary. But whereasthe normal Define Rect. Win command allows to define a singlewindow, this subcommand allows you to define multiplerectangular objects (boundaries) within the same irregular windowdefinition.


1. Select the Define Rect. Obj. subcommand.

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2. Select Rectangle or Square in the Status Assistant to define arectangular or square boundary.

3. Move the cursor to one of the corners of the required boundaryand click once.

4. Now move the cursor to the opposite corner and click to confirmthe new boundary.

5. Repeat steps 2 to 4 to create other rectangular objects in thesame window definition.

6. Click Done to confirm your new rectangular objects.Return to step 2 of the Defining an irregular windowprocedure.

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The Define Ellip. Obj. subcommand creates an ellipticalobject as part of the irregular window definition.

1. Select the Define Ellip. Obj. subcommand.

2. Select Circle or Ellipse in the Status Assistant to define acircular or elliptical boundary.

3. Click the required centre of the elliptical/circular object.

4. Move the cursor outwards from the centre until the ellipse/circle is of the required shape, and click to confirm.

5. Repeat steps 2 to 4 to create other elliptical/circular objects inthe same window definition.

6. Click Done to confirm your new elliptical objects. Return


to step 2 of the Defining an irregular window procedure.

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Instead of tracing out a boundary, you can use the Pick Outline

subcommand to define a single closed boundary around a partof your drawing that has an obvious outline.

1. Select the Pick Outline subcommand.

2. Click the outline around which you want to define a boundary.

You will only be able to see the defined outline at zoom factors above100%.

3. Repeat step 2 to pick other outlines for the same windowdefinition.

4. Click Done to confirm your new outlines. Now return tostep 2 of the Defining an irregular window procedure.

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The Pick Object subcommand defines boundaries aroundclosed shapes that are of single solid colors. It is slightly different

from the Pick Outline subcommand. If you select a soliddoughnut shape using Pick Outline, a boundary is defined aroundthe outer edge of the doughnut (i.e. its “outline” in PrimaVisionterms), enclosing the doughnut and its hole. Pick Object howeverdefines a boundary around both the inner and outer edges,enclosing the doughnut but not its hole.

1. Select Pick Object .

2. Click the required object. (Note that you will only be able to see


the defined object at zoom factors above 100%).

3. Repeat step 2 to pick other solid-color objects for the samewindow definition.

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4. Click Done to confirm your new objects. Return to step 2 ofthe Defining an irregular window procedure.

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PrimaVision handles rectangular windows and irregularwindows completely separately. You can switch betweenrectangular windows and irregular windows by simply selecting

either Rect. Window or Irre. Window in the mode bar.

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Select the Window , Full Area Window command todefine a window around the entire drawing area.

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The Move Window command allows you to reposition the

current window definition. Select Window , Move Window

, move the cursor to reposition the window in the drawing areaand click once to confirm the new position.

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PrimaVision memorizes the last 10 rectangular windowdefinitions.


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Note: The Last Window and Select Last Windowscommands are not available for irregular windows, so make sure

that Rect. Window is selected in the mode bar before using it.

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To switch to the previous rectangular window definition:

1. Select Window , Last Window . (See previous sectionSwitching between rectangular and irregular windows).

2. To return to the current window definition, click Last Window

again.

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The Last Window command memorizes the last-defined

window only. With the Select Last Windows command, youcan go back to any of the previous 10 rectangular windowdefinitions.

1. Select Window , Select Last Windows .

2. Use the Next Def. Window and Previous Def. Window

subcommands to scroll through window definitions. Select

the required definition and click OK .

Tip: As an alternative to step 2, drag your cursor over the requiredwindow’s original position. Any one of the 10 previous window


definitions will be reactivated when the cursor moves inside itsoriginal boundary. Click once in the drawing area when therequired window is displayed.

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Hide or display the yellow window boundary by clicking the

Window , Window On/Off command.

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The Clear , Clear In. Window command clears alldrawing area contents from inside the current window.

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The Clear , Clear Out Window command clears thewhole drawing area contents beyond the window boundary.

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When you select the Clear , Clear By Pen command, thepen in effect becomes an eraser. You can change the size and shapeof the eraser head using the pen control panel in the Pen Assistant.

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The Clear ,Clear All command clears the entire drawingarea.


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The Read & Save command calls up a window similar to theone shown below. The window consists of two panes: on the left, anoverview of the folder arrangement on the current drive (called thefolder tree), and on the right, the contents of the current folder.


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PrimaVision stores your designs as sketch files. The Read & Save

command helps you save, open and manage your sketch files.The command uses standard Windows file-naming conventions,allowing up to 256 characters in all file names. If you are using aNovell (DOS-based) file server, you will have to limit your filenames to 8 characters, from a very limited list of valid charactersis. It is advised to use alphanumeric characters (numbers andalphabet letters). Underscore _ is also valid.

Files created in Read & Save are of a special PrimaVision fileformat, and are automatically assigned the extension *.PV(although this extension is shown only in the Details file displaymode described later).

Note: Windows long file names permit the use of a wide range ofcharacters. Invalid characters specified by Windows are \ /: ^? < >| * “

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PrimaVision (such as most Windows software) stores files instructures called folders. Files may be equivalent to paperdocuments stored in cabinets; folders would then be equivalent tothe drawers of that cabinet.

Within any folder, you can create a subfolder containing files.“Folder” is used as a generic term to refer to a folder at any levele.g. a subfolder, sub-subfolder etc.

Folders are identified by the folder icon (closed) or (open).


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As with files, you may name your folders using up to 256characters, although the naming limitations detailed in thePrimaVision files section above also apply to folders.

Within limits defined only by your computer hardware, you may

• Create as many levels of folder as you wish,

• Create as many folders as you wish at any level, and

• Save as many files as you wish in any one folder.

.The standard Windows right-click menu is an available shortcutfor most functions. Drag-&-drop functionality is also available forsome commands.

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When you select the Read & Save command, the left panewill look like the following figure:


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The open (selected) folder will be the one that was open whenyou last quit PrimaVision. If this is the first time you are usingthe Read & Save window, it will be the PV_Patt folder on yourdefault pattern drive (specified in File, Setup). The PrimaVisionfolder tree will display only the contents of the PV_Patt folder; noother top-level folders will be shown.

The files contained in the open folder will be displayed in the rightpane. Any subfolder contained in the open folder may be hidden ordisplayed in the folder tree as required. With the exception of thedrive containing the open folder, all drive contents will initially behidden. Click any drive to display its contents, and the system willautomatically take you to the folder that was open the last timecontents of this drive were displayed.

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A plus sign to the left of a folder indicates that it may containsubfolders which are currently hidden from view i.e. the folder iscollapsed. A minus sign indicates that it contains folders whichare already displayed below it i.e. the folder is expanded.Procedures for expanding and collapsing folders are:

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Expand a closed or open folder Click the folder/Click the folder’s + sign

Collapse an open folder Click the folder/Click the folder’s - sign

Collapse a closed folder Click the folder’s - sign/Click the folder(to open), pause, then click again (tocollapse).


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To find a folder, use the scroll bar in the folder tree, expanding orcollapsing folders as required.

Tip: Up One Level will move up one level in the folder tree,that is, it will close the currently open folder and open the folderthat contains it.

If a folder contains many files, you may use the scroll bar in theright pane to navigate between files.

To adjust the width of the folder tree pane, position you cursor overthe boundary between the left and right pane until it becomes ahorizontal two-headed arrow, then drag the boundary until thepanes reach the requested size.

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To execute most file management commands, you must first selecta file by clicking it.

You can also select multiple files from the same folder. All filemanagement commands except for Rename can be performed onmultiple files at a time.

To select multiple non-consecutive files, click the first file to beselected, and then hold down the <Ctrl> key while you click eachadditional file to be included in the selection.

If the files to be selected occupy a rectangular region within theright pane, simply click the file at one corner of the region and thenhold down the <Shift> key as you click the file at the oppositecorner.


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8888 Drag shortcut:

You can also highlight a rectangular selection of files by defining awindow around it. Click one corner of the region (be careful to clickon an empty area of the right pane and not on a file), and drag themouse pointer onto the other corner.

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Note: PrimaVision files may only be saved within the PV_Pattfolder, which is created automatically upon installation ofPrimaVision.

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This command saves the current window contents to a new file.

Open the folder where you want to save the new file. Select Save

As and type a new name for your file. Click the Save button tocomplete the operation, and the new file will be displayed in theright pane.

8888 Right-click shortcut:

You can also call up the above dialog box by opening theappropriate folder, right-clicking (Green Button) an empty area ofthe right pane and selecting Save As.

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To overwrite an existing file with the current window contents,


click the file in the right pane, and then select Save . A promptwill ask for confirmation that you wish to replace this file. AnswerYes.

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You can also overwrite a sketch file with the window contents byright-clicking (Green Button) it and selecting Save.

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To open a file, double-click it in the right pane. Or click it once and

then select Open . Click on the drawing area in the positioninto which you want to paste the file contents.


You can also open a sketch file by right-clicking (Green Button) itand selecting Open.

If you attempt to retrieve a file that is too large for the currentdrawing area, or attempt to retrieve a TCX file (see thePrimaVision-TCX chapter) into a 256-color drawing area, you willbe prompted to change the current drawing area to match thespecifications of the retrieved file. Click the Read File button toread the file into an unchanged drawing area (an oversized file willbe cropped, and a TCX file will be automatically color grouped).Click the Change button to call up the Drawing Area Setting

dialog box that is accessible from within the Miscellaneous ,

Drawing Area Setting command. The default settings will bethose of the retrieved file, click OK to accept them.


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If you are opening a sketch file into a drawing area that alreadycontains another sketch file, then before clicking to paste the filecontents into the drawing area, you should determine the resultingpalette contents by selecting an option in the Status Assistant. UseNew Color will use the retrieved sketch file’s palette, Use Old Coloruses the current palette in the drawing area, Merge Color blendsthe two to create a palette that preserves the colors used in bothsketch files. (see Figure below)

There are 3 on / off options : Set Rule Origin, Grid Settings andHalf Drop / Shift Setting. However, depending on theapplicability some options may not be displayed.

Set Ruler Origin

If checked, the ruler origin will be adjusted to the lower left cornerof the image. The default state is off.

Grid Settings

This option only appears if Save With File inside the grid settingsdialog is on when the file was saved. If checked, the gird settingssaved will be used. The default state is off.

Half Drop / Shift Setting

This option only appears if the half drop or half shift value is non-


zero when the file was saved. If checked, the current half drop andhalf shift value will be replaced by the value saved in the file. Thedefault state is on.

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MultiSave (Gallery Connection) is a option that enables theuser to automatically save files in multiple directories, formats anddimensions simultaneously, making the PrimaVision filecompatible with other design systems or product managementsystems such as Lectra's Gallery.

Once the user activates the new multisave command, a file beingsaved within Read and Save will also be saved with a user-specified file name to the directory (or directories) specified withinthe MultiSave Settings dialogue box described further on.

Follow the steps below to activate this function:

1. Select Read & Save to open the Read & Save Window.

2. Select Tools, MultiSave. A tick sign will then appear besidethe MultiSave indicating that the function is activated..(seediagram above)

3. You will now need to create 'links' and then specify thelocations (i.e. directory paths) to which the PrimaVision filesare to be exported.


• Select Tools, MultiSave Setting to open the MultiSaveSetting dialogue box (see illustration below).

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• Click on the Add Link button at the bottom of the dialoguebox. This calls up an "Add Link to MultiSave" dialogue box.Enter an appropriate name into the edit box for this link. Thiscan either be a concise name or an extended description, up to500 characters long. Click OK to confirm the link name..

• Next, indicate the export location (i.e. the target directory) ofthe MultiSave link; click on to the right of the Directoryfield to call up a Choose Directory dialogue box.

• When the Choose Directory dialogue box appears, select theExport Directory by selecting from the drive (local or network)and the directory menus. Click OK to confirm the selection andclose the dialogue box.

• To set up additional MultiSave links, click on the Add Linkbutton again and follow the procedure described above. Notethat there is no upper limit to the number of links you may setup.


• To remove a certain link, simply select it and then click on theRemove Link button.

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4. Next, you will need to specify the format, dimensions andquality (e.g. Antialias) of the export files in the Export Settingbox.

• File Format: Select the file format required for the copy filethat is to be sent to the Export Directory. Other formats maybe selected in order to create links with other (third party) CADor product management systems.

• File Dimensions: To retain the original dimensions of thePrimaVision file to be saved in the Export Directory, check theRetain File Dimensions checkbox. Otherwise, leave thecheckbox blank and enter the desired dimensions in pixels intothe Width and Height edit boxes on the left.

• Antialias: Activate the Antialias function if necessary todisguise any pixelation of the original PrimaVision imageresulting from considerable downscaling in size. This willimprove the quality of the resulting export image.

• Finally, click OK in the MultiSave Setting dialogue box toconfirm all your selections and close the dialogue box

5. Repeat steps 3 to 4 to set up additional MultiSave links. Notethat there is no upper limit to the number of links that you mayset up.

6. To remove a link, simply select it and click on the Remove Linkbutton at the bottom of the MultiSave Setting dialogue box.

Notes:

a. When selecting the export locations for use by MultiSave,remember to ensure that these are the exact locations pre-defined inthe preference dialogue box in current use by the Gallery softwareapplication.

b. It is possible to use the same directory as the target exportdirectory several times, providing you select different export settingsfor each link - e.g. by setting different file formats or dimensions.


c. The system does not have any pre-set default links.

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d. A MultiSave link cannot be re-named. Should you need to alterthe name of a link, first remove the link and then add a new linkwith the new name. Removal of a link does not affect the files thathave previously been exported through it.

The above completes the procedure for setting up MultiSave links.Thereafter, whenever the MultiSave command is on, any filessaved within PrimaVision will also be saved in the locationsspecified in the MultiSave links.

The MultiSave command should be switched off when notrequired in order to avoid making accidental copies that will use updisk space unnecessarily. To do so, select Tools, MultiSave andclick once to remove the tick.

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PrimaVision enables files to be exported either as a single file(through File, Export) or as an entire directory through the MassExport subcommand (under the Tools pull-down menu in Readand Save).


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The Include Subfolders checkbox is checked by default, whichindicates all files in subfolders are included in the operation. Ifunchecked, the operation works only on files in the source folderspecified but not subfolders.

Sometimes the PrimaVision file to be exported may incorporateseveral different colour palettes. Other software packages (such asthose used by design bureaux) may not be able to handle thismultiple palette function, so in order to export all colourwayversions, the individual palettes are automatically isolated andlinked separately to a copy of their 'mother file'. They are thenexported individually.

To do this, click the Multiple Palette Setting button at thebottom of the Mass Export dialogue box and select the Exportfiles for each palette option in the Multiple Palette Settingdialogue box. The system will automatically assign file names toeach of the resulting files as follows:


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The file name for each of the resulting files is composed of threecomponents by default - '(filename) + (separator) + (palettename)' - for example:

to shorten the names of the resulting files, this component may beerased altogether by selecting the 'NIL' option in the 'Filename'menu. This results in the separator field being hidden and non-editable:

1. Filename - the name of the original ('mother') PrimaVision file- e.g. 'Rose Floral'.

2. Separator - editable alphanumeric string separating filenamefrom palette name. By default it is set as '-' (a dash) and may bealtered using between 0 and 8 characters.

3. Palette name - represents the existing names of the colourpalettes, which were incorporated into the original ('mother') file.

For instance, if the palette names were 'Spring Colours' and'Autumn Colours' the resulting file names would be 'Rose Floral -Spring Colours' and 'Rose Floral - Autumn Colours'. If the colourpalettes do not have specific names, the system will automaticallyname them with default names 'Palette 1', 'Palette 2' etc. inaddition to their original 'mother' file name. For example: RoseFloral - Palette 1, Rose Floral - Palette 2 etc.


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By default, files displayed in the right pane of the Read & Savewindow are sorted according to the standard Windows sortingorder. Use the View, Arrange Icons on the menu bar to sort yourfiles by name, date, file size or type (the last option is most usefulin the Details display mode described later in this section).

Sort in descending sort order (e.g. reverse alphabetical sort order,decreasing file size etc.) by selecting Descending from the View,Arrange Icons menu.

To display your files in text mode, select Details from thebutton bar or Details from the View menu. The name, size, filetype and last update date will be displayed for all your files. To

return to the picture display mode, select PV Pictures fromthe button bar or PV Pictures from the View menu.

Note: All file management operations introduced in these notesapply equally to the two file display modes.

The PV Pictures display mode displays only PV files. The Detailsdisplay mode, on the other hand, displays all files in the currentfolder.

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To create a new subfolder within a folder, open the folder and selectCreate New Folder from the button bar. A subfolder called“New Folder” is created in the folder tree. Type the subfolder nameand press <Enter>.


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Open the folder to be renamed, then click the folder name to take itinto edit mode. Type a new name to replace the original name. Tomake only minor amendments, you can retain the original text bymoving the cursor before you start editing.


You can also take a folder name into editing mode by right-clickingit (Green Button) and selecting Rename.

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To delete a folder, simply click it, and select Delete on thebutton bar. Answer Yes to confirm.


You can also delete a folder by right-clicking it (Green Button) andselecting Delete.

Note: If a folder contains subfolders, you cannot delete the folderwithout first deleting its subfolders.

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Copying a folder A, to another folder B, creates a subfolder withinFOLDER B that is a duplicate of FOLDER A in both name andcontent. First click the folder that you want to copy and select

Copy from the button bar. Open the destination folder, and


select Paste . You can also use Edit, Copy and Edit, Paste inthe menu bar.

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You can also copy a selected folder by right-clicking it (GreenButton) and selecting Copy. You can paste it into the destinationfolder without even opening the latter. Simply right-click thedestination folder in the folder tree, and select Paste.

8888 Drag-&-drop shortcut:

Adjust the folder tree display so that both the folder to be copiedand the destination folder are displayed (this method will not workif you are not able to display both at the same time). Select thefolder to be copied. With the mouse pointer over the selected folder,hold down the left (Yellow Button) mouse button. Drag this folderto the destination folder, releasing the mouse button when thedestination folder becomes highlighted. Select Copy Here tocomplete the operation.

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The procedures for moving a file are very similar to those forcopying a folder. The only difference is in the first step: rather thanselecting a copy command, select a cut command.

To move a folder from one location to another, first click the folder

that you wish to move and select Cut from the button bar. Go

to the destination folder, and select Paste . You can also useEdit, Cut and Edit, Paste in the menu bar.


You can also move a folder by right-clicking it (Green Button) andselecting Cut. You can paste it into the destination folder withouteven opening the latter. Simply select the destination folder in thefolder tree, right-click it and select Paste.



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Adjust the folder tree display so that both the folder to be movedand the destination folder are displayed (this method will not workif you are not able to display both at the same time). Select thefolder to be moved. With the mouse pointer over the selected folder,hold down the left (Yellow Button) mouse button. Drag this folderto the destination folder, releasing the mouse button when thedestination folder becomes highlighted. Select Move Here tocomplete the operation.

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Select the file by clicking it, then click the displayed file name. Thistakes the file name into edit mode:


You can also call up edit mode by right-clicking (Green Button) theselected sketch file and selecting Rename.

Click here

to turn the

file name

into edit

mode


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Click the file to be deleted and select Delete from the buttonbar. Answer Yes to confirm that you really want to delete the file.


You can also delete a sketch file by right-clicking it (Green Button)and selecting Delete.

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To copy a sketch file from one folder to another, first click the file

that you wish to copy and select Copy from the button bar. Goto the folder to which you wish to copy the file, and select Paste

. Alternatively, if you prefer to use the menu bar, you can useEdit, Copy and Edit, Paste.


You can also copy a selected sketch file by right-clicking it (GreenButton) and selecting Copy. You can paste it into the destinationfolder without even opening it. Simply select the folder in the foldertree, right-click it and select Paste.


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Select the file(s) to be copied. Adjust the folder tree display so thatthe destination folder is displayed. With the mouse pointer over theselected file(s), hold down the left (Yellow Button) mouse button.Drag the file(s) to the destination folder, releasing the mousebutton when the destination folder becomes highlighted. SelectCopy Here to complete the operation.

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The procedures for moving a file are very similar to those forcopying a file. The only difference is in the first step: rather thanselecting a copy command, select a cut command.

To move a sketch file from one folder to another, first click the file

that you wish to move and select Cut from the button bar. Goto the folder to which you wish to move the file, and select Paste

. You can also use Edit, Cut and Edit, Paste in the menu bar.


You can also move a selected sketch file by right-clicking it (GreenButton) and selecting Cut. You can paste it into the destinationfolder without even opening it. Simply right-click the folder in thefolder tree, and select Paste.


Select the file(s) to be moved. Adjust the folder tree display so thatthe destination folder is displayed. With the mouse pointer over theselected file(s), hold down the left (Yellow Button) mouse button.Drag the file(s) to the destination folder, releasing the mousebutton when the destination folder becomes highlighted. SelectMove Here to complete the operation.


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It is possible to print one or more selected Graphics Mode, WeaveExpert or Weaving Mode files from the Read & Save windowwithout opening any of them into the drawing area. Select the

file(s) that you wish to print, and then select Print from thebutton bar to call up the normal Print dialog box (see the Printchapter for details of print settings).

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Return to the drawing area by clicking Exit in the Read &Save button bar.

You may need to use files that were created in PrimaVisionelsewhere (e.g. putting your designs on a website), or you mightwish to incorporate files from other software into a PrimaVision

design. The Read & Save command cannot work directly withfiles that are not of PrimaVision format, but it can work with filesof many standard graphics formats such as bitmap, JPEG or TIFF.

To read or save files of PrimaVision-compatible formats, use File,Import or File, Export on the PrimaVision menu bar.

Alternatively, use the Import File and Export Filesubcommands that are displayed in the command bar when youclose down the Read & Save window. (See the File, Import and File,Export sections of The Menu Bar chapter.)

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PrimaVision uses the Windows Recycle Bin to restore deletedfiles from non-network drives (see Backing up files for ways to


avoid complete information loss on network drives).

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Files deleted from general Windows software are sent to theRecycle Bin. You may view deleted files by double-clicking the

Recycle Bin on the Windows desktop.

To restore a file which has been sent to the Recycle Bin:

1. In the Recycle Bin, select the file(s) which you wish to restore(refer to the Selecting files section).

2. Select File, Restore on the menu bar. Return to PrimaVision. Ifnecessary, select View, Refresh on the menu bar to refresh thewindow to display the restored file(s).

Note: If the Recycle Bin has been emptied since you deleted yoursketch file, you will not be able to restore your file. Emptying theRecycle Bin (using File, Empty Recycle Bin) is an important methodof conserving disk space, but be careful to empty it only when youare sure that you no longer need its contents.

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It is strongly recommended that you backup your PrimaVisionfiles. A common method is the network backup, whereby all files ona network are automatically backed up onto digital tape by aspecialized backup program.

For further details about alternative daily backup procedures,contact your systems support department or local agent.


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The Drawing Tools command is used for drawing lines,curves, and geometric shapes.

Note: To reduce the amount of customizing required when you drawvarious shapes, the settings in the Status Assistant are rememberedand used as defaults when you next use the same command.

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To draw a straight line:

1. To draw a solid straight line, select Drawing Tools , Line

. To draw a dotted straight line, select Drawing Tools ,

Dotted Line .

2. Choose a color in the Color Assistant, and select pendimensions in the Pen Assistant. Click in the drawing area onthe start-point of the line. (Alternatively, click Restore

Position to continue drawing from the end of the last-drawn line.)

3. If you are using the Line command, you can select in theStatus Assistant any of the following ways to display the cursorposition in the drawing area: as X-Y coordinates in the drawingarea (Cursor coordinate), relative to its start-point in pixels,inches or centimeters (Dimension in pixel/inch/CM) whendefining a window, or not displayed of figures at all (Off).


If you are using the Dotted Line command, specify theDot Length or Gap Length in the Status Assistant (both are

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measured in integer pen widths), pressing <Enter> after eachentry.

4. As you move your cursor around in the drawing area, you willchange the orientation and length of the new line. To restrictthe line orientation to multiples of 45 degrees from the vertical,activate the Fixed Directions option in the Status Assistant.Deactivate Fixed Directions to regain unrestricted control overline orientation. (Alternatively, you can hold down the <Shift>key as you move the cursor, remembering not to release it untilyou have completed step 5.)To draw a perfectly horizontal or perfectly vertical line, you caninstead press the appropriate arrow key on your keyboard. Ifyou wish to release the line from this fixed orientation at anystage before proceeding to step 5, press the arrow key again.

5. Move your cursor around in the drawing area until you aresatisfied with the length and orientation of the line. Click onceto fix its end-point.

6. To append another line to end of the one that you have justdrawn, repeat steps 3 to 5. The end-point of the previous linebecomes also the start-point of the new line.

7. Repeat step 6 as many times as required. Select Command

End .

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To draw a rectangle, a square, a dotted rectangle or a dottedsquare:

Note: The same commands are used for drawing rectangles as forsquares. In this section, “rectangle” refers to either rectangles orsquares.

1. To draw a rectangle outline or a solid (filled) rectangle, select


Drawing Tools , Rectangle . To draw a dotted

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rectangle outline, select Drawing Tools , Dotted

Rectangle .

2. Choose a color in the Color Assistant, and select pendimensions in the Pen Assistant. If you want to draw a square,activate the Square check box in the Status Assistant.Deactivating it will draw an ordinary rectangle instead.

3. Click in the drawing area on the position of one corner of therectangle.

4. If you are using the Rectangle command, select Solid orOutline in the Status Assistant, depending on whether youwant to draw a solid rectangle or a rectangle outline.

If you are using the Dotted Rectangle command, specify(in pen widths) the Dot Length and Gap Length in the StatusAssistant. Press <Enter> after each entry.

5. Move the cursor until the rectangle is of the required size. Clickto confirm.

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To draw an ellipse, a circle, a dotted ellipse or a dotted circle:

Note: The same commands are used for drawing circles as forellipses. In this section, “ellipse” refers to either circles or ellipses.

1. To draw an ellipse outline or a solid (filled) ellipse, select

Drawing Tools , Ellipse . To draw a dotted ellipse

outline, select Drawing Tools , Dotted Ellipse .

2. Choose an appropriate color in the Color Assistant, and selectappropriate pen dimensions in the Pen Assistant. If you want


to draw a circle, activate the Circle check box in the StatusAssistant. Deactivating it will draw an ordinary ellipseinstead.

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3. Click in the drawing area on the required position of the ellipsecentre. (Alternatively, press the Blue Button in the drawingarea to use the same centre as the last-drawn ellipse.)

4. If you are using the Ellipse command, select Solid orOutline in the Status Assistant, depending on whether youwant to draw a solid ellipse or an ellipse outline.

If you are using the Dotted Ellipse command, specify (inpen widths) the Dot Length and Gap Length in the StatusAssistant. Press <Enter> after each entry.

5. Move the cursor outwards from the centre until the ellipse is ofthe required dimensions. Click to confirm.

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To draw a curve or a dotted curve

1. To draw a solid curve, select Drawing Tools , Curve .

To draw a dotted curve, select Drawing Tools , Dotted

Curve .

2. Choose a color in the Color Assistant, and select pendimensions in the Pen Assistant. Click in the drawing area onthe start-point of the curve. (Alternatively, click Restore

Position to continue drawing from the end of the last-drawn curve.

3. If you are using the Dotted Curve command, specify theDot Length and Gap Length in the Status Assistant (both aremeasured in integer pen widths), pressing <Enter> after eachentry.


4. There are two curve input modes that determine whether theturning point or the end-point is defined first. With 1-3-2 mode,you must define the end-point before the turning point, and

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vice versa with 1-2-3 mode. Select the required input mode in

the Status Assistant (or use Change Mode in thecommand bar).

5. If using 1-3-2 input mode, move the cursor to the required end-point of the curve, and click once. Then move the pointer to theturning point of the curve, and click to confirm.If using the 1-2-3 input mode, move the cursor to the requiredturning point of the curve, and click once. Then move thepointer to the end-point of the curve, and click to confirm.

6. To append another curve to the end of the one just drawn,repeat steps 4 and 5 (the end-point of the curve just drawnbecomes the start-point of the new curve). You may click theBlue Button at any stage to toggle between drawing curves anddrawing lines.

7. Repeat step 6 as many times as required. Select Command

End to confirm your new curve(s).

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The Stitch Line command is an advanced variation of the

Dotted Line and Dotted Curve commands. Not onlydoes it allow you to define more complex attributes for your dottedlines/curves, but you may also draw multiple parallel lines/curvesof different attributes at the same time. This command is thereforevery suitable for the simulation of garment stitching.

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1. Select Drawing Tools , Stitch Line . Click the


required line color in the Color Assistant palette, and selectappropriate pen dimensions in the Pen Assistant.

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2. To edit the current stitch line setting, select the Stitch Line

Setting subcommand. This calls up a dialog box similar tothe following:

3. To edit the attributes of any line shown here, click this line inthe dialog box, then click the Edit button. A dialog boxappears, type the required dot length and gap length.

You may specify more than one dot length at a time. For example, adot length of “3,8” and a gap length of “2” indicate that the line willconsist of alternating dots of length 3 pen widths and 8 pen widths,with a gap length of 2 pen widths.

Gap lengths are also variable. For example, a gap length of “4,6” inthe previous example would mean that the line would consist of thefollowing dot-gap combination:

• A dot 3 pen widths long

• A gap 4 pen widths long

• A dot 8 pen widths long

• A gap 6 pen widths long.

Click OK to confirm the edited line attributes.


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Note: Any change of stitch line setting will affect all connectedsegments of this particular stitch line. Should you require twoconnected line segments to be of different stitch line settings, first ofall follow this entire procedure through once to draw the first line.

Exit out of the Stitch Line command. After selecting the Stitch

Line command again to draw the second line segment, click

Restore Position to start the new line at the end-point of theprevious one.

4. To add a new line to the end of the current stitch line setting,click the Add button. This calls up the Select Line Style dialogbox of default line styles, from which you should select the linethat most closely resembles the one required. If necessary, youcan preview the default line’s attributes using the Edit button.Click Cancel to return to the default line list without makingany changes. Alternatively, you can edit the default line - see alater section "Editing the Default Line List".

Note:Always define the lines in your stitch line set in the orderthat you require them. There is no mechanism by which youcan move a line to a different position in the Stitch Line Settingdialog box. Horizontally-drawn stitch lines will appear in theorder displayed in the Stitch Line Setting dialog box shown instep 2. For vertically-drawn lines, the top line in the dialog boxwill be drawn leftmost.


Click OK to add the line to the current stitch line setting.

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The Displacement attribute of your new line is the gap betweenthis line and the line displayed above it in the dialog box. Toincrease or decrease line displacement for the currently-selectedline, click the + or - button respectively. Displacement can only bespecified in integer pen widths.

5. At any stage, you may delete any line from the Stitch LineSetting dialog box by first clicking it and then clicking theDelete button. Deletion is immediate: there is no confirmationmessage, so be careful when using this command!

6. Repeat steps 3 to 5 to complete editing of your current stitchline setting. Click OK to return to the drawing area.

7. Now draw your new stitch line/curve as you would use the

simple Line or Curve command.

Note: Stitch Line is by default in Line mode when you first call up

PrimaVision. Also, Stitch Line functions slightly differently from the

Curve command upon switching from Line mode to Curve mode. With

the Curve command, you must start drawing your curve only after

switching into Curve mode. With the Stitch Line command, you muststart defining the curve before switching into Curve mode. When switching


into 1-2-3 Curve mode, you must click the turning point of the new curvebefore switching into Curve mode. Similarly, to switch into 1-3-2 Curvemode, click the end-point of the new curve before switching into Curve mode.

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At any stage, you can select the Reverse Line Ordercommand to invert the order of lines in your stitch line setting forsubsequently-drawn lines.

8. When you have finished drawing your stitch line, click

Command End .

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The default line list that appears in the Select Line Style dialog box(see step 4 of the previous procedure) is editable. To add, remove or

edit default line styles, first select the Stitch Line , Stitch

Line Setting subcommand.

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Any line in the current stitch line setting can be added to thedefault line list. Select a line from the current stitch line setting,and click the Save button. The new line will be appended to theend of the default line list (click the Add button to view it).

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You can also edit or delete a default line style. Call up the defaultline list by selecting Add in the Stitch Line Setting dialog box.

To edit the settings of a default line style, select it and click theEdit button. Edit the line settings, pressing <Enter> to confirmeach entry. Click OK to save the settings.

To delete a default line style from the list, select it and click theDelete button.


Warning: Use the Delete button with care as there will be nowarning prompt!

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Click OK to confirm changes to the default line list.

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To draw an outline for an object:

1. Select Drawing Tools , Outline .

2. Choose a color in the Color Assistant, and select pendimensions in the Pen Assistant. Place the cursor in thedrawing area close to the edge of (but not on) a discrete objectaround which you want to create an outline.

3. Click once in the drawing area. It may take a while to draw theoutline, particularly if the object to be outlined is very complex.

Tip: Click once more in the drawing area if you need to interrupt

drawing of the outline before it is finished. Select the Undocommand to remove any outline that has just been drawn.

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To draw an arrow line, simply follow the steps below:


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1. Select Drawing Tools , Arrow .

2. Select the desired Arrow Style.

3. Click on the start point of the arrow.

4. Click on the end point of the arrow.

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Changing the pen dimensions using the Pen Assistant’s pen controlpanel normally only affects anything drawn after the dimensionshave been adjusted — anything drawn prior to the pen

adjustments remains unaffected. The Const. Pen Width

command under the Drawing Tools command group makesthe pen dimensions to remain consistent across several images.Any line that drawn within the Const. Pen Width command willuse the same pen dimension when you adjust the dimension in thePen Assistant before you exit the command. This command istherefore handy for the construction of a continuous, irregularoutline that uses a combination of Drawing Tools commands.

1. Select Drawing Tools , Const. Pen Width .

2. Choose a color in the Color Assistant, and select pendimensions in the Pen Assistant. At any stage before step 5,you can adjust the pen dimensions across all images drawn.

3. To draw consecutive curves or lines, select Line, Curve 1-2-3 orCurve 1-3-2 in the Status Assistant before you begin to draw.To draw freehand, select Free Hand in the Status Assistant.

4. If, having just drawn a set of images within the Const. Pen

Width command, you wish to protect it from being affectedby any further adjustments to the pen dimensions (for example


if you have just finished drawing one outline and wish to start

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sketching a separate one), select the Keep Drawingsubcommand.

5. When you select Command End , the Const. Pen Width

command is terminated, which means that no drawnimages can be affected any longer by changes to the pendimensions.


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Any color in an image (assuming the image is not a truecolor one –see PrimaVision-TCX chapter) is defined by its color box number in

the palette. The Change Color commands change the colorsused in different parts of an image by changing the color boxnumbers assigned to those parts.

All Change Color commands change colors inside the currentwindow only.

Note: Colors that are not selected in the current window are not

affected by the Change Color commands. The Color Assistantpalette and its color boxes always remain unchanged by thiscommand.

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To change one selected color to another

1 Define a window around the part of the image to which the color

change is to be applied. Select Change Color , Chg. Single

Color .

2 Click the color to be changed in the drawing area or click therequired color box in the Color Assistant palette. The StatusAssistant displays the color to be changed under Change From.

Tip: If you select the wrong color by mistake, press the Blue Buttonin the drawing area, and repeat step 2.


3 Move your cross-hair over any color in the drawing area orpalette to preview the effect of the new color.

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4 Click the new color in the drawing area or in the Color Assistantpalette. The color change will be applied to the window contentsimmediately.

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To change multiple selected colors to a single selected color:

1. Define a window around the part of the image to which the

color change is to be applied. Select Change Color , Chg.

Multi. Color .

2. Select the colors to be changed. Click in the drawing area tomark the first corner of a rectangular selector around thecolors to be changed. Click the opposite corner of the selector.The Status Assistant displays the selected colors under ChangeFrom.

3. To deselect a color, click it in the Status Assistant. To deselecta group of colors, use the Green Button to define a rectangularselector around those colors in the drawing area.

4. Repeat steps 2 and 3 as necessary to add to or remove from the

color selection. Click Enough to confirm your selection.

Tip: If you select the wrong colors by mistake, press the Blue Buttonin the drawing area, and repeat steps 2 to 4.

5. Move your cross-hair over any color in the drawing area orpalette to preview the effect of the new colors.

6. Click the new color in the drawing area or in the ColorAssistant palette. The color change will be applied to thewindow contents immediately.


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To change multiple selected colors to colors in a selected paletterange:


color change is to be applied. Select Change Color , Chg.

Mul. To Mul. .

2. Select the colors to be changed. Click in the drawing area tomark the first corner of a rectangular selector around thecolors to be changed. Click the opposite corner of the selector.The selected colors will be listed under Change From in theStatus Assistant.





5. Specify in the Color Assistant palette the range of color boxesto replace your selection. First click the start color box of thepalette range, then click the end color box.

6. Click anywhere in the drawing area to execute the colorchange. Each original color in the window will be changed tothe most closely matching color in the new range.

Note: The number of selected source colors does not need to equal thenumber of selected target colors.


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Use the Swap Color command to swap two selected colors:


color swap is to be applied. Select Change Color , Swap

Color .

2. In the drawing area or the Color Assistant palette, click thefirst color to be swapped.

3. Click the second color to be swapped. The color swap will beapplied to the window contents immediately.


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The Chg. Col. By Pen command group is used to changecolors selectively with the pen. It gives you finer control than the

Change Color commands to apply color change.

Note: This command uses the current pen dimensions to determinehow the color change is applied in the drawing area.

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To change a single color into another wherever the pen is applied:

1. Select Chg. Col. By Pen , Chg. Col. By Pen .

2. Click the color to be changed in the drawing area or click theappropriate color box in the color Assistant palette. The colorselected to be changed will be displayed under Change From inthe Status Assistant.

Tip: If you select the wrong color by mistake, press the Blue Buttonin the drawing area, and repeat step 2.

3. Click the new color in the drawing area or in the colorAssistant palette.

4. Adjust the pen dimensions in the Pen Assistant. Draw in theareas that requires color change. The color change is appliedwhenever the pen draws over the selected color. Colors thathave not been selected are left unchanged.


5. To apply another color change with the pen before exiting fromthis command, press the Blue Button in the drawing area.Repeat steps 2 to 4.

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To change multiple selected colors to a single color wherever thepen is applied:

1. Select Chg. Col. By Pen , Multi. To Single .



4. Repeat steps 2 to 3 as necessary to add to or remove from the



5. Click the new color in the drawing area or in the colorAssistant palette.

6. Adjust the pen dimensions in the Pen Assistant. Draw in theareas that requires color change.

7. To apply another change from multiple colors to a single colorwith the pen before exiting from this command, press the BlueButton in the drawing area. Repeat steps 2 to 6.



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To change with the pen a set of multiple selected colors to colors ina selected palette range:

1. Select Chg. Col. By Pen , Multi. To Multi. .



4. Repeat steps 2 to 3 as necessary to add to or remove from the



5. You must now specify in the color Assistant palette the rangeof color boxes to replace your selection. First click the startcolor box of the palette range, then click the end color box.

6. Adjust the pen dimensions in the Pen Assistant. Draw in theareas in which you require the specified change of color. Eachoriginal color will be changed to the color in the new range thatmatches it most closely.


Note: The number of selected source colors does not need to equal thenumber of selected target colors.


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To swap two colors whenever the pen is applied:

1. Select Chg. Col. By Pen , Swap color .

2. In either the drawing area or the color Assistant palette, clickthe first color to be swapped, then click the second color.

3. Adjust the pen dimensions in the Pen Assistant. Draw in theareas in which you require the specified change of color. colorsselected in step 2 are swapped wherever the pen is applied.


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To reverse (undo) the last-executed change of any nature (e.g.

colour, copy & paste, etc), simply click the Undo By Pencommand and then select the Undo check box in the StatusAssistant (Undo is the default selection). Next, apply the penacross the area in which the last-executed change takes effect so asto reverse the change. You will be able to reverse the last-executedchange to whatever extent you prefer by limiting your penapplication to only where you want to reverse the change.

To Redo what has just been Undone, simply select the Redo checkbox in the Status Assistant and then apply the pen in a similarfashion to that for the Undo function.


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The Color Grouping commands reduces the multitude ofcolors in an image to a specified set of colors.

A scanned pattern may contain color shades that are barely visible.If you look closely at an actual piece of fabric or its scanned image,you will notice very subtle variations in colors: some fine dots here,some patches of shade there. These variations are often not part ofthe design, but are introduced into the image when it is scanned.Color grouping may be viewed in this context as the purification ofa scanned image.

By grouping all colors in the image into several major hues or intoa well-prepared palette, you can exclude unwanted colors.

Important Note: Each color grouping command acts on the contentsof the currently-defined window. However, the image colors outsidethe window may also be disturbed because the operation can involvea rearrangement of color boxes in the palette.

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The Color Grouping command lets you select the significantcolors in your drawing or fabric pattern (the ones that you want tokeep in your image). The significant colors will be kept, whilst eachdispensable color will be changed to the closest-match significantcolor.

Note: The significant colors will be copied to the front of the palettestarting from color box 1 onwards.


1. Define a window around the image that you wish to color

group. Select Color Grouping To Selected Col. .

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2. Select all colors that you want to keep in your color-groupedimage, by clicking each one in the drawing area or in the ColorAssistant palette. The selected colors appear in the StatusAssistant. (Or click Blue Button in the drawing area to use thecolors selected during your last application of this command.)

3. To deselect a color, click it in the Status Assistant.Repeat steps2 to 3 as necessary to add to or remove from the color selection.

Click Go to confirm your selection.

Wait until the color grouping is complete. The color-grouped imageshould be sharper than the original.

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Although the default Color Assistant palette contains a standardset of 256 colors, it changes when colors are added, or whenmodification is required by certain operations. If your image has amodified palette, such as a scanned-in photograph, and you want tochange its palette to the default palette while preserving the image

colors, use the Color Grouping , To Default Pal.command.

The main reason to convert an image's palette to the defaultpalette is to gather more several sketch files of different palettesinto a single file. Another reason could be the use of a standardpalette across a series of images to ensure color consistency.

Note: If your image already uses the default palette, you will notneed to use this command.

Warning: Although this command color-groups only the currentwindow contents, image colors outside the window will also bechanged as a result of the substitution of the current palette by thedefault palette.


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1. Define a window around the image that you want to color

group. Select Color Grouping , To Default Pal. .

2. Wait until the conversion is complete.

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The To Auto Selected command is different from the To

Selected Col. command in that the colors to which your imageis grouped are determined automatically by PrimaVision. Aftercolor grouping, the range of grouped colors will start from color box1 in the palette.

Warning: Although this command color-groups only the currentwindow contents, image colors outside the window will also bechanged as a result of the substitution of the current palette by thedefault palette.

1. Select Color Grouping , To Auto Selected .

2. The Status Assistant shows the default maximum number ofgrouped colors. Amend this number if necessary, pressing<Enter> to confirm the new entry.

3. Click Go . The stated number of grouped colors will becopied to the palette beginning at color box 1.


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The Color command group consists of a range of colormanagement/manipulation tools for whole images, individualcolors, color palettes and colorways. Many commands can beaccessed through the color Assistant as well as through the colorcommand bar.

Super Spectrum users will find the Super Spectrumcommand in this command group. Please refer to the SuperSpectrum chapter for further information.

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Each PrimaVision sketch file is saved with at least one palette of256 colors. In the palette, each color is stored in a color box andassigned a unique number from 0 to 255. PrimaVision identifiesthe color used in any part of the drawing area by the color boxnumber assigned to it.

To modify and manage palettes, select the Color , Color

Palette command. This calls up the Color Palette dialog boxdisplaying the current palette and a set of Color Palettesubcommands:


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To exit from this dialog box at any stage, select Command End

.

Available Color Palette subcommands are as follows.

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This command creates a color spread in the current palette. A colorspread is a range of colors in which the colors blend smoothly fromone end of the range to the other; applying these colors to an imagecreates a gradation or a tonal effect. It can be very effective when

used with the Special Effect , Color Shade command(see the Special Effect chapter).

1 Select the Color Spread subcommand.

2 In the Color Palette dialog box, click the color required at oneextreme of the color spread, then click the color required at theother extreme.

3 To specify the range of color boxes that are to hold the new colorspread, click the first box in this range. As you move your cursorover the palette, the color spread changes in real-time. Click thelast box to confirm the range. The original colors in the selectedrange will be replaced by your color spread.

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The Restore Last Pal command reverts the specified range ofcolor boxes in the palette back to their original contents.

1. Select the Restore Last Pal subcommand.


2. Click the first color box in the range to have its originalcontents restored. As you move your cursor over individual

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color boxes, their original contents will be restored real-time.Click the last color box in the range to confirm restoration.

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This command defines a range in the palette as modifiable. It hasno immediate obvious effect, but is required by a number ofoperations such as draping.

1. Select the Def Mod Palette subcommand.

2. Click the first color box in the range to be defined asmodifiable, then click the last color box in the range.

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The Color Levers subcommand is used for modifying a color

in a color box. It can also be found in the Color command bar(see color Levers section).

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You may create an unlimited number of color palettes within thesame sketch file, thereby saving infinite color schemes for the samedesign.

1. Select the Create Palette subcommand.

2. Click OK to confirm. The newly-created palette is a duplicate ofyour current one, and its colors may be edited in the usualmanner when it is the current palette.


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When the currently-open sketch file contains more than onepalette, a drop-down arrow button is displayed in the top rightcorner of the color Assistant palette. To switch between palettes,click this button and select the required palette.

If your file contains more than one palette, an alternative to step 1above is to click the drop-down arrow button in the top right cornerof the Color Assistant palette. Select Create at the bottom of theColor Palette dialogue box that appears. Note that there is noconfirmation message with this method.

Note: Using multiple palettes does not give you more than 256 colorsat any one moment for the current sketch file. When you switchpalettes, all the colors in the original palette will be replaced by thecolors of the new one, and colors used in the drawing area willchange accordingly. Switching back into the original palette willinstantly restore the original colors.

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By default, palettes are named Palette 1 through to Palette 10. Ifyour file contains more than one palette, you can edit these namesto rename them.


1. Click the drop-down arrow button in the top right corner of thecolor Assistant palette, and select the palette that you wish torename.

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2. Click the drop-down arrow button again and select Rename.

3. Edit the palette name in the dialog box. Click OK.

4. The new name is assigned to the current palette, and will bedisplayed whenever you click the drop-down arrow button inthe Color Assistant palette.

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Use the Delete Palette subcommand to delete the currentpalette.

If your file contains more than one palette, an alternative methodis to click the drop-down arrow button in the top right corner of thecolor Assistant palette and select Delete. Note that there is nowarning confirmation with this method.

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Created palettes may be saved as independent palette files, so thatthey may easily be shared between sketch files.

1. Select the Save Palette subcommand.

2. Specify the name and location of your new palette file, and clickSave. By default, the system saves palette files with the.PALextension and in the \PV\Palette folder on your PrimaVisiondrive.

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To retrieve a palette file into your current sketch file and the colorPalette dialog box:

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1. Select the Read Palette subcommand.

2. Specify the name and location of the required palette file andclick Open. (By default, the system looks for palette files in the\PV\Palette folder on your PrimaVision drive.)

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The Color Levers command is used to modify individual

colors in the palette. The Color Levers command modifies acolor’s on-screen appearance by adjusting its RGB or CMYK code.You can also edit the color’s printer code to change its appearancesin the printout.

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In the Color Assistant palette, click the color box containing the

color you want to adjust, and select the Color , Color Levers

command (or double-click the requested color box.) The colorLevers dialog box is displayed:


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Activate the RGB or CMYK option button depending on the colormodel that you want to use.

The RGB levers are based on the standard RGB color model, andcontrol the intensity of red (R), green (G) and blue (B) in theselected color. The fourth lever (I) controls the intensity of theoverall color.

The CMYK levers work in a similar manner. The CMYK modeldefines a color in terms of cyan (C), magenta (M), yellow (Y) andblack (K), the four component color channels by which printers,press and output devices generally identify color.

Note: You can also specify a color in terms of an Lab code in thecolor Levers dialog box. It is however recommended that you use the

more intuitive Color Selector instead (see the color Selectorsection).

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In the Color Lever dialog box, you can assign a new name for anypalette color in the Name field so that the commonly-used colorscan be easily identified in the Color Assistant palette.

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The color levers operate like scroll bars. The higher the level of thelever, the greater the intensity of the relevant color channel in theselected color. Any adjustment to the levers is immediatelyreflected in the Color Levers dialog box, in the palette and in anyoccurrence of the selected color in the drawing area.

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For the PrimaVision-supported printer specified in the PrinterType/Code field, PrimaVision automatically assigns a closest-match printer code to each color in the palette. If you wish to editthis printer code for the selected color, thereby changing its printedcolor, first make sure that the correct printer is selected in thePrinter Type/Code field. Wait for the printer code underneath to beassigned automatically. Click the printer code, edit it and press<Enter>.

Note: If the selected color has been created using the Lab color

representation in the Color Selector command, the PrinterType/Code field will display Lab Code instead of a printer name,and an Lab code will be displayed instead of a printer codeunderneath. The above procedure works for all colors, regardless ofwhether it currently has a printer code. See the color Selector sectionlater in this chapter for more discussion about Lab.

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To choose another color for RGB/CMYK adjustment without

exiting from the Color Levers command, you can get (select)it from either the color Assistant palette or the drawing area.


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Click the required color box in the color Assistant palette. Click theGet color button in the color Levers dialog box. The chosen colorwill be retrieved into the color Levers dialog box. (or simply double-click the color in the palette.)

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Click any occurrence of the required color in the drawing area. Thechosen color will be retrieved into the color Levers dialog box.

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The Mix color button blends two colors together to form a third.Note that one of the two colors will be replaced in the palette by thethird.

1. Get one of the colors to be mixed (see Getting a color above).This color will remain in the palette after mixing is complete.

2. Highlight the second color in the color Assistant palette. Thiscolor will be replaced by the mixed color.

3. Click the Mix color button in the color Levers dialog box. Theresulting mixed color will be a 50-50 blend of the two chosencolors.

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The Restore color button reverses changes made to the selectedcolor.


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The RGB or CMYK levers can be used to modify several colors at atime. A possible situation in which you might need this function, ischanging the color of a scanned photo of a jacket from red to blue.Using the RGB/CMYK levers on all shades of red used in thatjacket at the same time will ensure that the colors are adjusteduniformly, and hence that the jacket will retain its realistic

appearance. (Also refer to Color , Adjust color commanddescribed in the Adjust color section later in this chapter.)

1. Select the Chg Mul. To Mul. subcommand from the colorLevers command bar.

2. In the drawing area, define a rectangular selector to select thecolors to be changed. The selected colors will be listed underSelected colors in the Status Assistant.

3. To deselect a color, click it in this list. To deselect a group ofcolors, use the Green Button to define a rectangular selectoraround those colors in the drawing area.

4. Repeat steps 2 to 3 to add to or remove from the color selection

as necessary. Click Enough to confirm your selection.

5. The color displayed is the average of all selected colors. Adjustthe RGB or CMYK levers, and effects will be displayed real-time in the drawing area. Click OK to confirm the adjustedcolors.


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Whilst it is useful to be able to create or tune individual colors, it isgenerally more efficient to access a set of pre-defined colors, that isa color library, from which you can simply select the colors thatyou need.

Each PrimaVision-supported printer can possess up to 4 differenttypes of color library:

1. System library: Spans the entire printable color range for thegiven printer. Each supported printer has its own systemlibrary

2. PANTONE®1 libraries: Two libraries that contain colors ofthe PANTONE® Professional Color System and PANTONE®Textile Color System. Most supported printers have their ownPANTONE libraries. Refer to Pantone and Super SpectrumSupport documents at the end of this manual for a completelisting. If a particular printer has no pre-installed Pantonelibraries, you can create your own Pantone libraries provided ithas its own Windows printer driver.

3. User library: A 999-page color library that may hold colorscreated manually, or copied or modified from other libraries.Each supported printer has its own user library

4. User-defined library: An advanced version of the userlibrary. You can assign a descriptive name to each color, andeach user-defined library may be saved as an independentlibrary file. Each supported printer may have multiple user-defined libraries, each for a different purpose e.g. one for eachseason’s colors.

The system library and Pantone libraries are generated by thesystem, hence are not editable. The user library or user-definedlibrary allow you to build your own libraries of colors that you usemost often.


1. PANTONE® is a registered trademark of Pantone, Inc.

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All 4 types of library have been color-matched: that is, the printedcolors will, within the limitations of your hardware’s printablecolor range, be a very close match to corresponding on- colors.

For a printer that is not supported by PrimaVision, there are nopre-installed libraries, but you can create your own libraries,provided it has its own Windows printer driver. Such color librariesare called generic libraries and are not properly color-matched,but may be used for manual color-matching. Refer to the GenericWindows Libraries section in the Miscellaneous chapter for furtherdetails about generic libraries.

Important Note: When printing color libraries, it is important tomaintain constant environmental factors such as paper type androom temperature. It is also preferable to avoid changing the inkcartridge midway through printing a library.


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To access a printer’s system library:

1. Select Color , Color Library . (It may take a while tocall up the color library depending on your computer’sconfiguration.)

2. Select System Library from the Library Type drop-downmenu.

3. Select the required printer from the Printer Type drop-downmenu. Wait a little while as the color directory of the selectedprinter’s system library is displayed.

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The color directory is an index to the contents of the system library.Each 6-block row in the color directory maps to an individual pagein the system library, and each color block is the first color of a rowin the related library page. To retrieve a page of the system library,click on any color block in the relevant row. The relevant page of


the system library is displayed:

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In the system library, colors are displayed in a grid of boxes.Displayed underneath each color are its RGB code (first row) andits printer code (second row).

Scroll through library pages using Next Page , Previous

Page , First Page , Last Page along the top of thecolor Library dialog box. Alternatively, switch quickly to aparticular library page by entering its Page No. The total numberof available pages in the library depends on the individual printer.

To return to the color directory at any stage, click . Command

End to exit from the color Library dialog box.

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Accuracy of printed color is very important to fashion and textiledesign, hence PrimaVision provides a feature for printing yoursystem library before you select any of its colors for use in thedrawing area.

1. Call up the system library for the appropriate printer (see


Calling up a system library above for details). Select the Print

Library subcommand.

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2. To print all library pages, select the All option button. To printselected pages, choose Pages instead and enter the start pageand end page in the from and to fields respectively.

3. Select either Condense or Normal library style. Condensestyle prints 144 colors (4 library pages) per sheet. Normal styleprints 36 colors (1 library page) per sheet.

4. Click OK to print.

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A color library is simply a reference source, hence its colors cannotbe applied directly from the library to the drawing area. To use acolor from the system library, you must first copy it into thepalette.

1. Call up the system library for the appropriate printer (seeCalling up a system library above for details). To retrieve apage in the system library, click on any color block in therequired row.

2. In the color Assistant palette, click the color box into which youwish to copy a library color.

3. Locate and click the required color in the system library (seeNavigating the system library above). It will immediately beplaced in the color box selected in step 2.

4. Repeat steps 2 and 3 to copy other colors to the palette.

At any stage before closing the color Library dialog box, you canrestore a color box’s original color. Simply click the color box and

select the Restore color subcommand on any system librarypage.


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You may search for a color in the system library by printer code,and at the same time copy the searched color into the palette.

1. Call up the system library for the appropriate printer (seeCalling up a system library above for details). To retrieve apage in the system library, click on any color block in therequired row.

2. In the color Assistant palette, select the color box into whichyou wish to copy the searched color.

Warning: A successful search will immediately copy the searchedcolor to the current color box in the palette.

3. Enter the printer code of the required color into the Searchcolor field and press <Enter>. If a color with the given printercode exists in the library, it will be highlighted and copied tothe color box selected in step 2.

4. Repeat steps 1 to 3 to search for other colors.


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PANTONE® is a color standard that is applied widely acrossindustries that use or manufacture colors or paints. An advantagethat PANTONE® libraries hold over system libraries is thereforeimmediate consistency with all printed materials that comply withPANTONE® specifications.

PrimaVision’s PANTONE® Professional Color System library isa library of colors specified in the PANTONE® Professional ColorSystem. Offering 1,225 widely-used colors, this system provides auniversally accepted means through which colors may be identifiedand communicated.

PrimaVision’s PANTONE® Textile Color System library containsthe 1,701 colors of the PANTONE® Textile Color System. Itincorporates all the colors in the PANTONE® Professional ColorSystem library (though arranged differently), plus an additional476 colors. The pages in the PANTONE® Textile Color Systemlibrary are numbered from pages 1001 to 1243.

Both PANTONE® Color systems use an identical numberingscheme. PANTONE® may periodically update the colors used inboth systems, and you are advised always to refer to the mostrecent PANTONE® Color Identifier reference books for the latestinformation. Note that if a color exists in both systems, anychanges made to it by PANTONE® will be the same in bothsystems.

To open a printer’s PANTONE® Professional Color System libraryor its PANTONE® Textile Color System library, select the

Pantone Profess. or Pantone Textile command from

the Color command group.


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PANTONE® libraries are functionally very similar to systemlibraries, and all system library commands are also available in thePANTONE® libraries. PANTONE® libraries however are simplerto operate because they have no color directory — upon selectingthe required library, you are brought directly to the Pantone® colorlibrary screen. Displayed under each color is its PANTONE® colorreference code. Note that color searching here must be executed byPantone code, not printer code.

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To change the number of Pantone pages displayed simultaneouslyon-screen, select a number from the Page Display drop-down menu(the maximum number of pages displayable depends on the currentscreen resolution). Select a Vertical or Horizontal layout of colorson each Pantone page using the Display Mode option.

Next Page , Previous Page , First Page , Last Page

are available subcommands for navigating your Pantonelibrary. Alternatively, switch quickly to a particular library pageby entering its Page No. or by using the scroll bar.


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To search for a Pantone color and copy it to the palette, enter thecode into the Search Pantone Code field and press <Enter>. If acolor with the given Pantone code exists in any page of the library,it will be highlighted and copied to the currently-selected color box.

To insert a Pantone color into the palette, click the color box that isto hold the new color, then click the required color in the library.The library color is automatically copied to the color box. Use theRestore color button at any stage if you wish to restore theoriginal color in the palette.

To print the Pantone library, select Print Library . To printall library pages, select the All option button. To print selectedpages, choose Pages instead and enter the start page and end pagein the from and to fields respectively. Select either Condense orNormal library style. Condense style prints 144 colors (4 librarypages) per sheet. Normal style prints 36 colors (1 library page) persheet. Click Print.

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PANTONE® Color computer hard copy simulations used in this product are four-color processsimulations and may not match PANTONE®-identified solid color standards. Use PANTONEColor Reference Manuals for accurate color.

PANTONE Color simulations are only obtainable on licensed hardware when driven byqualified Pantone-licensed software packages. Contact Pantone, Inc. for a current list ofqualified licensees. Pantone, Inc. assumes no responsibility for color inaccuracies on non-licensed output devices.

© Pantone, Inc., 1990, 1993


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The user library can be used as a supplement to the system library,to hold colors which do not appear in the system library, or toconsolidate your most frequently-used colors. These colors may becopied or modified from a system library or a Pantone library,found using the Super Spectrum, or created manually using theRGB/CMYK levers.

Each printer has one system library and one user library. As withthe system library, it is crucial to select the correct printer beforestarting work on the user library. The user library functions inexactly the same way as the system library.

The user libraries that come with your PrimaVision are initiallyempty. The most efficient way to build up a user library is to createall the required colors in the palette as a first step, and then totransfer them all to the user library in one go.

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1. Create in the color Assistant palette all colors to be included inthe user library. You may use any of the available PrimaVisioncolor sources: the printers system library, Pantone libraries,Super Spectrum, RGB/CMYK levers.

2. Select Color , Color Library . The Color Librarydialog box is displayed. Select the required printer from thePrinter Type drop-down menu. (You may need to wait a whilefor the correct printer to be found.) Select User Library in theLibrary Type field.

3. This calls up an empty color directory. Click the empty colorblock to switch to the first library page containing an emptybox. To create enough boxes to hold all your colors, click the

Insert color subcommand one time less than you have


colors to insert.

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4. Click the code displayed in the box that you wish to fill withcolor. Click the Green Button on the color in the palette to beinserted into the selected box, and it will immediately be copiedto the library. The new library color’s printer codes (for theselected printer) and RGB codes are automatically assigned toprovide the best match between the screen color (RGB code)and printed color (printer code).

5. Repeat step 4 for all colors to be inserted in the user library. Ifyou require more than one page in your library, select Insert

Page to append a new page, and continue inserting yourcolors.

If at any stage you have inserted a wrong color in the library,simply use step 4 to replace one color in the library with another, or

select its box and use the Delete color command to delete it.

To delete the current library page, select Delete Page .

6. When your library is complete, save your changes with Save

Library . Click Command End to view the newlibrary’s automatically-created color directory.

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As for system libraries, available to all user libraries along the top

of the color Library dialog box are the Next Page , Previous

Page , First Page , Last Page , Print Librarysubcommands and the Search color field (searches for color bythe printer code).

To copy a color from the library into the palette, click the palettecolor box to hold the new color, and then click the required color inthe library — it will automatically replace the original color in the


selected color box. If you make a mistake, restore the original color

box contents with Restore color .

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A user-defined library is a highly flexible variation of a userlibrary. As for a user library, you may build up a range of colorsfrom any PrimaVision color source, and insert it into the user-defined library. The user-defined library however, allows you toassign a descriptive name to each library color, making its colorsmuch easier to find and identify. Unlike a user library, user-defined libraries are exportable as independent files, hence you cancreate multiple such libraries for any PrimaVision-supportedprinter. The user-defined library is therefore ideal for storing colorranges which are used intensively for a limited period only, such asseasonal color cards.

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1. Create in the Color Assistant palette all colors to be included inthe user-defined library, using any of the availablePrimaVision color sources: the required printer’s system/userlibrary, Pantone libraries, Super Spectrum, RGB/CMYK levers.

2. Select Color , User Defined Lib. . If this is the first

time you are using User Defined Lib. since starting upPrimaVision, you will be prompted to select an existing user-defined library file. Select a library and click Open. A dialogbox is displayed.

3. Select the New Library subcommand. Specify a name forthe library, select the printer for which the library is to becreated and specify the number of columns and rows of colorsthat you want on each library page. Click OK.

4. This creates an empty library dialog box. Click Insert Page

as many times as needed to create the required number oflibrary pages.


5. To insert a color into an empty box, click the appropriate boxwith the Green Button. This calls up an Edit color dialog box.

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6. To choose a color for insertion, click the required color box inthe color Assistant palette, then click the Get color button inthe Edit color dialog box. The color’s printer code is shownunderneath the selected printer name and its RGB codes underthe RGB levers.

7. If you want to modify the selected color, adjust the RGB levers(see the color Levers section). To assign a closest-match printercode to the adjusted color, click the Find Prn. Code button. Torestore the original color, click the Restore color button.

Note: On some occasions, you may need to leave the screen codes andprinted color to be different

8. Specify a name for the color in the Name field. Click OK to addthe color to the library.

9. Repeat steps 5 to 8 to add any required color to the currentlibrary. You can at any stage edit an inserted color in thelibrary by clicking it with the Green Button, repeat steps 7and 8.

10. To delete the current library page, select Delete Page .

11. When your library is complete, select Save Library ,specify the location and name of your library file, and clickSave. The system saves user-defined library files by default infolder \PV_Lib\User on the PrimaVision drive.

You can store Pantone / Lab / HSV color codes in a User-definedcolor library. Simply right click any empty colour box in theUser-defined Library window and then edit the colour if necessaryusing Colour Levers. Then choose any one of the colourrepresentation models to encode the modified colour: RGB,Pantone, LAB and HSV. A specific colour code may also beassigned to the colour by editing the numerical fields after choosingthe colour representation model. The colour may also be named.


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Having encoded a colour with any of the colour representationmodels, remember to save it, in order to use the same codes whenthe colour is retrieved later.

Colour Levers showing selected colour with the corresponding Labvalue,RGB value (screen colour) and user-defined colour name

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Next Page , Previous Page , First Page , Last Page

are available subcommands for navigating your user-definedlibrary. Alternatively, switch quickly to a particular library pageby entering its Page No.

To search a color and copy it to the palette, enter the color name into theSearch color field and press <Enter>. If a color with this name exists inany page of the library, it will be highlighted and copied to the currently-selected color box.


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To insert a user-defined library color into the palette, click the colorbox that is to hold the new color, then click the required color in thelibrary. The library color is automatically copied to the color box.Use the Restore color button at any stage to restore the originalcolor in the palette.

To copy all colors from the current library into the palette, selectthe color box at which you wish to begin inserting the library

colors, then click Use All colors .

To print the user-defined library, select Print Library . Toprint all library pages, select the All option button. To printselected pages, choose Pages and enter the start page and endpage in the from and to fields. Set Print Mode to Full Page toprint the entire library including all empty boxes and empty pages,or choose Packing to exclude all empty boxes. Specify the numberof library copies to be printed and click Print.

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A library’s specifications may be amended after its creation. Select

Edit Setting to change the number of columns and number ofrows, the printer type and the name of library. Remember to save

any changes that you wish to keep with Save Library .

To retrieve another user-defined library, select Other Libraries

.To delete a library, select Delete Library , locate the fileto be deleted and then click Delete.

Click Command End to exit from the User Define Lib. dialogbox.


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The Color Levers command offers a convenient means ofmodifying individual colors, but a more intuitive method exists in

the form of the Color Selector command. For all 4 colormodels available in PrimaVision (RGB, CMYK, HSV and Lab),the color Selector displays colors in a simple color map from whichyou can easily select the one that you require.

Lab is a standard colour representation model (just like RGB orCMYK). In the Lab model, color is represented in terms of 3values: L, A and B.

L represents lightness. On a scale of 0 to 100, L 0 represents blackand L 100 represents white.

The A and B values define the intensity of 4 color channels: green,red, blue and yellow in a given color. A and B can take valuesbetween -127 to 127. If A and B both take value 0, the resultingcolor is black, grey or white depending on the current L value.

A very positive A value introduces a high intensity of red into thecolor, whilst a very negative B value introduces a high intensity ofblue - resulting in a strong magenta colour. A very negative A anda very positive B introduce high intensities of green and yellowrespectively, resulting in a strong green hue.

1. Select Color , Color Selector . A dialog box similar tothe following is displayed:


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2. In the Color Assistant palette, click the color to be modified.

3. Select the required color model from the color Model section.For all color models except LAB, a rectangular color map isdisplayed in the dialog box centre (for LAB, the color map iscircular - see The LAB color representation model section). Asmall white dot indicates the current color in the color map.The current color code is displayed in the Color Viewer sectionand a preview box displays the original and current colors.

4. On the left side of the dialog box is a lever. Go to the drop-downmenu below the lever and select the required value. Red hasbeen selected in the above RGB example above. The designercan adjust the selected value by dragging the lever handle upor down. When the designer see an approximation to therequired color in the color map, simply drag the small white dotto it. The color Viewer section displays the new color code andpreview. The designer can fine-tune the color by either bymoving the dot & lever or typing the codes directly into therelevant alpha-numeric fields.

Note: To adjust a LAB color, you will probably find it easier tochange the lever and the white dot rather than typing the codes inthe fields. The system limits L value to be 0 to 100, A and B valuesto be -127 to 127, however when typed, it is possible to end up with a


combination of AB values representing a color located outside theLAB circular color map.

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5. If at any stage the designer wish to restore the original color,click the Restore button. Repeat steps 2 to 4 to modify theother color in the palette.

6. To restore all the modified colors in the palette, click theRestore All button.

7. Click OK to confirm changes to the selected color.

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Previously, when users modify a color selected from the colorpalette using the HSV model (say, through the Color Selector

command, the modified color may only be saved/stored usingthe mechanism of RGB / Lab models. Color modification andstorage genuinely by the HSV model is in V5.1 made possible.*

There are two ways to modify palette colors. The first one is byusing the Color Selector command (see the Color Selector

section). The other method is to use the Color Levers icon;although color adjustment is only achievable through either theRGB or CMYK models, you can store the modified color using theHSV model by simply selecting HSV Code option in the PrinterType/Code field.

By dragging the levers up and down, the Hue, Saturation andValue figures underneath the HSV Code will change and the HSVCode that matches most closely with the colour under modificationwill be calculated automatically and shown in these H-S-V fields.The printed output of the modified colour may also be changed bydirectly editing its H-S-V values.

* The HSV model enables fine-tuning on a selected color on the basis ofthree objective physical attributes - hue, saturation and value (brightness).


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To increase the precision in recording / encoding the colour undermodification, the PrimaVision H-S-V values can be representedand stored numerically with up to one decimal place in V5.1instead of using integers. This applies to both the Color Selectorand Color Levers subcommands.

Note: When saving a file for export to another software package, it isadvisable to check whether the other software is able to supportHSV numbers up to one decimal place, as some are not. If not, thevalue of the colour can be rounded up in PrimaVision to a wholedecimal place


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The Color , Adjust Color command is an advanced toolfor the manipulation of color in an entire image. Image color can beadjusted in terms of contrast, brightness, saturation or hue. Youcan choose to affect all colors in the current window, which isuseful for example, for applying color filters to your image, or forcreating colorways that retain the original image’s tonal contrasts.You can alternatively apply Adjust color to only selected colors inthe window, producing an effect similar to the Chg. Mul. To Mul.

command in the Change Color command group.

Warning: Adjust color changes the contents of the color palette,hence colors used in the drawing area outside the current windowmay also be affected.

1. Define a window around the image to be adjusted.

2. Select Color , Adjust color .


3. You now need to select the colors in the window to be adjusted.To select all colors in window, click the Green Button.Otherwise, select colors using a rectangular selector. Selected

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colors will be listed in the Status Assistant. To deselect a singlecolor, click it in this list. To deselect a group of colors, use theGreen Button to define a rectangular selector around thosecolors in the drawing area.

4. Click Enough to confirm your selection. The Adjust colordialog box is displayed.

5. The Adjust color dialog box consists of 3 pages of settings, anda preview of the window contents. Call up the contents of apage by clicking its grey page tab. If you adjust color usingmore than one page, the effects are applied collectively to thepreview image. Apply steps 6 and 7 as necessary to adjust theselected image colors. At any stage before step 8, you mayrestore the preview image to its original state by clicking theRestore button.

6. The Create Palette button allows you to apply the currentpreview’s color palette to the original image, whilst retainingits original palette. When you have created a preview that youwould like to keep, click Create Palette. Repeat as manytimes as required. When you have created all required palettes,skip step 8 and click Cancel instead. You will then be able toswitch between palettes (see earlier color Palette section) toview the variations that you have created; the image’s originalcolors will be retained in the original palette.

7. The Contrast and Brightness pages are very similar instructure. First select RGB or CMYK as the color mode. Then,adjust the contrast or brightness using the RGB or CMYKlevers (see the earlier color Levers section for more details onhow to use the levers).

8. The Hue/Sat page adjusts hue and saturation. See thefollowing section for complete details about the settings on thispage.

9. When you are satisfied with your color changes, click OK toconfirm changes made and return to the drawing area to viewreal-time results.


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The hue of a color is how we perceive it as being different from allother colors. Red is of one hue, green is of another hue, and so on. Ifwe change the hue of an object, we are changing its color.

The saturation of a color is a measure of its strength (also knownas purity or richness). At the weakest end of the saturation scale iswhite, grey or black, depending on the brightness. As you increasethe saturation of the color, let’s say red, it will gradually changefrom white, grey or black, to pale red right through to the richestred on the saturation scale.

There are 4 modes for adjusting hue and saturation on the Hue/Sat page.Select a mode by clicking its option button.

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Drag the thin black line around the circular color spectrum toadjust hues in the preview image. All selected colors in the previewwill be shifted around the hue spectrum by an equal amount, andthe hue shift angle in the Hue Shift field will adjust accordingly.Alternatively, specify a hue shift angle in the Hue Shift field andpress <Enter>. Any hue shift angle between -179 o and +180 o isvalid. Positive angles are measured anti-clockwise from the startpoint.

Note: The starting hue shift angle will be the average hue value ofall selected colors. The spectrum background never changes i.e. hueshift 0 o will always be positioned in the red range of the spectrum,regardless of the window contents. The spectrum colors displayedare intended as a guidline only.

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This mode can actually do more than expand the range of huesused in the image - it can also restrict the range of hues or replaceone range of hues with a different range - e.g. replace greens withreds.

The designer must specify a source hue range (i.e. the selectedcolours to be changed) and a destination hue range (the colours thatcan result from the change).

The Expand Hue mode works by mapping all hues in the sourcerange proportionally to hues in the destination range. A hue thatis at the exact mid-point of the source range will, for example, bereplaced by the hue at the exact mid?point of the destination range.A hue that is one third of the way along the source range would bereplaced by the hue one third of the way along the destinationrange.

When the Expand Hue button is selected, the dialog box will looksimilar to the following:


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Source and destination ranges are initially the same, so the coloursremain the same as the originals. In the Adjust section, the innercircle sector represents the source hue range, and the coloursection of the outer ring represents the destination hue range:

Source hue range Destination hue range

Using the Adjust section of the dialog box, the designer may change


four Expand Hue settings:

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Note: The colour spectrum background does not change, and thedefault source and destination ranges will always be the same,


regardless of the selected colours. The colours shown on thespectrum background are intended only as a rough guideline.

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*By default, the Fix Dest. To Source check box is activated, whichmeans that when the designer resizes or moves the source range(not the destination range), the destination range and source rangestay fixed together. This is a useful first step when the two rangesare similar, or when one is a subset of the other, but is otherwiseunnecessary. Fix Dest. To Source is automatically switched off ifthe destination range alone is resized or moved .

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As stated before, the Expand Hue mode works by mapping allhues in the source range to all hues in the destination range.Hence, to expand the hue range for all selected colours, the sourcerange must include all selected colours, and the destination rangemust include the source range. The example alongside shows howto change blue hues into a range of hues that includes cyans,greens, purples and magentas.


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Similarly, to restrict the hue range of all selected colours, thesource range must include all selected colours, and the destinationrange must be a subset of the source range. The example alongsideshows how to change an image spanning red, yellow and greenhues into one that contains only red hues.

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To replace the hue range of all selected colours with a different huerange, the source range must once again include all selectedcolours, but there is no restriction on the destination range. Forinstance, the example alongside changes an image spanning red,yellow and green hues to blue hues only.


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Note that it is possible to affect only certain selected colours withthe Expand Hue mode. Simply select as your source range onlythe hues to be changed. For instance, in the previous example, ifthe source range is selected to include just red to yellow hues, thegreen hues in the image will remain unchanged, whilst the reds,oranges and yellows will be changed to blues.

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The Move Saturation mode adjusts the saturation of all selectedcolours. Drag the black ring towards or away from the white centreof the circular spectrum to increase or decrease saturationrespectively. The larger the ring, the richer the colours in theimage preview.


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The Expand Saturation mode determines the range of saturationcovered by the selected colours. Dragging the black ring outwardsfrom the centre of the colour spectrum expands the saturationrange, resulting in the rich selected colours in the preview imagebecoming richer and pale colours becoming paler. Dragging theblack ring towards the spectrum centre reduces the saturationdifference between the selected colours. Expand Saturation is toMove Saturation what contrast is to brightness.

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The Color , Color Percentage command gives abreakdown of the percentage of each color in the current window.In the color Percentage dialog box, you may change the colorsdisplay order in the list, print the list, and rearrange color boxes in

the palette. Select the Color , Color Percentagecommand, the color Percentage dialog box is displayed:


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Use the scroll bar to scroll through the listed colors in the colorPercentage dialog box. All 256 colors are listed in the colorPercentage dialog box for the currently-selected printer, and thefollowing data is provided for each color:

Color No. : color box number

RGB Code: RGB (screen) code

Color Type: This will either read [Pantone] or the short name forthe current printer, depending on whether the color is part of thePANTONE® Professional Color System/PANTONE® Textile ColorSystem. If the color is defined in terms of an Lab code, this willread [Lab] instead.

Page No.: Page on which a Pantone color is located in the relevantPANTONE® Color Specifier

Color Code: Pantone code for Pantone colors; Lab code for colorsdefined in terms of the Lab model; printer code for all other colors

Name: The name of the colors displayed in the color Levers dialogbox

Percentage Include Color 0: Percentage of the current windowoccupied by this color, including background color 0 in thecalculations

Percentage Exclude Color 0: Percentage of the current windowoccupied by this color, excluding background color 0 from the


calculations.

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To change the color display order in the color percentage list, select

Display Mode on top of the color Percentage dialog box toswitch between three available display modes:

• Non-zero color percentages ordered by color number at the topof the list; zero color percentages also ordered by color numberunderneath

• Non-zero color percentages ordered in decreasing colorpercentage at the top of the list; zero color percentages orderedby color number underneath

• All colors ordered by color number.

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By default, the Printer Type field displays the current printer. If thisdoes not match the printer shown in the color Type column, the displayedcolor codes will be incorrect for non-Pantone colors. To ensure that correctcolor codes are shown:

1. Select a printer from the Printer Type drop-down menu.

Note: This will not affect the selection of either the current printer orthe default printer.

2. Select the Convert Prn.Code subcommand, and confirmthat you want to proceed with the conversion. The printercodes of all non-Pantone colors will now change to those of theselected printer.


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Short Printout prints the used colors section of the colorPercentage list. Before printing, make sure you have selected thecorrect printer in the Printer Type field. It is recommended thatyou use the whole procedure in the Converting printer codes sectionabove before sending a color Percentage print job, as this willensure that the printer codes in the printout match those displayedon-screen.

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The Display Mode command changes the colors display orderin the color percentage list, but leaves the palette unchanged. With

the Color Percentage command, you can also change theorder in which colors are arranged in the palette.

To move all colors used in the drawing area to the top of the

palette, select the Rearrange subcommand, and confirm thatyou want to rearrange the palette. All unused color boxes aremoved into a continuous palette range. This is recommended priorto defining a modifiable palette or a color spread (see Color Palettesection).

To select colors to be moved, click each one in the color percentagelist; selected colors are marked with a red asterisk. To deselect aselected color, just click it, or to deselect all selected colors click theGreen Button. Once your color selection is complete, click theBlue Button in the color percentage list on the color after whichyou want to insert the moved colors.

Note: When you rearrange the color Assistant palette in any way,any image that exists in the drawing area will remain unchanged,because PrimaVision automatically re-assigns color box numbers


to used colors as necessary.

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The Color Finder is a useful tool for cleaning up scannedimages. Very often, areas of solid color in a scanned image consistnot of a single color, but of a multitude of different color shades.For any given area of the scanned image, the color Finder finds arange of closest-match solid colors from which you may select oneto replace the many different scanned shades.

1. Select Color , Color Finder .

2. Define a rectangular selector in the drawing area to select thecolor shades which you wish to replace with a solid color,bearing in mind that the system will find a range of solid colorsbased on an average of the selected colors. When the selection

is complete, choose Enough . The found solid colors will bedisplayed in the Color Finder dialog box:

Important Note: Be careful when selecting the colors, as there is node-select function in this command.

3. If the range of found colors spans more than one page, click

or alongside the Page Number field to move one page up or


down.

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4. Select Print . To print all library pages, select the Alloption button. To print selected pages, choose Pages insteadand enter the start page and end page in the from and to fieldsrespectively.

5. Select from your printouts the color most suited to yourpurposes, then copy it into the color Assistant palette. Click anunused color box in the palette, then click the required foundcolor.

6. Click Command End to exit from the color Finder.

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The Color Combo Gen. is a powerful tool for previewing themany different color combinations (colorways) that are availablefor a given design. Simply specify the colors that you want toinclude in your colorways, and the Color Combo Generator willautomatically display your design in all possible combinations ofthe chosen colors. A range of combo management commands allowyou to select, save and print any of the generated combos.

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1. Define a window around the design for which you want togenerate colorways.

2. Select Color , Color Combo Gen. .

3. To select the colors that may be swapped in or out of the designduring combo generation, pick the colors up one by one in the


drawing area or in the palette by clicking them. Unselectedcolors in the design will remain unchanged in all generatedcombos. The selected colors are displayed in the Status

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Assistant. To select all colors of the image, click Green Buttonin the drawing area. (or click Blue Button in the drawing areato select the last-used colors.)

To deselect a color, click it in the Status Assistant. Select

Enough to confirm your selection, and the color ComboGen. dialog box is displayed.

4. To change the current combo display configuration, specify theNo. Of Columns and No. of Rows. Up to 36 combos may bedisplayed at a time.

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To page manually through the generated combos, use Next

Combo and Previous Combo .

Alternatively, use the Auto Color Combo command, whichscrolls automatically through the generated color combos. (Clickthis command again to stop scrolling). Control the scrolling speed

with Slower Auto Combo and Faster Auto Combo .

If you want to study a combo in detail without saving it, right-clickthe required combo and select Freeze Combo. When Auto ComboGenerator is active, the selected pane will remain frozen, whilstthe other panes will resume scrolling through other combos. Tounfreeze this combo, right-click the combo and select FreezeCombo again.

To exit from the color Combo Generator dialog box at any stage,

click Command End .


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To keep a combo which you want to use later, there are severalapproaches. Note that all the following subcommandsautomatically halt the Auto Combo Generator if it is in use. Withthe exception of Keep Combo, you will remain in the color ComboGenerator after executing the subcommand.

To print a displayed combo, right-click the combo and select PrintCombo to call up the usual Print dialog box (see Print chapter).

To select just one generated combo for use, right-click the comboand select Keep Combo. The selected combo will replace theoriginal image in the drawing area. More flexible is the SaveCombo option, which allows you to save the combo to a separatesketch file, leaving the original image in the drawing area intact.

If you want to keep multiple color combos, simply follow theprocedure below:

1. Generate colourways with the Color Combo Gen.

subcommand under the Color command group.

2. Right click on required Colour Combo, then select the FreezeCombo option in the dialogue box that appears.

3. Repeat step 2 until all the required combinations have beenfrozen, up to a maximum of 36.

4. To keep all the frozen colour combos and amalgamate theminto a single file, right click on any of the frozen combos. Select


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the Keep Combo option. A Keep Combo dialogue box willappear in the centre of the screen (see illustration below).

Note: The Keep Combo dialogue box above will not appear if youright click on a colour combo that has not already been frozen.Right-clicking on an unfrozen combo opens up the options toFreeze, Keep, Save or Print the colour combo; selecting Keep atthis point will paste the single combo directly onto the top left handcorner of the drawing area and exit the Colour Combo command.

5. The default selection is Keep This Colour Combo, whichkeeps only the currently selected frozen combo. If only one isrequired, go to Step 8.

6. To keep all the frozen colour combos, select the second optionKeep All Frozen Color Combos.

7. Adjust the combo display configuration that will appear in thedrawing area by editing the Combos Per Row and CombosPer Column fields.

8. Click the OK button.

The selected colour combos will now be moved into the top left handcorner of the main PrimaVision drawing area, replacing any otherimage originally there. A window is automatically defined aroundthe selected colour combos.


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Note: To retrieve the original image, simply click Undo, but pleasenote that this does not take you back into the Colour Combocommand.

To manipulate any of the individual colour combos that are nowdisplayed in the drawing area follow the steps below.

1. Go to Window , Select Last Windows .

2. Move the cursor to the Colour Combo to be edited. A yellowWindow is automatically defined around the relevant ColourCombo; click on it to fix the Window in position

3. You may now perform any further manipulations on the"windowed" color combo.

If you want to save a number of different colorways all within thecurrent design file, right-click each of the combos and select KeepPalette. This option adds the selected combo’s palette to thecurrent file. After generating all required palettes, return to thedrawing area and switch between palettes to work with eachselected combo.


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The Copy commands copy the window content to a different

section of the drawing area. The Move commands move thewindow content.

Before you use a Copy or a Move command, you mustfirst define a window around the area that you want to copy ormove.

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To copy the current window content:

1. Select Copy , Copy .

2. A copy of the current window content will be attached to yourcross-hair. To move the copied window perfectly horizontally orvertically, select the Horizontal or Vertical option buttonrespectively in the Status Assistant. Select the Off optionbutton to revert to free movement.

Tip: Your cross-hair is now attached to the centre of the copiedwindow. To change the anchoring point of the cross-hair, press theBlue Button. 5 options exist: L. Right Drag (anchor to lower right ofwindow), U. Right Drag, L. Left Drag, U. Left Drag and CenterDrag.

3. Move the copied window to its destination position. Click toconfirm its new location.

Note: Any background color 0 included in the window will by


default be opaque. To make the background color transparent, seethe Using Superimpose with Copy and Move section.

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To move the current window content:

1. Select Move , Move .

2. The current window content will be attached to your cross-hair.To move the window perfectly horizontally or vertically, selectthe Horizontal or Vertical option button in the StatusAssistant. Select the Off option button to revert to freemovement.

Tip: Your cross-hair is now attached to the centre of the window. Tochange the anchoring point of the cross-hair, press the Blue Button.5 options exist: L. Right Drag (anchor to lower right of window), U.Right Drag, L. Left Drag, U. Left Drag and Center Drag.

3. Move the window to its destination position. Click to confirmits new location. The window position is now filled with thebackground color.

Note: Any background color 0 included in the window will bydefault be opaque. To make the background color transparent, seethe Using Superimpose with Copy and Move section.


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This feature enables the designer to position the window contentsin relation to the Source Object, moving on either the vertical orhorizontal plane, as illustrated below:

Copy (or Move) window contents by positioning vertically (or horizontally)in relation to Source Object.

To copy the current window content and locate it horizontally orvertically in relation to Source Object:

1. Select Copy , Copy* (* or other sub-commands under theCopy command groups.)

2. A copy of the current window contents will be attached to thecross-hair. To position the contents with horizontal or vertical


alignment, select as appropriate the Vertical or Horizontaloption in the Status Assistant, or use the arrow keys.

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3. A new section named Reference will then open up on theStatus Assistant.

4. To position the contents in relation to the original image (theSource Object), while still allowing movement on one plane -select the Source Object option.

5. Move the window to the desired position.

6. Click once to drop the window contents in the new position.

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This feature enables the designer to position the window contentsin relation to the Drawing Area, moving on either the vertical orhorizontal plane, as illustrated below:

Copy (or Move) window contents by positionning vertically or horizontallyin relation to the centre of the Drawing Area .

To copy the current window content and locate it horizontally or


vertically in relation to the Drawing Area Centre:

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1. Select Copy , Copy* (* or other sub-commands under the

Copy command groups.)

2. A copy of the current window contents will be attached to thecross-hair. To position the contents with horizontal or verticalalignment, select as appropriate the Vertical or Horizontaloption in the Status Assistant, or use the arrow keys.

3. A new section named Reference will then open up on theStatus Assistant.

4. To position the contents in relation to the centre of the drawingarea, (still allowing movement on one plane), select theDrawing Area Centre option.

5. Move the window to the desired position.

6. Click once to drop the window contents in the new position.

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The contents of the current window can now be automatically posi-tioned directly at the centre of the Drawing Area.


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1. Select Copy , Copy* (* or other sub-commands under the

Copy command groups.)

2. Cick on Drawing Area Centre to position a copy of thewindow contents at the centre of the drawing area.

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When aligning different elements of a design or page layout, it issometimes necessary to make very small adjustments, which canbe difficult to control manually. This feature is introduced to makeit easier to position the contents of a window at an exact location,


such as 20 pixels to the right and 3 pixels up.

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The pixel count offset values (the number of pixels by which tomove the image from the source window) can be input in the twoedit-boxes provided. Alternatively, the four arrow keys can also beused to adjust the target position, ‘nudging’ the image into its newposition pixel by pixel. Switch between this new copy/move modeand the normal mode by pressing ‘T’ to activate the positioningmode toggle.

Copy by specifying the exact offset values or by using the arrow keys.

To copy the current window contents to an exact position, followthe steps below:

1. Select Copy , Copy* . (* or other sub-commands under

the Copy command group.)

2. A copy of the current window contents will be attached to thecross-hair.

3. To switch to the new mode, either select the change modebutton or press ‘T’ when the window is close to the targetposition.

4. Specify the target position by entering the offset values, ornudge the image into position using the four arrow keys.

5. The change mode button or the ‘T’ keyboard toggle can beused to switch back and forth between the two modes.


6. Left click to finish the operation.

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The Mirror Copy command produces a mirror copy of the

original window content. The Upside Down Copy commandproduces a copied image that is an upside-down copy of the

original. The UpDn&Mirror Copy command performs boththese commands in a single step.

All three commands use the same procedure as the Copycommand, except that in step 1, you should select Mirror Copy

, Upside Down Copy , or UpDn&Mirror Copy in the

Copy command group instead of the Copy command.

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The Mirror Move command flips horizontally what it moves.

The Upside Down Move command flips upside down what it

moves. The UpDn&Mirror Move command performs theprevious two commands in a single step.

All three commands use the same procedure as the Movecommand, except that in step 1, you should select Mirror Move

, Mirror Move , or UpDn&Mirror Move inside the

Move command group instead of the simple Movecommand.


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The color contained in color box 0 is known as the backgroundcolor. Like any other color in the palette, this background color canbe set to any hue, but in the default palette it is black.

The effect of activating Superimpose in the mode bar is mostnoticeable when you copy or move an image, or when you read asketch file. When images are pasted into the drawing area,Superimpose makes all background color 0 in those pasted imagesbecome transparent. This is useful, for example, when copying anirregular shape bordered by background color zero: you can simplydefine a rectangular window around the shape and activateSuperimpose before copying, rather than defining a freehandirregular window.


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The Transform commands change the orientation, shape orsize of a pattern or image.

Note: Before you use a Transform command, you must firstdefine a window around the area that you want to transform.

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Reproportion reduces or enlarges window contents eitherhorizontally, vertically or both. There are 4 available Reproportionmodes.

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This is the simplest mode. The results are displayed in real-time.Some details will inevitably be lost with this mode, so it isrecommended for use with simple patterns in which small detailsand colors do not need to be accurate. It is also useful for resizingscanned images, because some of the scatter dots will probably belost during reproportioning.


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With this mode, the system tries to keep the fine details of the linesketching, and because more detail and color depth is retained, thetransformed sketch will be much clearer than in Fast Mode. (Notethat the lines of a reduced sketch will therefore tend to beproportionally thicker than in the original image.) This mode triesto preserve the minority colors of an image, so it is probably not thebest choice for images with many scatter dots.

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These modes are most suitable for reproportioning photo-qualityimages. Photo Mode (Diffusion) generally applies a degree ofdiffusion to the resized image. The most suitable photo mode foryour image will depend on the individual image and on the effectthat you wish to create. It is recommended that you experimentboth to get the best results.

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1. Define a window around the image to be resized.

2. Select Transform , Reproportion .

3. If you want to retain the current width-to-height (aspect) ratio,activate the Fixed Ratio check box in the Status Assistant (or

click Fix Ratio in the Reproportion command bar).

4. Select an appropriate Reproportion mode in the StatusAssistant.

5. Move the cursor in the drawing area to resize the window.Click once to confirm the new size. (Alternatively, enter exact


window measurements or scaling factors in the StatusAssistant, and press <Enter> for each entry. Resizing will beprocessed automatically.)

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Use the Rotate command to make a rotated copy of an image:

1. Define a window around the image to be rotated.

2. Select Transform , Rotate .

3. Select the Preview display mode in the Status Assistant towatch your image being rotated real-time. Select the Outlinemode instead to see only a window outline as you rotate theimage. The white arrow inside the window outline alwayspoints to the top edge of the window. (If your computer haslimited available memory, it is recommended that you useOutline mode to minimize the strain on your system’sresources.)

4. Click in the drawing area where you would like to preview therotating effect. (Alternatively, click the Blue Button in thedrawing area to use the same rotation angle last used with theRotate command, and then skip to step 6.)

5. Move the cursor around in the drawing area to control therotation angle. (Alternatively, enter the Rotation Angle in theStatus Assistant, and press <Enter>. To snap the image to arotation of 90 degree, 180 degree, 270 degree or 0 degree, pressthe appropriate arrow key on the keyboard.) When the angle iscorrect, click once to confirm.

6. Move your cursor in the drawing area until the rotated copy iscorrectly placed, then click once to confirm.

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The Bend Window command bends a copy of the window


content to a specified degree. It is particularly useful for bending atext line to create special titles.

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1. Define a window around the required pattern or text to be bent.

2. Select Transform , Bend Window .

3. Click once in the drawing area where you would like to previewthe bending effect.

4. Press the Blue Button to scroll through the 4 available modesto determine the shape of the copy.

5. Move the cursor in the drawing area to control the directionand degree of the bending effect. Click once to confirm theshape.

6. Paste the transformed copy into the drawing area by clickingthe requested target location.

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Skew skews the rectangular window and its contents into a

parallelogram. Perspective compresses or expands one edgeof a rectangular window to give the illusion of perspective. Distort

lets you move any of the window corners to distort the imageaccordingly.

1. Select Transform . In the Transform command bar, select

Skew , Perspective or Distort as required.

2. Each of these transformations requires you to move one ormore corners of the window — simply click the required cornerof the window, move it and click again to paste it into the new

position. For Skew and Perspective , you may alsoneed to change the moving mode (Horizontal or Vertical) in the


Status Assistant to get the required results. For Distort ,

the Mapping Mode subcommand provides two mode

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options: Rectangular mode gives a straightforward distortioneffect, Triangular mode distorts only one triangular half of theimage at a time to create a 3-D diagonal-fold effect.

Use the Preview subcommand at any stage up to step 4 topreview the transformation you have just defined.

3. The Mirror Move subcommand flips the transformed

image horizontally. Upside Down Move turns the

transformed image upside down. Move allows you to movethe transformed image, this is useful because Skew,Perspective and Distort all leave a copy of the original windowcontents in the drawing area.

4. Once the image preview is satisfactory, select Go to pastethe transformation into the drawing area. Select Command

End to exit from the current command.


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A fabric is almost always composed of repeats of a basic design

element. The Repeat command group in PrimaVisionenables you to repeat the current window in a range of differentways, and offers specialized functions for editing both the originaldesign and the repeated pattern. This command is very useful fordesigners who work with fabrics or wall coverings.

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Use the Repeat command to repeat a design:

1. Define a window around the image to be repeated.

2. Select Repeat , Repeat .

3. To fill the entire drawing area with the repeated pattern, click

the Full Area Repeat command.

Alternatively, move the cursor in the drawing area to extend therepeat pattern. If you want the repeat pattern to contain only

whole repeats, click the Whole Unit On/Off . Once therequired repeat pattern is reached, click once to confirm.

Note: It is often useful to zoom out on the drawing area whendefining the size of the repeat pattern.


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The Diagonal Repeat command creates multiple equally-spaced repeats of the current window contents along a diagonal orin a perfectly horizontal/vertical line.


2. Select Repeat , Diagonal Repeat .

3. A copy of the window contents will be attached to your cross-hair. This copy represents the first repeat, and fixing itsposition will determine the angle of the diagonal repeats.Position the copy in the drawing area appropriately and clickonce.

Tip: Your cross-hair is now attached to the centre of the copiedwindow. To change the anchoring point of the cross-hair, press theBlue Button in the drawing area. 5 options exist: L. Right Drag(anchor to lower right of the copied window), U. Right Drag, L. LeftDrag, U. Left Drag and Center Drag.

4. Move your cursor outwards from the original window in thedirection of your diagonal to generate other repeats. When youhave generated sufficient repeats, click once to confirm them.

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The Half-Drop Repeat command allows users to specify ahalf-drop, which results in vertical misalignment of adjacent“columns” of the repeated image by the half-drop repeat value.



2. Select Repeat , Half-Drop Repeat .

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3. In the Half-Drop field in the Status Assistant, enter a half-dropvalue in pixels (repeated images to the left of the original aredisplaced downwards by this number of pixels, images to theright are displaced upwards). Press <Enter>.

4. To fill the entire drawing area with the repeated pattern,

simply click the Full Area Repeat command.

Alternatively, move the cursor in the drawing area to extend therepeat pattern. When the repeat pattern is of required size, click toconfirm.

Note: The most appropriate Half-Drop value for your design can be

determined using the Split/Reform Win command to preview

the effect before using Half-Drop Repeat (see Split/Reform Winsection).

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The Half-Shift Repeat command allows users to specify ahalf-shift for the repeat, which results in horizontal misalignmentof adjacent “rows” of the repeated image by the half-shift repeatvalue. This command works in the same manner as the Half-DropRepeat command, except that a non-zero Half-Shift valuedisplaces the repeated images horizontally instead of vertically(repeated images above the original are displaced to the right by aspecified number of pixels, images below are displaced to the left).

Note: The most appropriate Half-Shift value for your design can be

determined using the Split/Reform Win command to preview

the effect before using Half-Shift Repeat (see Split/Reform Winsection).


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The simple repeat, half-drop repeat and half-shift repeat provideflexibility in editing the final repeated pattern, but they are all best

applied when the original design is finalized. The Repeat ,

Repeat Window command allows editing the original designto be reflected real-time in the repeated pattern.


2. Select Repeat , Repeat Window .

3. Select Create Repeat Window . This will create twowindows: the smaller window contains the original drawingarea whilst the full-screen Repeat Window contains therepeated pattern generated from your design. The RepeatWindow can be managed as a normal window (e.g. resized orclosed). The original design cannot be edited within the RepeatWindow command.

4. You can specify the magnification at which the repeatedpattern is displayed in the Repeat Window. To change thedisplay ratio, right-click the Green Button in the RepeatWindow, select Display Ratio, and then select the requiredratio. Alternatively, edit the Display Ratio field in the StatusAssistant.

5. Click Half-Drop/Shift Toggle to switch between half-shift and half-drop functionality. Type the Half-Shift Value orHalf-Drop Value field in the Status Assistant, and press<Enter>. The change to the repeat pattern will be reflectedreal-time in the Repeat Window.

6. You can hide or display the current Repeat Window using

Repeat Window On/Off . (You may also close it with the


standard Windows Close button and open a new one using

Create Repeat Window .

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7. When the Half-Shift/Half-Drop value is correct, click

Command End to exit. The Repeat Window is stillavailable to preview the real-time change to the repeat patternwhile you are applying any editing command on the originaldesign.

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The Repeat Pen command offers you freehand sketchingcapability during repeat design. Similar to the existing Repeat

Window command, the Repeat Pen temporarily creates anautomatic full area repeat to facilitate real-time editing, but makesediting more natural because the repeated pattern and the originaldesign for this command co-exist in the same drawing area. TheRepeat Pen also provides easy sketching for complex geometricpatterns in your repeat.

Although the Repeat Pen offers more advantages than the RepeatWindow, the latter remains the most suitable command for editinglarge-size repeat designs which require the Display Ratio feature.It is also needed for designs which require drawing and editingcommands beyond simple freehand sketching with the pen.Sequential use of both commands will therefore produce the bestresults for many types of repeat design.

The Repeat Pen is particularly suitable for creating patterns thatare to be used as repeats, but it can be very useful for creatinggeometric designs for any purpose quickly and simply.

1. Define a window around the basic repeat image to be edited.

2. Select Repeat , Repeat Pen . The drawing area istemporarily filled with repeats of your design. The effect is verysimilar to the Repeat Window, except that the repeats aregenerated within the drawing area itself instead of in a


separate window.

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3. To display the repeats with grid lines, click Change Mode(click again to hide the lines).

4. Specify the Half-Drop and/or Half-Shift values in the StatusAssistant.

Warning: Do not modify the Half-Drop or Half-Shift value afterthis step, otherwise all images drawn whilst in the Repeat Pencommand will be lost.

5. You may now draw freehand in the usual manner anywhere inthe drawing area. The newly-drawn objects will be duplicatedreal-time across all repeats. Note that you can even drawcontinuously across the boundary between repeats. You canadjust the pen dimensions and pen type (Normal or Air Brush)in the Pen Assistant during sketching.

6. By default, the Line Style field in the Status Assistant is set toNormal. 13 different Line Style options allow you to create amultitude of geometric patterns. A few basic exampleshereafter illustrate how easily you can develop creative designswith the Repeat Pen:

Quadratic line style


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Hexagonal line style

Half-drop and USD (Upside-down) line style

Each of the examples shown above and alongside were generatedusing a plain background as an initial basic repeat unit. Beforeapplying the Repeat Pen, we selected the line style stated beloweach example. Only the dark sketching was drawn freehand therest of the design contents were generated by the system real-time


as sketching took place. (Note that the light and dark lines have

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been used for clarity of explanation only: in reality, the Repeat Pencommand repeats exactly what you draw, so both drawn andgenerated objects will be of the same color.) The third exampleclearly shows the benefit of being able to draw a continuous lineacross repeat boundaries.

Try each of the 13 available line styles for yourself, and experimentwith the different effects that you can create.

Note:You may switch between different line styles in the samedesign at any stage.

7. When you have finished sketching on your repeat design, click

Command End . All generated repeats will disappear,leaving the original design complete with all modificationsmade since you entered the Repeat Pen command. The imagesbelow show the designs that remain after selecting Command

End for each of the examples shown in step 6.

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A well-constructed repeat design will not result in any obviousseams in the final repeated pattern. The Split/Reform Win.command allows you to test the “repeatability” of your designwithout actually executing the repeat command.


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To test the repeatability of your design for a simple repeat:

1. Define a window around the image.

2. Select Repeat , Split/Reform Win. .

3. To test the horizontal repeatability of the image, click

Left<>Right to split it vertically down the middle andswitch the two halves. This shows you the vertical boundarybetween repeated images in the final repeated pattern:

4. Click Command End to exit the Split/Reform Win.command. Now apply relevant editing commands on yourdesign to clear out any obvious seams at the boundary between

the switched halves. (The Drawing Tools and Special

Effect commands will probably be useful for this purpose.

5. Select Split/Reform Win. again. Restore the originalimage by clicking Left<>Right again.

6. To test the vertical repeatability of the image, click

Up<>Down to split it horizontally across the middle andswitch the two halves. This shows you the horizontal boundarybetween repeated images in the final repeated pattern:

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7. Repeat steps 4 and 5 to clear out the boundary seams andrestore the original image.

8. To test the repeatability at the corners where 4adjacent repeat

images come together, click Left/Right/Up/Dn :

9. Repeat steps 4 and 5 to clear out the boundary seams andrestore the original image.

10. Click Command End to exit, and now your design isready to be repeated.

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The procedure for preparing a design for the Half-Drop Repeat orHalf-Shift Repeat is very similar to that for simple Repeat. Theonly difference is that instead of performing the horizontal, verticaland four-way split/reform, you will need two other split/reformcommands suitable either for half-drop repeats or half-shift

repeats. Select Split/Reform Win. to display the split/reformcommands, and remember to specify the Half-Drop or Half-Shiftvalue before applying the required split/reform commands.

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Half-Drop 1 split/reform command

Half-Drop 2 split/reform command

Half-Shift 1 split/reform command

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Half-Shift 2 split/reform command

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Unlike the other Repeat commands, the Irreg. Rep. Gen.

command first works on a final repeat pattern and then findsout the original repeat unit for the pattern. This is particularuseful in Print MaskFilm module as you need to find the originalrepeat unit from a whole piece of repeat pattern for further editingin Print MaskFilm (see Print MaskFilm chapter for details).

1. Read or scan the final repeat pattern into the drawing area.

2. Define a rectangular window to include all elements of onerepeat unit.

3. Use the Clear command to clear the contents outside thewindow.

4. Use the Color Grouping command to reduce the colorshades in the image, especially for scanned image.

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5. Select Repeat , Irreg. Rep. Gen. .

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6. Image component of a single solid color can be moved one by

one to a new location. Select either Move Up , Move

Down , Move Left or Move Right , and click theelement to be moved. Repeat this procedure to generate acompleted repeat unit.

7. Define a rectangular window to include exactly all elements ofa repeat unit and save it as a file.

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If you already know the repeat definition for your repeated pattern,you can print the repeated pattern directly without first needing torepeat the design in the drawing area. Select the Repeat Print

command from the Print command group, edit the repeatdefinition, and print in the normal way (see Print chapter). Notethat the Repeat Print command does not yet offer half-shiftfunctionality.


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The Fill commands fills colors or patterns into a solid area or aclosed outline.

Applying a color fill command to an object drawn in a single solidcolor (what has been termed a “solid area” in this chapter) amountsto a color change, thus providing a shortcut for changing the colorof an irregularly-shaped, monochromatic section of the drawingarea.

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To fill a solid area or a closed outline with a color:

1. Select Fill , Fill Single Color .

2. Select a fill color from the Color Assistant palette.

3. Click on the solid area or inside the closed outline to be filledwith the selected color.

Note: If the chosen outline isn’t closed completely, the color will“leak” outside the intended fill area.

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The Multi. To Single command fills solid areas of multiplecolors with a single color. One of its major functions is in color-grouping a scanned image.

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1. Select Fill , Multi. To Single .

2. You must now select the solid areas of which colors will bechanged. Click in the drawing area to mark the first corner of arectangular selector around the areas. Click the oppositecorner of the selector. The selected colors will be listed underFill Color From in the Status Assistant.

3. To deselect a color, click it in this list. To deselect a group ofcolors, use the Green Button to define a rectangular selectoraround those areas in the drawing area.



5. Select a fill color from the Color Assistant palette.


6. Click one by one on the solid areas of which colors are selectedto be changed.

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The Fill , Multi. To Multi. command is especially usefulwhen dealing with half-tone images because the Color Grouping

command cannot easily group tonal colors without destroying

the half-tone effect. With the Multi. To Multi. command, youcan color-group the image into a color spread of fill colors whichwill retain the half-tone effect.

1. Use the Color , Color Percentage command to adjust


the palette such that all the fill colors are arranged inconsecutive color boxes.

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2. Select Fill , Multi. To Multi. .

3. You must now select the solid areas of which colors will bechanged. Click in the drawing area to mark the first corner of arectangular selector around the areas. Click the oppositecorner of the selector. The selected colors will be listed underFill Color From in the Status Assistant.

4. To deselect a color, click it in this list. To deselect a group ofcolors, use the Green Button to define a rectangular selectoraround those areas in the drawing area.




6. You must now specify in the Color Assistant palette the rangeof color boxes to fill your selection. First click the start color boxof the palette range, then click the end color box.

7. Click one by one on the solid areas of which colors are selectedto be changed. The original color of the selected area will befilled with the fill color in the selected palette range thatmatches it most closely.

Note: The number of selected solid areas does not need to equal thenumber of selected target colors. A lighter tone in a half-tone imagewill be mapped to a lighter fill color, and a darker tone to a darkerfill color. Plan carefully your fill colors and colors to be filled beforecolor grouping a half-tone image with this command.

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The Pattern Fill command fills a solid area or a closed outline


with a repeated pattern.

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1. Define a window (rectangular or irregular) around the fillpattern.

2. Select Fill , Pattern Fill .

3. A copy of the original fill pattern will be attached to your cross-hair. Click on the solid area or inside the closed outline to befilled. This fixes the position of the first repeat and the otherswill be repeated in all directions from there.

Tip: Your cross-hair is now attached to the centre of the copy. Tochange the anchoring point of the cross-hair, press the Blue Button.5 options exist: L. Right Drag (anchor to lower right of window), U.Right Drag, L. Left Drag, U. Left Drag and Center Drag.

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The (Half-Drop) HD Pattern Fill and (Half-Shift) HS

Pattern Fill commands are almost identical to the simple

Pattern Fill , except that you can enter a Half-Drop or Half-Shift value in the Status Assistant for the repeats, thus producinga half-drop or half-shift effect in the area to be filled.

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The Rotate Patt. Fill command fills a solid area or a closedoutline with a repeated rotate pattern. It is particularly useful forpattern-filling areas such as the sleeve area of a garment sketch.

1. Define a window (rectangular or irregular) around the fillpattern.


2. Select Fill , Rotate Patt. Fill .

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3. Select the Preview display mode in the Status Assistant towatch your fill pattern being rotated real-time. Select theOutline mode instead to see only a window outline as yourotate the pattern. The white arrow inside the window outlinealways points to the top edge of the window. (If your computerhas limited available memory, it is recommended that you useOutline mode to minimize the strain on your system’sresources.)

4. Click once in the drawing area where you would like to previewthe rotating effect. (Or click the Blue Button in the drawingarea to apply the last rotation angle used, then skip to step 6.)

5. Move the cursor in the drawing area to control the rotationangle. (Or enter the Rotation Angle in the Status Assistant,and press <Enter>. To snap the image to a 90 degree, 180degree, 270 degree or 0 degree rotation, press the appropriatearrow key on the keyboard.) When the angle is correct, click toconfirm.

6. Click on the solid area or inside the closed outline to be filledwith the repeated rotate pattern. This fixes the position of thefirst repeat and the others will be repeated in all directionsfrom there.

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The Rotate HD Patt. Fill and Rotate HS Patt. Fill

commands are almost identical to Rotate Patt. Fill , exceptthat you can enter a Half-Drop or Half-Shift value in the StatusAssistant for the repeats, thus producing a half-drop or half-shifteffect in the area to be filled.


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The Special Effect command adds a variety of special effectsonto your design.

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The Color Shade command replaces a solid color with agradation of colors. It can be used to create a half-tone effect, 3-Deffects by the illusion of depth, and a watercolor-like effect when

used in conjunction with the Watercolor command. Thegradation effect can be applied in two different directions: along astraight line or along a elliptical path.

1. Find a continuous range of color boxes in the palette that canhold all the required color shades — the larger the selectedrange, the finer the gradation effect. All existing colors in thisrange will be replaced by the color shades, so it is advised to

use the Color , Color Percentage , Rearrangecommand first, to gather all unused color boxes in the lowerpart of the palette. Then, you can in step 3 define those unusedcolor boxes as being modifiable for color shading.

Note: The object to which you apply the Color Shade command mustbe of a single color. If it is not, fill the shapes with a single color.

2. Select Special Effect , Color Shade .

3. Select Def Mod Palette . In the dialog box, click the start


color box of the color range, then the end color.

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4. In the Color Assistant palette or drawing area, click the SpreadFrom color and then the Spread To color which are at the twoends of the gradation spectrum. If you select the wrong colors

by mistake, click Re-select Colors , and re-define thecolors.

5. Select a spreading mode in the Status Assistant: Linear forwhich the gradation occurs in a straight line, Elliptical forwhich the gradation occurs outwards from a centre point.

6. Click on two points which will determine the direction in whicha linear color shade is to be applied: the colors will spread fromthe Spread From color to the Spread To color along thisdirection. Both points must be inside the object to be color-shaded. For an elliptical color shade, these two points are thefoci of the elliptical spread path. When these two points arevery close together, the spread path will be almost circular. Theactual shape of the spread path will also be to some extentdependent on the shape of the object being filled.

7. Repeat steps 3 to 6 for more color shading.


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Useful for editing photos and patterns, this command clones(duplicates) one area to another in an image. When you apply thiscommand, you need to create another “pen” at a fixed distance andangle from the actual pen, which will be used as a device forpicking up information about the image that needs to be cloned.The pen and cloning device will move together as if connected by aninvisible rod, and when you draw with the pen, it will paint theinformation picked up by the cloning device in real time. Pendimensions specified in the pen control panel can be applied to boththe pen and the cloning device.


1. Select Special Effect , Clone .

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2. Adjust the pen dimensions as required.

3. Click in the drawing area to fix the position of the cloningdevice.

4. Click again to set a position for the pen in relation to thecloning device.

5. Draw with the Yellow Button in the areas where images shouldbe duplicated as the pen moves in the drawing area.

6. To define new positions for the cloning device and the pen,press the Blue Button in the drawing area. Repeat steps 2 to 5.


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The Pattern Pen command allows the pen to draw withpatterned “paint” instead of the usual solid-color paint. The resultis equivalent to creating a repeat pattern wherever the pen isapplied.

1. Define a window (rectangular or irregular) around the patternthat you want to use as the “paint”.

2. Select Special Effect , Pattern Pen .

3. Adjust the pen dimensions in the Pen Assistant as required.Draw with the Yellow Button in the areas in which you requirethe repeat pattern.

4. To define a new pattern to be repeated, press the Blue Buttonin the drawing area. Repeat steps 1 to 3.



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The Texture mapping command involves two pieces ofbitmap image: the texture image and the target image onto whichthe texture is mapped. You can define any bitmap as texture andany bitmap as target. When a texture image is mapped onto atarget image, the texture image is repeated to form a pattern whichis applied as a texture effect onto the target image. This commandis useful, for example, for adding a simple woven effect to a fabricpattern.

1. Define a window around the target image you want to

texturize. Use the Color , Color Percentagecommand to check the number of colors used in the image.

Then, define a window around the texture. Use the Color ,

Color Percentage command to check the number ofcolors used in the image.

2. You may need to limit the number of colors used in the textureimage to keep enough unused color boxes for mapping in thepalette. The number of modifiable unused colors in the paletteshould be greater than or equal to the number of colors used in

the texture image. You can use the Color Groupingcommand to reduce the number of colors in a texture image.Then, in step 5 define those unused color boxes as beingmodifiable for texture mapping.

3. Select Special Effect , Texture Mapping . Select

Define Texture to define the current window content asthe texture image for mapping.

4. To define a window around the target image again by using the

Last Window command.


5. Select Def Mod Palette . In the Def Mod Palette dialogbox, click the start color box of the color range, then the end.

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6. Select Texturize .


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The Watercolor command makes the pen tool imitate a

watercolor brush. Just like the Color Shade command, itrequires to reserve a part of the palette for its specific use. For eachbackground color to which the watercolor pen is to be applied, youwill need at least 8 color boxes to create an acceptable watercoloreffect.

1. Find a continuous range of color boxes in the palette that can beused to hold all the required color shades — the larger theselected range, the finer the gradation effect. All existing colorsin this range will be replaced by the color shades, so it is

advised to use the Color , Color Percentage ,

Rearrange command first, to group together all unusedcolor boxes in the lower part of the palette. Then, you can instep 4 define those unused color boxes as modifiable for watercoloring.

2. Select a color from the Color Assistant palette for thewatercolor to be drawn.

3. Select Special Effect , Watercolor .

4. Select Def Mod Palette . In the Def Mod Palette dialog box,click the start color box of the color range, then the end.

5. Click one by one the colors in the drawing area or in the ColorAssistant palette to be the background colors. The selected


colors will be listed under Selected Color in the StatusAssistant. To deselect a color, click it in this list.

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6. Click Enough to confirm your selection.

7. Draw with the Yellow Button in the areas in which you requireto apply watercolor. The pen will only affect the colors selected

in step 5. Click +Water Compositn and -Water

Compositn to control the water content of the pen.


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This command gives an approximate simulation of overlap printingon fabric. Given the color of the fabric, the colors to be printed on it,and their half-tone percentages, this command simulates theresulting color effect.

1. Select Special Effect , Overlapping Eff. .

2. To define the fabric color, click the Fabric color block until it isdepressed and activated. Click on either RGB or CMYK pagetab, use the levers to adjust the color or manually type theRGB/CMYK code under the levers. The color is displayed in thesmall color preview box under the levers and to the largerectangular color preview box. This large box shows the resultof all overlapped colors which will automatically adjust toreflect any real-time color change.

3. You can now define the colors to be printed on the fabric. Toselect a closest-match color from the current color palette, clickit in the Color Assistant. The color will be copied to the smallpreview box and deactivate all the color blocks in the dialogbox. Adjust the color using the RGB/CMYK levers or the codefields under the levers, you can view the new color in the smallpreview box and also in the Color Assistant. To insert the color


to be printed on the fabric, click Insert Color , the colorwill be copied to the next color block. The half-tone percentageof the print color is displayed under its color block. Edit it if

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necessary. The large color preview box shows the overlappedeffect of the print colors and fabric color.

4. Repeat step 3 to add up to maximum 4 print colors.

5. To edit the defined fabric and print colors, click the block andadjust the color using the RGB/CMYK levers or the code fieldsunder the levers.

6. To delete a defined print color, right-click the block and select

Delete Color . To change the order of the print colors,right-click the block, select the required option to swap it withanother block. To restore all the adjusted print colors to theoriginal colors in the Color Assistant palette, click Reset All

Colors .

7. To insert the current overlapped fabric color into the palette,click the color box in the Color Assistant palette, click Use

Color .

8. Select Command End to exit.

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The Remove Outline command eliminates an actual outline:not the natural boundary between two shapes because of theirdifference in color, but a line with thickness and its own color,drawn to separate two shapes. Quite often it is a black outline,drawn to create or emphasize shapes, and it generally needs to beremoved after it has served its purpose.

1. Select Special Effect , Remove Outline .

2. Click once on the outline to be removed (zoom in if necessary to


make sure that you click on the required outline). Wait for ashort while as the outline is filled by surrounding colors.

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Like the Remove Outline command, Enlarge Objectdeals with the boundaries of shapes. It enlarges an object (an areaof solid color) by using the object color to draw a border around theobject, whose thickness is equal to the current pen width. It isparticularly useful for smoothing out a rough boundary.

1. Select Special Effect , Enlarge Object .

2. Adjust the pen dimensions in the Pen Assistant to determinethe thickness of the border.

3. Click the object to be enlarged (zoom in if necessary to makesure that you click on the required object). Wait until theborder is filled by the color of the selected object.

Note: This command is very similar to the Drawing Tools ,

Outline command. An obvious difference is that EnlargeObject can only use the object color to fill the border, but Outlinecan let you choose a palette color for the border. A less visibledifference is that Enlarge Object can cover dots or otherimperfections just outside the object boundary, whereas Outlinecannot do so.

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The Rm Scatter Dot command can help to purify scanned-inimages by removing any undesirable little dots (“scatter dots”) thatmight remain after color reduction or color grouping.

There are 3 types of dot removing techniques available for yourscanned image. The Remove Scatter Dot 2 and 3 are very muchsimilar in terms of the algorithm applied. Generally, when a given


group of pixels in the image contains fewer pixels of the same colorthan the specified Minimum Number of Dots, this group will beremoved from the image.

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Two parameters are required for this dot removing technique: theScan Window Width, and the Min. Number of Dots. Indeciding whether a pixel should be removed, Remove Scatter Dot1 will consider an area (called a scan window) centred on that pixeland of width and height equal to Scan Window Width. If in theoriginal image, this area contains fewer pixels of the centre pixelcolor than the Minimum Number of Dots, the centre pixel will beremoved. In general, if you increase the Minimum Number of Dots,more scatter dots are removed; but if you increase the ScanWindow Width, fewer dots are removed.

1. Define a window around the scanned image.

2. Select Special Effect , Rm Scatter Dot .

3. In the Remove Scatter Dots dialog box, activate the RemoveScatter Dot 1 option button.

4. Enter the Scan Window Width and the Min. Number of Dotsfields.

Note: A Scan Window Width of 3 limits the Minimum Number ofDots to the range 2 - 4 inclusive; a Scan Window Width of 5 limits itto 2 - 12 inclusive; a Scan Window Width of 7 limits to in 2 - 24inclusive; a Scan Window Width of 9 limits it to 2 - 40 inclusive.

5. Click OK to confirm. Wait for a short while as the scatter dotswill be removed.

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The Remove Scatter Dot 2 and Remove Scatter Dot 3 use adifferent algorithm than Remove Scatter Dot 1 to decidewhether each pixel is to be removed, which is generally moreeffective in clearing scatter from an image. These dot removing


techniques also allows you to specify the colors in your image whichyou wish to affect.

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You are required to specify the Dots Connection Type, whichdetermines whether or not any two dots are considered connected.There are two available connection types, which it is important totry to understand:

• 4-connect: Any two dots are considered connected if they are ofthe same color and lie immediately adjacent to each other ineither a horizontal or a vertical direction. Each dot (pixel) canthus only have 4 connection points: above, below, on the leftand on the right.

• 8-connect: Any two dots are considered connected if they eithersatisfy the 4-connect definition above, or lie diagonally adjacentto each other (i.e. with corners touching).

This definition allows PrimaVision to decide whether or not anynumber of pixels in a given area are considered connected. Thesystem will check the first pixel in the area to see whether it isconnected to any other dots of the same color. If so, for each of thedots found to be connected to the first, the system will search forother dots of the same color to which each found dot is connected,and so on, until there are no further connections found. Each dotfound, directly or indirectly connected to the same first pixel, isconsidered to be part of the same group. By applying this iterativesearch process for all pixels of an image, PrimaVision is ablebreak down the image into distinct groups of connected dots.

The Remove Scatter Dot 2 and Remove Scatter Dot 3 applythis principle to determine whether each group of connected dots inthe current window is to be removed. If the number of dots in agroup of connected dots is smaller than the specified Min.Number of Dots, the whole group of dots will be removed. Thiscommand therefore immediately eliminates lone and small groupsof scatter dots. Using the 4-connect dot connection type will removemore scatter from the image, as will a larger Minimum Number ofDots.

Note: The only difference between the Remove Scatter Dot 2 andRemove Scatter Dot 3 is the way to specify which colors in the imageto be affected by it: all colors are chosen by default, you can select


colors to be excluded if necessary (Remove Scatter Dot 2), selectcolors to be included (Remove Scatter Dot 3).

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1. Define a window around the scanned image.

2. Select Special Effect , Rm Scatter Dot .

3. In the Remove Scatter Dots dialog box, activate the RemoveScatter Dot 2 or the Remove Scatter Dot 3 option button asrequired.

4. Set the Dots Connection Type to 4-connect or 8-connect. Enterthe Min. Number of Dots field.

5. If you are using the Remove Scatter Dot 2, you can exclude anycolors from being affected by clicking the Exclude Color buttonif necessary.

If you are using the Remove Scatter Dot 3, you should specify thecolors to be affected by clicking the Include Color button.

6. Click one by one the colors in the drawing area or in the ColorAssistant palette to select it. The selected colors will be listedunder Selected Color in the Status Assistant. To deselect acolor, click it in this list.

7. Click Enough to confirm your selection.

8. Click OK to confirm. Wait for a short while as the scatter dotswill be removed.


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The Text command group provides a range of commands forcreating and basic editing of bitmap text elements.

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Use the Text command to create text:

1. Select Text .

2. To change the Font displayed in the Status Assistant, click

Select Font . Specify the required font, style and size (inpoints). Click OK to confirm. Type the required font Width andHeight in pixels and press <Enter> for each entry.

Note: The last-used font Width and Height settings are remembered

as defaults when you next select the Text command or restartPrimaVision.

3. For solid text, set Effect to Normal. For hollow text, set it toOutline.

4. Path controls the text direction: Horizontal, Vertical, Slant(along a tilted angle), Circular, or Tunnel (a “tunnel” of anirregular shape into which the text is shrunk or expanded).Select a path from the drop-down menu.

5. If using Horizontal or Vertical path, click in the drawing areaon the position to start entering text. If using Slant, Circular or


Tunnel path, first follow the procedure described in Defining aSlant/Circular/Tunnel font path sections to define the actual

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shape of the font path. Then, click once in the drawing area tostart entering text.

6. Type the required text.

If using Slant, Circular or Tunnel path, you can force the typed textto fill the entire length of the path (Fit To Path) by clicking theBlue Button in the drawing area. Then click once in the drawingarea to maintain the height-to-width ratio of the text charactersand retain more recognizable characters. Therefore, this cannotstrictly fit the text to the actual shape of the font path. Otherwiseclick Green Button if the text is allowed to be distorted asnecessary to fill the shape of the path.

7. Click once in the drawing area to end text input. Repeat step 2onwards to create other text.


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1. Click the Blue Button anywhere in the drawing area to startdefining the font path.

2. Click the starting point of the font path (text entry will begin atthis point). Click on the end of the font path. When deciding theend-point, remember that you cannot enter text beyond thelength of the font path.

3. If you have made a mistake, click the Blue Button in thedrawing area and repeat step 2.

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1. First select a Bend Mode for your text to define the orientation


of the text: Vertical, Fan, Radial or Circular.

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2. Click the Blue Button anywhere in the drawing area to startdefining the font path.

3. Click the starting point of the font path (text entry will begin atthis point). Move the cursor until the font path reaches therequired shape, then click again to define another anchoringpoint for your circle. The resulting font path can be bent into awide variety of different circles and curves, but it will alwaysstart at the start-point, and will always touch the anchoringpoint.

4. If you have made a mistake, click the Blue Button in thedrawing area and repeat step 3.

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1. Click the Blue Button anywhere in the drawing area to startdefining the font path

2. Click the starting point of the font path (text entry will begin atthis point). Click on the end of the font path. When deciding theend-point, remember that you cannot enter text beyond thelength of the font path. This produces a pair of green parallellines which determine the length and general orientation of thetunnel font path. The nodes on these lines may be used to editthe shape of the tunnel.

3. To change the position of a node, click it to pick it up, and thenclick where you want to drop it. Repeat this for all nodes to bemoved.

4. Click the Blue Button to confirm the path shape.

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The Read Text File command allows to read the contents of atext file in PrimaVision. Note that your text must contain onlyASCII characters for the whole file to be read successfully.

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1. Select Text .

2. To change the Font shown in the Status Assistant, click Select

Font . Specify the required font, style and size (in points).Click OK to confirm.

3. Select Read Text File , click on the required text file andclick Open.

4. Click on the upper left corner of the area to be filled by the newtext.

Note: If you use anything other than a plain text editor to create theoriginal text file, look for an Export or Save As command in theoriginal software to save the text file in usable ASCII text format.


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The most commonly-used Print command is Print Window

, which prints the contents of the current window. Other printcommands include specialized print functions for knit patterns,related graph prints and for fabric simulations. Another commandallows to manage your print jobs in the print queue.

Printing is always executed as a background task.

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To print the current window contents:

1. Define a rectangular window around the image you want toprint.

2. Select Print , Print Window .

3. A dialog box displays the name of the printer plus a number ofother settings. Edit these settings as necessary (see below forcomplete details).

4. Click OK to start printing.

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Several print options are available in the Print Window dialog box,but they are not all available for all printers:


• Name: The name of the printer on which you want to print

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• Resolution: This is an alternative means of accessing the

Resolution setting defined in the Miscellaneous ,

Drawing Area Setting command (see the Miscellaneouschapter for further details). Only printable resolutions will bedisplayed

• Paper Size: The size of the paper used for the printout

• Number of copies: The number of printed copies required

• Print range: A design which occupies more than one page ofthe selected paper size will be printed on the required numberof pages. All prints all pages in your design. Choose Pages tospecify the start and end page of a selective print range

• Print Color Info: Includes in the printout color boxes withRGB and Pantone/printer codes for the colors used in theprinted design

• Center Horizontally: Places the image at the horizontalcentre of the printed page

• Center Vertically: Places the image at the vertical centre ofthe printed page

• Rotate: Rotates the image by 90 degree, converting a portraitprintout to landscape, and vice versa

• Fit Page: Forces the window contents to be printed on a singlesheet of paper. Images too large to fit on the page are shrunk tofit, whilst images smaller than the page dimensions areenlarged to fill the entire page.

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The print queue refers to sent print jobs that are queued up to beexecuted. To see the jobs with their current status in the print


queue, select Print , Print Queue .

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A table is displayed in the Print Queue dialog box. There will be atleast a Local Printer page representing the local print queue. If youhave any Prima Server in your Prima network, there will also bea page for the print queue belonging to each Prima Server thatrecognizes a connected printer.

The following information will be displayed for each print job in thequeue:

• Printer: Destination printer for the print job

• Print Job Name: PrimaVision command used to issue theprint job and then the name of the sketch file being printed

• Status: Either Pending (waiting to be printed) or Printing

• Started At: Estimated time to start printing

• Copies: Number of copies to be printed.

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To delete a print job from the print queue, click on it in the queue,then select the Delete Job button. Click Yes to confirm.

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The Rush Job button in the Print Queue dialog box moves a printjob to the front of the print queue so that it will be printed as soonas the relevant printer becomes available.

Click on the job that you want to move to the front of the queue,then select the Rush Job button. Click Yes to confirm.


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The Print , Image Print command is the same as thenormal Print Window function (pattern is printed as a bitmapdesign without stitch effect), but allows you to stretch or compressthe image in any proportion either vertically or horizontally.Simply specify the horizontal ratio and vertical ratio, and click OKto print.

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The Print , Scale Print command prints the knit patternin the current window in actual size at the specified knit tension.Besides the general print options of page range and choice ofprinter, it also has a few tension- and grid-related options:

• Printout Style: Grid Off prints the image in its original sizeand proportion; White Grid prints the image with white gridlines; Black Grid prints the image with black grid lines;Stitches prints each pixel/grid as a stitch

• Unit: The measurement unit for specifying the tension (inch orcm)

• X ( Stitches / Unit ): The horizontal tension in stitches perunit of measurement specified above. The higher the number ofstitches per unit, the narrower the printed image

• Y ( Rows / Unit ): The vertical tension per measurement unitsas specified above. The higher the number of rows per unit, theless tall the printed image.

• Scale: The scale of the print ( in percentage value ).


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You may specify the required number of copies, paper size andprint resolution. If you want to fit your knit pattern onto one singlepaper of selected size e.g. a A3 size paper, adjust the knit pattern’sStitches / Unit and Rows / Unit (knit tension) in the sameproportion such as both are multiple by 1/4 until the Print Rangeshows From 1 To 1. To start printing, click OK.


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The Print , Graph Print command prints an intarsia/handknit graph of the knit pattern inside the current window.These graphs print out complete with a referenced grid, and eachstitch is represented by a grid square of the same color as theoriginal stitch. Such graphs are very useful for productionpurposes, because they clearly show the number of stitches in anygiven section of the design.

The other options that need to be specified are:

• Graph Type: Intarsia or Hand Knit. The origin of the gridreference for an intarsia graph is in the center of the printout;for a hand-knit graph the origin is on the left.

• Graph Color: Color or Black / White graph

• Graph Size: Normal or Condense printout size.

You may specify the required number of copies, paper size andprint resolution.

To start printing, click OK.


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The Print , Symbol Print command is similar to the

Graph Print command but instead of representing each stitchwith a colored grid square, it uses alphabet characters or numbersto represent stitches knitted in different yarns. This feature is veryuseful for communicating designs by fax.

1. Define a rectangular window around the image you wish tosymbol-print.

2. Select Print , Symbol Print .

3. To define the symbols for the colors used in the drawing area,click Define Symbol. In the dialog box, all the used colors arelisted with default characters which are assigned by thesystem: character A to the color with the smallest color boxnumber, character B to the next smallest etc. Use the verticalscroll bar to view the colors. To change a character assignment,scroll to view the color, type a new character in the field orselect from the drop-down menu. Repeat this procedure for allcolors to which new characters should be assigned.

4. To read a symbol file, click Read Symbol, select the requiredfile and click Open. To save the symbol file, click Save Symbol,specify a file name and click Save. The file is assigned the*.sym extension. Click OK to return to the Symbol Print dialogbox.

5. You may specify the required number of copies, paper size andprint resolution.

6. To start printing, click Start Print.


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PrimaVision provides a range of repeat functions under the

Repeat command group (see the Repeat chapter) for creatingrepeats of a basic design element in the drawing area. However, ifyou already know the repeat specifications that you require, it isquicker to print the design as a repeated pattern without makingany changes to the image itself in the drawing area.

1. Define a window around your repeat design.

2. Select Print , Repeat Print , and define the repeatspecifications by using the Repeat Setting button (see theRepeat chapter for full details).

Note: There is no half-shift functionality in the Repeat Printcommand.

3. You may specify the required number of copies, paper size andprint resolution.

4. To start printing, click OK.


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Before starting to scan any object or image, choose the mostappropriate scanner and image settings for your scan job. The

Scanner command displays the following scanner and imagesettings:

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• Scanner: Select the required scanner.

• Scan Mode: Set this to Color Scan (Photo) for scanning colorimages, and to Color Scan (Fabric) for scanning fabric samples.If you use Black and White Scan, the resulting image will beblack and white only (no grey scaling).

• Colors: Better scanned colors will be obtained if a new paletteof colors is generated for the scanned image (Use New Color),but you can keep the palette unchanged (Keep Old Color(s)).

Note: Use old colors to ensure color consistency when your object tobe scanned is larger than your scanner’s scanning surface and youneed to divide it into several scans.

• Resolution: The scan resolution determines the size andquality of the scanned image. The higher the scan resolution,the better the quality of the scan. Note however a higherresolution requires more RAM, and the generated imageoccupies more disk space.


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To adjust an image setting, scroll the lever to the right to enhanceits degree on the scanned image, or to the left to reduce its degree.

• Brightness: Controls the overall brightness e.g move lever tothe right will obtain a lighter image

• Contrast: Controls the overall contrast

• Saturation: Controls the color richness

• Highlight and Shadow: They work together to emphasizeand smooth highlights and shadows of the scanned image.

Brightness as a general concept is measured using on a scale of 0 to255, which breaks down into a Shadow range from 0 to 127 and aHighlight range from 128 to 255. (Please note that this brightnessscale is different from the Brightness setting displayed in thedialog box. The latter serves to shift all brightness levels in thescanned image up or down the brightness scale by a fixed amount.)

All brightnesses in the scanned image that is lower than theselected Shadow value will be converted to minimum brightness 0,whilst all scanned brightnesses higher than the selected Highlightvalue will be converted to maximum brightness 255. Thebrightness between the Highlight and Shadow minimum andmaximum will then be adjusted proportionally to fill out the entirebrightness scale from 0 to 255.

When the user selects Scanner , Read Image , the systemapplies the Brightness, Contrast and Saturation settings first. Itthen applies the Highlight and Shadow settings to tune theresulting brightness.

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The last-used settings for each scanner will be saved as thatscanner’s default settings

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To restore the default image settings of the scanner, click theDefault Value button in the Scanner dialog box when the scanneris selected, and click OK to confirm.

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PrimaVision allows to scan slides with the Epson GT series ofscanners. With these scanner models, there are an additional set of3 Scan Mode options: Slide Color Scan (Photo), Slide Color Scan(Fabric), Slide Black and White Scan.

The largest slide that can be scanned is 5" by 5". Other scannersare not equipped with this ability.

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The 1 to 1 Scan command gives an image of the same size asthe scanned object. Note that the scanned image will only be ofexactly the same size as the original if the drawing area resolutionequals the scan resolution.

If the scan resolution and the drawing area (print) resolution aredifferent, the size of the scanned image will be as follows:

Dimensions of Scanned Image =

Actual Dimensions of Original x Scan Resolution___________________________________________________

Drawing Area Resolution

If the resulting image is too large to fit in the drawing area, theimage will be anchored to the top right corner of the drawing area,and the image will be cropped as much as necessary along its leftand/or lower edge to fit the size of the drawing area.


1. Place the object to be scanned face-down on the scanner glass.

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2. Select Scanner .

3. Adjust scanner and image settings as necessary (see Scannerand image settings section).

4. Select 1 to 1 Scan . A prompt will notify you that the scanjob has been issued. Click OK to clear this message from thescreen.

5. Allow a while for the scanner to complete scanning. Click Read

Image to read the scanned image into your PrimaVisiondrawing area. If scanning is not yet complete, yourPrimaVision will notify you. Click OK to clear the messagefrom the screen and wait a little while longer before attemptingagain to retrieve the scanned image.

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The Scale Scan command reduces or enlarges a scannedimage to any magnification level from 1% to 999% of the originalobject. Note that the magnification factor is only exact if the scanresolution and print resolution are exactly equal. If not, theformula given in the previous section will calculate the final size ofthe scanned image.

1. Place the object to be scanned face-down on the scanner glass

2. Select Scanner , Scale Scan .

3. Adjust scanner settings as necessary (see Scanner and imagesettings section), and edit the scale factor percentage.

4. If the drawing area size is large enough to contain the scannedimage, a prompt will notify you that the scan job has beenissued. Click OK to clear this message from the screen.


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If the scanned image is too big to fit into the drawing area,PrimaVision will do a rough preliminary scan and display theresults in the drawing area. When the preview scan is displayed, arectangular outline attached to your cross-hair defines how muchof your image may be scanned at once. Move this outline to the partof the preview scan that you want to scan, and click once. A promptwill notify you that the scan job has been issued. Click OK to clearthis message from the screen.

5. Wait till scanning is finished. Click Read Image to readthe scanned image in your PrimaVision drawing area. Ifscanning is not yet complete, PrimaVision will notify you. ClickOK to clear the message from the screen and wait a little whilelonger before attempting again to retrieve the scanned image.

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The Scan To Window command fits the scanned image intothe current window. It is not necessary to define a resolution forthe scan, because PrimaVision will automatically select theresolution that will scale the image to fit into the current window.

Note: Always try to define your window and your scan area to be thesame shape. If not, different scanners will manage the discrepancyin different ways. Epson scanners for example will alter the aspectratio of the scanned image to force it to fit into the defined window;the CLC-10 crops the image to fit.

1. Define a window which will determine the size and shape of thefinal scanned image.

2. Select Scanner .

3. Adjust the scanner settings as necessary, except the resolution(see Scanner and image settings section). Click Scan To


Window .

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PrimaVision will now do a rough preliminary scan and display theresults in the drawing area. When the preview scan appears in thedrawing area, specify the section of the image that you want toscan, by clicking on its two opposite corners. A prompt will notifyyou that the scan job has been issued. Click OK to clear thismessage from the screen.

4. Wait a while after the scan job has been sent, then select Read

Image to retrieve the final scanned image into the top leftcorner of the drawing area. If scanning is not yet complete,PrimaVision will notify you. Click OK to clear the messagefrom the screen and wait a little while longer before attemptingagain to retrieve the scanned image.


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Graphics Mode layers are an important concept in PrimaVision.The individual layers of a sketch file are similar to a set oftransparent overhead projector slides, each containing differentparts of an overall design; when they are stacked together, theycombine to create the finished image.

When you work on a layer, contents of other layers are not affected,and this independence makes layers a powerful tool when puttingtogether a complex design such as a storyboard. In PrimaVision,you can create, hide/display, combine and reorder the layers, andmanage the layers by using the layer information toolbar displayedalong the top of the drawing area.

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PrimaVision offers 3 types of layer: bitmap, vector and textlayers. A bitmap layer can hold only bitmap images, a vector layercan hold only vector images, and a text layer can hold only textcharacters. Vector images are handled in a very different way frombitmap images. The text layer allows word-processor-stylehandling of text characters that are of much higher quality than

with the bitmap or vector Text command.

Since the 256-color layer and TCX true-color layer may existsimultaneously in the same Graphics Mode design file, anycombination of up to 6 layer types may be included in a file:


• 256-color bitmap layer

• 256-color vector layer

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• 256-color text layer

• true-color bitmap layer

• true-color vector layer

• true-color text layer.

Note: PrimaVision-TCX has access to the same command groupsas the PrimaVision 256-color drawing area, however somecommands that are no longer useful in true-color drawing area arenot available and a number of features have been added. See thePrimaVision-TCX chapter for the additional features in TCX).

Any newly-opened Graphics Mode drawing area will consist of asingle 256/true-color bitmap layer. Within the limitations of yourhardware, you can create up to maximum 8 layers in a singlesketch file, and in PrimaVision you may work on only one layer ata time. The layers are stacked in the drawing area according to thelayer list order in the Layer Properties dialog box, images drawn inthe upper layer (in any color other than background color 0 whenSuperimpose in the mode bar is switched on) will hide theimages drawn in the same position in any of the lower layers.

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Select the Layer Setting command to call up the LayerProperties dialog box for the current sketch file:


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The only active layer in the drawing area is highlighted in the list.The Display column displays/hides the content of a layer in thedrawing area, the Match to Screen column is available for TCXlayers only. To switch on and off Display and Match to Screen forone layer, click the grey column heading when the layer is selectedin the dialog box. To change the status for multiple layers at atime, first select the layers before clicking on the grey heading (seeSelecting layer(s) section for procedure to select multiple layers).

At the bottom of the dialog box, you can see Memory size, FastDisplay Buffer and Layer Info. Toolbar check boxes (refer toThe layer information toolbar section):

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The total physical memory allocated to the current layerconfiguration (Memory) is displayed The amount of memoryallocated will depend on such factors as drawing area size andlayer types, but is independent of layer contents. It also does notinclude memory used by Windows or PrimaVision itself.

Technical Note: If the total memory reserved for layer handling ofyour computer are not currently available, a swap file will becreated on your hard disk to handle the memory shortfall. The samewill happen if the contents of your layer configuration are very large


or complex and hence require more than the total memory allocatedby PrimaVision.

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The Fast Display Buffer check box is switched off by default. Whenit is switched on, more memory is allocated towards the screendisplay of vector objects, improving panning speed in vector layersby up to 10 times the speed achievable by previous versions.

The Fast Display Buffer takes up additional memory, and you willsee the new Memory field increase as you activate it. Roughly, theFast Display Buffer allocates to each layer 1 to 3 times morememory as is allocated to a single bitmap layer.

Technical Note: If your computer is low on available memory or diskspace, it is recommended that you disable this option to reduce thestrain on your system resources.

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If more than one layer exists in the Graphics Mode drawing area,the user will see a set of page tabs along the top of the drawingarea, each one representing a separate layer of the current file; thisis the new layer information toolbar.

To make a layer the active (current) layer click on its page tab. (Ifthe drawing area is not wide enough to display all layer tabs in thecurrent file, use the left and right arrow buttons to the left of thetoolbar to scroll between them.)

The page tabs are displayed in the order in which the layers arestacked in the file, and will therefore be rearranged if the user


selects the Layer Setting , command and re-order the layersusing the Up or Down buttons.

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Layer tabs are assigned default names by the system, but it isrecommended that the designer rename them to make best use ofthe information toolbar. The designer can rename a layer bydouble-clicking its tab, entering a layer name (see illustrationbelow) and clicking OK. Alternatively, use the right-click menudiscussed next.

Each layer tab has a right-click menu with the following options:

• Layer Setting: Equivalent to Layer Setting command

• Display: Hides/displays this layer; hidden layer will bedimmed and inaccessible although right-click menu for thislayer is still accessible

• Match to Screen: Available only in TCX layers.

• Rename: Renames this layer (layer can also be renamed bydouble-clicking on the tab). Enter a new layer name and clickOK

• Delete: Deletes the current layer.

To activate or deactivate the layer information toolbar, select the

Layer Setting command, switch the Layer Info. Toolbarcheck box on or off, and click OK.


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In the Layer Properties dialog box, click the New button. Specifythe Layer Type and Color Type for the new layer. Click OK toconfirm, and the new layer will be immediately added at the top ofthe layer list and in front of the drawing area.

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To select a layer, click it in the list (this will also activate the layerin the drawing area).

To select a range of consecutive layers, click the first layer in therange, hold down the <Shift> key and click the last layer in therange. To add to the selected range a layer which is not adjacent tothe range, hold down the <Ctrl> key as you click on the layer to beincluded.

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Select the layers to be combined and click Combine. A smallprompt will ask if you want to combine the selected layer(s), clickOK to confirm.

The following list shows the results of combining the various typesof PrimaVision layers:

• Bitmap and vector combine to give a bitmap layer

• Bitmap and text combine to give a bitmap layer

• Vector and text combine to give a vector layer

• Bitmap, vector and text combine to give a bitmap layer


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Any 256-color and TCX color layers can be combined into a TCXlayer. You must select to retain the screen colors or the printedcolors for a particular printer driver in the 256-color layer(s).Another prompt will ask if you want to select a printer of which thecolors’ printer codes instead of the screen codes will be used torepresent the colors in the 256-color drawing area. Select a printerfrom the drop-down menu and click Yes to keep the colors printedfrom this printer. Otherwise, click No to use the screen colorscodes, all image colors on-screen will remain unchanged.

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Select a layer to be deleted and click on the Delete button. A smallprompt will ask if you wish to delete the selected layer. Click OK toconfirm.

Warning: The delete command cannot be undone.

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A vector layer has its own specialized set of commands, with three

new buttons in the mode bar: High Resolution , Node

and Actual Size . By default, these buttons are switched offwhen you first call up a vector layer.

High Resolution provides finer editing control over thevector objects. If this button is activated, when you move or createa node of the vector object, the node will be placed exactly whereyou click. Otherwise, the node is always placed at the centre of thepixel on which you click.

• The shape of the vector objects are determined by their node


positions, therefore, it is useful to switch on the Nodebutton in the mode bar to display the nodes of all the created

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objects in the current layer. The nodes can only be shown inzoom ratio 100% or above.

• In vector layers, the thickness and style of the object outlinesare independent from the parameters in the Pen Assistant. To

change these settings, use the Object Setting command

(see Object Setting section), and switch on the Actual Sizebutton in the mode bar to display the actual outline thicknessand style of all closed objects in the drawing area.

When working in a vector layer, the following commands willreplace the usual PrimaVision command group bar.

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The Color command allows you to adjust colors in the paletteusing RGB/CMYK levers or color libraries. Color commands

available for the vector layer are Color Palette , Color

Library , Color Levers , Pantone Profess. ,

Pantone Textile , User Defined Lib , Color Selector

and Change Bg. Color . If the vector layer is thelowermost layer in the current drawing area, you may use the

Change Bg. Color command to toggle between displaying awhite background or a black background. Changing backgroundcolor affects on-screen display and printouts only: it does not affectthe RGB code of background color zero itself.


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The Drawing Tools commands are similar to their bitmap

equivalents, and new commands are added: Draw Arc ,

Freehand Draw and Draw Polygon . Any closed vectorobject will be drawn on top of the existing objects in the drawing

area, you can use the Change Order command to move theobject to the front or back (see Change Order section).

For the Draw Line , Draw Arc , Draw Curve and

Freehand Draw commands, the Close Pathsubcommand closes the loop of the object you are drawing. Last

Position subcommand continues drawing object outline from

the last-drawn one. Last Centre subcommand is available for

Draw Rectangle and Draw Ellipse to draw an objectwith the same centre as the last-drawn object.

The Draw Outline command in vector layer changes the colorof the object outline. After selecting the command, select a color inthe Color Assistant palette, then click each object to change itsoutline color.

The Freehand Draw command allows you to create closedirregular-shaped objects. Draw the outline of your object by holdingdown the Yellow Button as you trace its outline, and when theoutline is close to being finished, press C on the keyboard to closethe loop, or F on the keyboard to close the loop and fill the objectwith the currently-selected color (see Fill / Unfill section).

The Draw Polygon command draws regular polygons with upto 100 sides in vector format. It can also be used to create


symmetrical star shapes in just a few seconds.

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An image created with the Drawing Tools, Draw Polygoncommand.

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1. Select Drawing Tools , Draw Polygon .

2. Select a colour from the palette for your polygon. Select eitherOutline or Solid Drawing Mode from the Status Assistant.(Outline draws an unfilled polygon, whilst Solid draws a filledpolygon.)

Note: The default Drawing Mode option will vary because the Draw

Polygon command is shared with the vector Drawing Tools

commands Draw Rectangle and Draw Ellipse .


3. Click once in the appropriate position on the drawing area tofix the polygon centre.

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4. In the Number of Sides field in the Status Assistant, specifythe number of polygon sides required, and press <Enter> toconfirm your entry.

5. Make sure that the Star Factor field is set to 0%.

6. Move your cursor outwards from the polygon centre to adjustthe size, and around the centre to adjust orientation. Clickonce to confirm.

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1. Repeat steps 1 to 3 of the above Regular polygons procedure.

2. In the Number of Sides field in the Status Assistant, specifythe number of points required on your star, and press <Enter>to confirm your entry.

3. The Star Factor field in the Status Assistant can take integervalues between 0% and 100% inclusive; a minimum value of 0%produces flat sides - i.e. a regular polygon. Adding in a StarFactor results in an indent to the sides of the polygon, creatinga star shape. The star factor number determines how fartowards the centre the indentations are drawn - i.e. the largerthe Star Factor value, the further the indentations go towardsthe centre. A Star Factor of 50% draws a classic star shape; astar factor of 99% results in a stick-like star. Specify a StarFactor value and press <Enter> to confirm the entry.

4. Move your cursor outwards from the centre of the star toenlarge the size, and around its centre to adjust orientation.Click once to confirm.


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Switch the Node button in the mode bar to change the object’sshape by picking and dragging their nodes. Simply click on a nodein the drawing area, drag it to the new position and click toconfirm. Keyboard shortcuts for the node editing in the StatusAssistant: A (adds a node at current position), C (closes the object’sloop), D (deletes current node), S (snaps a node to its closest node)and T (toggle the two adjacent lines of the node between arc, curveand line).

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Like the bitmap Window command, the Select Objectcommand specifies the required vector objects to be affected by theother vector commands.

After clicking the Select Object command, there are severalways to select one or more objects:

• Use the Yellow Button to draw a rectangular selector to includeall the lines and nodes of the objects you want to select

• Use the Green Button to pick up objects one by one; clickingonce on any line or node to select an object

• Use the Select All Obj. subcommand to select every objectin the current layer.

The nodes of the selected objects will be highlighted in green. Todeselect object(s), select the Unselect Object option in the StatusAssistant before using the Yellow Button and Green Button todeselect the objects. To restore the last object selection, click the

Last Sel. Object subcommand.


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To combine a number of simpler objects to form a complex one,

select the objects then select the Combine Sel Objsubcommand and the objects will be immediately combined intoone.

Note: If the objects to be combined overlap, the overlap area will bechanged to background color 0, and will not be part of the combinedobject (as if it were cut out from the combined object). And if youcombine several objects of different colors, because vector objectsmay never be of more than a single color, all objects are changed tothe color of the frontmost object. To change the order of the objects

before you use Combine Sel Obj , see Change Order section.

Once you exit the Select Object command group, the nodes ofthe selected objects are no longer highlighted in green, but theobjects remain selected.

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Each vector object has an outline of a specific pen shape, thickness

and style that may be edited using the Object Settingcommand group.

Note: By default, the effects of changing the outline thickness andstyle of an object will be visible in printouts only, but not on-screen.

To view the actual outlines on-screen, activate the Actual Sizebutton in the mode bar. Reproportioning the object will not changeits outline thickness.

To edit the vector objects of one or more selected object(s):

1. Use Select Object to select the required object(s) forwhich you want to change attributes.


2. Select Object Setting , Change Setting .

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3. Select or specify the required attributes. Select Pen Shape to beSquare or Round, and Pen Style to be either Solid, Stitch or AirBrush; in a TCX layer, Crayon and Pencil are also available.Thickness should be specified in millimeters (mm). If using theStitch pen style, specify the Stitch Information in pen widths:Dot Length defines the length of each “stitch”, and Gap Lengthdefines the gap between stitches. It is possible to have morethan one gap length or dot length in an outline; for example, adot length of 8,3" and gap length of 2,4" will result in an outlinewith the following dot-gap combination: 8-pen-width dot, 2-pen-width gap, 3-pen-width dot, 4-pen-width gap.

Note: For vector images, pen width is identical to thickness, henceactual dot/gap length (in mm) is easily calculated as Dot/GapLength x Thickness. For example in the above example, if thicknesswere specified as 0.26 and gap length as 2, the actual gap length inmillimeters would be 2 x 0.26 mm = 0.52 mm.

4. Click OK to confirm the new attributes.

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1. Select Object Setting , Default Setting .

2. Select or specify the required attributes. Select Pen Shape tobe Square or Round, and Pen Style to be either Solid,Stitch or Air Brush; in a TCX layer, Crayon and Pencil arealso available. Thickness should be specified in millimeters(mm). If using the Stitch pen style, you should specify theStitch Information in pen widths: Dot Length defines thelength of each “stitch”, and Gap Length defines the gapbetween stitches. It is possible to have more than one gaplength or dot length in an outline; for example, a dot length of8,3" and gap length of 2,4" will result in an outline with thefollowing dot-gap combination: 8-pen-width dot, 2-pen-widthgap, 3-pen-width dot, 4-pen-width gap.


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Note: For vector images, pen width is identical to thickness, henceactual dot/gap length (in mm) is easily calculated as Dot/GapLength x Thickness. For example in the above example, if thicknesswere specified as 0.26 and gap length as 2, the actual gap length inmillimeters would be 2 x 0.26 mm = 0.52 mm.

3. Click OK to confirm the new default attributes.

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A vector object may become hidden behind other vector objectswhere they overlap. To change the front-back order of vector

objects, use the Change Order command.

After selecting Change Order , use the Yellow Button to clickon the object you wish to move to front, or use the Blue Button toselect an object to be moved back. This command enables you toarrange objects into the exact ordering you want.

Click Command End to exit.

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To delete the objects in the current vector layer, click the Delete

Object command. To delete the selected or all objects, click the

Delete Sel. Obj or Delete All Obj respectively.


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The Fill/Unfill command group fills/unfills a vector objectwith a solid color. The overlap area of an object will be changed tobackground color 0 in the palette, and will not be part of the object,and you cannot fill this area to any other color.

To fill the selected vector objects with the selected color in the

palette, click Fill Sel Obj subcommand to fill the enclosedarea of the objects excluding the outline, and click again to fill theoutline. To unfill the selected objects and replace by the

background color 0 in the palette, click Unfill Sel Obj .Otherwise, use the Yellow Button once or twice to fill each objectwith color and use the Blue Button to unfill each object.

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The Copy commands copy the selected object(s) to anywhere

in the current drawing area: Copy , Mirror Copy , Upside

Down Copy , UpDn&Mirror Copy . These commandsfunction in the same manner as their bitmap equivalents. You may

use the Dragging Display command (or the T key on thekeyboard) to switch between displaying a rectangular boundaryonly and displaying the objects themselves during copying.


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The Move commands move the selected object(s) to anywhere

in the current drawing area: Move , Mirror Move ,

Upside Down Move , UpDn&Mirror Move . Thesecommands function in the same manner as their bitmap

equivalents. You may use the Dragging Display command(or the T key on the keyboard) to toggle (switch) betweendisplaying a rectangular boundary only and displaying the objectsthemselves during moving.

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Reproportion , Rotate , Distort , Bend Window

, Skew and Perspective operate in the similarmanner as their bitmap equivalents.

Note: It is recommended that you activate the Actual Size inthe mode bar when reproportioning an object, because although thesize of the object will change, the thickness of its outline remainsunchanged. If necessary after reproportioning, select this object and

use the Object Setting , Change Setting to readjust theline thickness (see Object Setting section).

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The Repeat command creates repeats of the selected vector

objects in a very similar manner to the bitmap Repeat


command. Use Dragging Display command (or the T key onthe keyboard) to toggle between displaying a rectangular boundaryonly and displaying the objects themselves during repeating. After

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selecting the objects to be repeated in the current vector layer, click

the Repeat command group. The system will take the smallestrectangular area occupied by the selected object(s) to be a repeatunit and the pattern will be repeated from here as you move thecursor in the drawing area. Until the repeats extend over therequired repeat area, click to confirm.

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The same Text functions are available in both bitmap andvector layers. However, vector text is of a much higher quality,with edges that are as smooth and as resilient to raggedness aftertransformation.

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The Miscellaneous command group contains New Drawing

area , Prima Server Setup , Show S/W Options ,

Upgrade Features , Default Position , Drawing Area

Setting and Set Ruler Origin . These commands operatein the same manner as their bitmap equivalents.

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It is the same Window command than for bitmap images. Ithas limited use within the vector layer, but is required by

commands such as Print .


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When you read a multi-layer file, layer information about theselected file will be displayed, and three options are available:

• New Layers: Replaces the current drawing area contents

• Append Layers: The layers in the selected file will beappended to existing layer(s) in the drawing area

• Merge Layers: Corresponding layers in the selected file andthe drawing area will be merged: layer 1 with layer 1, layer 2with layer 2 etc. Note that you cannot merge files of differingnumbers of layers and merge layers of differing layer type.

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The Print command operates in the same way on a vectorlayer or a bitmap layer. Note that it will print only layers that arecurrently active, hence displayed in the drawing area. Activate theEnhance Vector check box to print finer vector images.

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To reverse your last action, select Undo . To redo what you

have just undone, select Redo .

Note: You cannot undo/redo an action (such as zoom) that does notaffect your vector objects.


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In text layers, text may be entered either as plain paragraph (left-justified) or in text blocks (in a pre-defined rectangular area withadjustable attributes such as text justification and border width).We shall use the term “text object” to apply to both text blocks andnormal paragraph text.

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The Color command in the text layer command group barallows you to adjust colors in the palette using Color Levers or colorlibraries. Color commands available for the text layer are Color

Palette , Color Library , Color Levers , Pantone

Profess. , Pantone Textile , User Defined Lib ,

Color Selector and Change Bg. Color . If the text layeris the lowermost layer in the current drawing area, you may use

the Change Bg. Color command to toggle between displayinga white background or a black background. Changing backgroundcolor affects on-screen display and printouts only: it does not affectthe RGB code of background color zero itself.

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1. Select Typing/Editing .

2. Click the required text color in the Color Assistant palette.


Select Select Font , specify the required font type, styleand size, and click OK.

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3. Click in the drawing area on the position where you want tostart typing. Type your text. The start point of your paragraphalso defines its left margin: when you reach the right edge ofthe drawing area as you type, the text automatically wrapsdown to the line below, beginning directly underneath the startpoint.At any stage during this step, you may use the <Delete>,<Backspace> and arrow keys to reposition your cursor and

edit entered text. Undo and Redo are also accessible.Within the same text object, you may switch to a new text color(select a new color from the palette) or switch to a new font (re-execute step 2). See Editing text within a text object section forfull details about text editing and changing text color and font.

4. Repeat steps 2 and 3 for a new text paragraph. When you have

finished entering your text, click Command End .

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1. Select Def. Text Block .

2. Define the block size and position by clicking sequentially ontwo opposite corners of the block (just as a simple rectangle in abitmap layer). A cursor will appear in the top left corner of theblock ready to accept text entry.

Note: Do not click in the drawing area at this point. If you do so, thesystem assumes that you want to exit from the text block and starttyping paragraph text. It will therefore reposition the cursor, anddelete the text block definition.

3. Select a text color in the Color Assistant palette. Select Select

Font , specify the required font type, style and size, thenclick OK.


4. Type your text. You can use the <Delete>, <Backspace> andarrow keys to reposition your cursor and edit entered text.

Undo and Redo are also available. Within the same

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text object, you may switch to a new text color (select a newcolor from the palette) or switch to a new font (re-execute step2). See Editing text within a text object section for full details.

Note: If your text block is too small to hold all your text, text typedbeyond the end of the text block will not be visible. You must eitherresize the text block or reset its attributes to convert it to anextendable text block (see Text block editing section).

5. Repeat steps 2 to 4 for a new text block. When you have

finished entering your text, click Command End .

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The text editing methods listed in this section apply for eitherparagraph text or text blocks. You should first select the Typing/

Editing command to enter the text editing mode. To exit fromthis mode when you have finished editing or inputting text, click

Command End .

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1. Click once on the point in the text where you want to startediting. To specify a color for the new text, click it in the ColorAssistant palette. Otherwise, any inserted text will take thesame color as the text character that comes immediately beforeit, or the currently-selected color in the palette. Edit the text.

2. Repeat step 1 for editing another text object.


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You can delete, move, copy and change the font and color of the textwithin a particular text object. First select the required text byusing the mouse or the keyboard.

To select text with the mouse, simply drag the cursor from one endof the required text to its other end to highlight the text.

To select text with the keyboard, move your cursor to one end of therequired text. Hold down the <Shift> key and press theappropriate arrow keys to highlight the text. Once the requiredtext is selected, release the <Shift> key. To select all the text in atext object, place the cursor anywhere on that text object and press<Ctrl>-A (hold down <Ctrl> and press A on the keyboard).

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1. Select the text to be deleted.

2. Press the <Delete> key on your keyboard.

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1. Select the text to be copied or moved.

2. Select a color in the Color Assistant palette to use for yourcopied text.

3. To copy the selected text, press <Ctrl> and C key on thekeyboard, or select Edit, Copy on the PrimaVision menu bar.To move the selected text, select Edit, Cut.

4. Click the position where you want to insert the text (it can bein the same or a different text object). Press <Ctrl> and then V


key on the keyboard, or select Edit, Paste on the PrimaVisionmenu bar.

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The copied or moved text takes the same font as the text at theinsertion point, but it will be of the currently-selected color in thepalette.

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1. Select the text to be changed.

2. To change the color of the selected text, click a color in the

Color Assistant palette, and click Use Color .

3. To change the font of the selected text, click Select Font .Specify the new font attributes in the dialog box. Click OK.

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This method is used to importing ASCII text (MS-DOS Text) intoall text objects.

1. Select Typing/Editing .

2. Select a color in the Color Assistant palette to apply to yourimported text.

3. Click on the text insertion point.

4. Select Read Text File , click the required ASCII file andclick Open.

Note: The imported text will take the same font as the text at theinsertion point, but will be of the currently-selected color in thepalette.


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You can move, copy and delete the entire text object(s), and applyfurther editing on text blocks. First select the required text objects

in the text layer top-level screen. The selected text blocks will be

highlighted with a blue border.

To select a single text object, simply click the required object.

To select multiple text objects, hold down <Shift> as you click oneach additional object.

To select all text objects in the current layer, choose the Select All

Obj. command.

To deselect a selected text object, hold down <Ctrl> and click thisobject.

To clear the current selection, click on an empty area of the textlayer.

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The Copy , Move and Delete Text commands are

similar to the corresponding Copy , Move and Delete

Object commands in a vector layer. Simply select the objectsto be moved, copied or deleted, then apply the relevant command.

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A number of commands in the text layer menu apply only to text


blocks.

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The Fill/Unfill command group fills/unfills text block’sbackground with a solid color, leaving the text color unchanged. Tofill the selected text blocks with the selected color in the palette at

a time, click Fill Sel Obj . To unfill the selected text blocks andreplace by the background color 0 in the palette at a time, click

Unfill Sel Obj . Otherwise, use the Yellow Button or BlueButton to click on each text block to fill or unfill it respectively.

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1. Select Resize Text Block . All created text blocks will behighlighted with a blue border.

2. Move your cursor to the blue outline of the text block to beresized. The cursor will appear as a horizontal/vertical arrow ordiagonal double-headed arrow (when exactly moved to anycorner), drag the cursor to adjust the width and height. Releasethe mouse once the block is of correct size.

3. Repeat step 2 to resize another text block. When you have

finished resizing all text blocks, click Command End .

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Three attributes are available for a text block:

Border Width: Margin in pixels that is left empty between theedge of the text block and the text characters in the text block

Justification: Justifies of the text inside the text block


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Extendability: The Extendable Block check box is a “fit-to-text”function. When it is activated, if any text is typed beyond the end ofthe current text block, the text block will automatically increase insize to accommodate the text. When this option is switched off, anytext which does not fit into the current text block size will be

hidden from view unless you apply the Resize Text Blockcommand.

You can change these attributes for a selection of or all text blocks.You may also change the default attributes, which will be appliedto all subsequently-created text blocks.

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1. To apply the change to all the text blocks, skip this step.Otherwise, select the text block(s) for which you wish to changeattributes.

2. Select Text Block Attr. , Change Setting . This callsup the following dialog box:

3. Specify the appropriate text justification and border width, andactivate the Extended Block check box as required.

4. Click Apply to Selected to affect only selected objects, or Applyto All to affect all text blocks in the current text layer. Thecurrent attributes will be applied real-time in the drawing area


to the appropriate text blocks.

5. Click Close when you have finished making your changes.

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1. Select Text Block Attr. , Default Setting . This callsup the following dialog box:

2. Set the appropriate text justification and border width, andactivate the Extendable Block check box required.

3. Click OK to make the specified attributes the defaults.


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The Miscellaneous command group controls more technicalconfigurations and default settings for your PrimaVision system.

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To change the settings of the current drawing area, select

Drawing Area Setting from the Miscellaneouscommand group. Each setting is described in this section. Once allsettings have been defined, click OK to confirm.

The current file in the drawing area may contain two or morelayers. When you change the Drawing Area Size, Color type orBackup Area settings for a multiple layers file, the file will bereplaced by a new file with one single 256-color/TCX color layer,depending on the selected Color type.

Note: Save your file of multiple layers before attempting to changethe drawing area settings.

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You can change the current drawing area size before you exitPrimaVision. When the program is restarted, the drawing areafollows the default size defined under File, Setup on the menubar. Standard PrimaVision drawing area sizes are (horizontalwidth by vertical height in pixels):


- 1280 x 1760

- 1760 x 1280

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- 1760 x 2560

- 2560 x 1760

- 1280 x 3520

- 2400 x 2560

Note: The 1760 x 1280 drawing area size at 150 dpi resolution maybe considered as A4 size (see Resolution for an explanation).

Alternatively, custom-define a drawing area size by inputting therequired Drawing Area Width and Drawing Area Height in thedialog box.

It is possible to see the dimension of the drawing area in inch (orcm) side by side with the pixel count. The calculation is based onthe resolution given. Designers may edit the values as required.

Designers can resize the drawing area to current window’s size too.

Note that if the current window is irregular when the drawing areais resized to current window, the drawing area will be resized to thebounding rectangle of the irregular window.


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The resolution affects the printed size of the drawing areacontents. The printed dimensions may be calculated with a simpleformula:

Printed Dimensions (in inches)

Image Dimensions (in pixels)

Resolution (in dpi)

It is always a good idea to have in mind the dimensions of yourfinal printout before you start your design, and you should takethis and the resolution into account when deciding on a suitabledrawing area size for your design.

If the size of your printed image needs to be very accurate, be sureto choose a drawing area resolution that can be printed by yourselected printer. You may enter any resolution with the Drawing

Area Setting command, but the printable range of resolutionsis much more limited. It is advised to set the drawing area

resolution in the Print , Print Window dialog boxinstead, because it offers a limited range of printable resolutions.

Note: If the ruler is switched on, it will adjust for any changes in thedrawing area resolution.

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Select PV for a 256-color drawing area and the standardPrimaVision command group bar. Select TCX to create a true-colordrawing area and calls up the TCX command group bar (see thePrimaVision-TCX chapter for information about TCX drawingareas).


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Activate this check box to clear the drawing area but retain thecurrent color palette(s). This option is automatically activated uponactivation of the Keep Image check box.

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Activate this check box to retain all current layers and theircontents. The current palette(s) is/are also retained.

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When Backup Area is switched off, some basic functions such as

Undo are disabled. This limits the available functionality, butis saves RAM (hence increasing system speed) when, for example,working with large drawing areas. This command is useful whenonly a limited range of commands is needed, for example, scanninga very large pattern.

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Activate this check box to retain the same layer configuration asthe current drawing area. This option is automatically activatedupon activation of the Keep Image check box.

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You may create multiple drawing areas at a time. This commandperforms the same function as File, New on the menu bar. To


create a new drawing area:

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1. Select Miscellaneous , New Drawing Area .

2. Specify the drawing area settings (see the earlier Drawing AreaSetting section). Click OK to confirm your definition, and newdrawing area will be created.

3. To switch between different drawing areas that you havecreated, use Window and select the appropriate drawing area.

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The Drawing Area Orientation command enables the designer tochange the drawing area direction for bitmap and vector layers,rotating the entire drawing area onto its side, or turning it upsidedown.

It is useful for designing parts of the image that are easier tomanage horizontally, for instance, for adding vertical text todesigns that will be converted to hosiery or jacquard weaves.

This should not be confused with standard Landscape / Portraitpage orientation, which changes the page shape, but does not rotatethe contents.

Orientation is located under the Miscellaneouscommand group, for convenient use with other page-related

commands such as Drawing Area Setting . Within theOrientation setup dialog, select one of the following fourorientations: Upright, Rotate Right, Rotate Down and RotateLeft. After selecting the new orientation, the drawing area andimage(s) will be rotated accordingly.


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As a shortcut to invoke the command, right click the Orientation

button in the Mode Toolbar, then select the requiredorientation with a left click.

The four different types of drawing area orientation

Notes:• After changing the drawing area orientation, the designer cannot Undo

any previous changes.

• This command does not work with Text Layer.

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PrimaVision can support the following Windows desktopresolutions:

640 x 480 pixels

800 x 600 pixels

1024 x 768 pixels

1280 x 1024 pixels

1600 x 1200 pixels


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Working with higher desktop resolutions enables you to see moreon the screen at a time, and when you change your display card orupgrade to another monitor, you may have to adjust the resolutionfor compatibility with your monitor. Switch to a new resolution inthe Settings page of the Display application under the WindowsControl Panel. Reboot your PC for the changes to take effect.

Note: Save all your files before changing desktop resolution.

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The Set Ruler Origin command under the Miscellaneous

command group allows you to change the location of the rulerorigin.

1. To display the ruler in the drawing area, select Ruler inthe mode bar.

2. Select Set Ruler Origin . In the Status Assistant, select

inch or cm as the Measurement Unit. (Or right-click Rulerand select the unit).

3. Click on the ruler the required origin position.

Note: This does not affect the display of the cursor’s X-Y coordinatesin the drawing area.

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This feature allows the designer to select different scales for design


creation and for displaying the Ruler, enabling accuratelyproportioned designs to be produced to scale quickly and easily,without having to calculate dimensions manually.

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Key benefits include:

• Features to help design garments to the correct proportions.For instance, when creating a garment sketch, a known life-size measurement (e.g. length or chest) is defined using thenew measurement tool; the software then sets the ruleraccordingly, enabling the designer to create the rest of thegarment to the correct proportions, using new life-size scaledmeasurement indicators on the Line and Arrow tools to help.

• The design can be created as if it were life-size - i.e. at a scale of100% - allowing the designer to think in life-size proportions atall times. Designs can also be printed full-scale - i.e. life-size.

• The designer can also work or print out at a smaller scale - e.g.50% of life-size, 10% of life-size etc. Garment and textiledesigners may be more comfortable thinking in terms ofpercentage, whereas homewear and furnishing designers mayprefer to work at standard scales of 1:5, 1:10, 1:20, 1:25, etc. inline with standard practice for their industries. The softwarefacilitates both.

• Design can also be printed out small-scale in the normal way -i.e. through Print Window.

• Existing garment sketches can be converted to correct life-sizeproportions if necessary, by defining one known measurementand using the Reproportion tool to amend others if incorrect.

• Images can be created or adjusted in the correct aspect ratio forconversion into woven or knitted designs, eliminating the needfor any manual graphing to adjust the design for accurateproduction. This is particularly useful for developing designsfor woven or knitted jacquards.

Note: Ruler and Scale Setting also works very usefully with - and

affects the results of - two other commands; Grid , Advanced

Settings and Drawing Tools / Arrow . (For details on theuse of these commands please see relevant sections of the Manual).


They are used in conjunction for:

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• Drawing and editing images using an adjusted X/Y density forknitwear and jacquard weave designs, with a grid providing aconvenient guide for alignment and counting stitches/warp/wefts.

• Drawing and editing garment sketches to scale, using a grid asa guide for positioning components and the Line/ Curve andArrow commands for drawing.

To invoke the command, select Ruler and Scale Settings under

the Miscellaneous command group (There is also a short cut

available by right-clicking on the Ruler on / off button on theMode toolbar). The following dialog will be displayed:

The Ruler and Scale Setting dialog box

Note: The current scale and density settings in this dialog box are


automatically used in the Scale Print command.

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The upper part of the Ruler and Scale Setting dialog allows thedesigner to set the ruler display in either drawing area resolutionor scale formats.

Displaying the ruler in Drawing Area Resolution format isequivalent to previous software versions, where the printoutquality and image size are related to the resolution. The resolution,in dots per inch (dpi), can be set here in the same way as the

resolution settings within Print Window or Drawing Area

Settings .

The Scale / Percentage format determines the ruler scalethrough input to the Scale Setting group in the lower half of thedialog. There are options for displaying the ruler scale with bothpercentage and ratio; either form of input automatically calculatesthe equivalent in the opposite format - i.e. if the scale is input as apercentage, the ratio is shown automatically, and vice-versa.

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The Scale Setting section specifies the horizontal and verticalscales used to display the ruler. There are two headings; Densityand Graphic Reference. The former enables differing X/Ydensities to be specified - such as the uneven X/Y ratio required forknitting and weaving. The latter provides three types of referencefor the graphic display, allowing the designer to work with orwithout a grid using:

i. Pixels per unit (for graphic artwork and print designs)

ii. Rows / Stitches per unit (for knitting)

iii. Warp / Weft per unit (for weaving)

1. Check the required Measurement Unit is activated byselecting inches or centimetres from the pull-down menu.


2. Under Ruler and Scale Setting, Ruler Setting, select theScale option. The percentage and ratio input fields are nowactivated.

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3. Indicate required scale (1:1, 1:4 etc.) using the pull-down menu,or by typing in the percentage.

4. Define the Scale Setting by selecting the appropriateGraphic Reference for print, graphics, knitting or weavingfrom the pull-down menu.

5. Define Density:

i. If designing for knitting or weaving, define the rows/stitches or warp/weft per unit density settings by typing therequired X/Y values into the Density input fields.

ii. If designing for printed textiles or graphics, select Pixelsper unit. If known, the pixel density can be input manually;alternatively it may be calculated automatically using themeasuring tool, as described further on.

Note: The horizontal (X) and vertical (Y) scaling values (densities)are automatically set to the same value when Pixels per unit isselected, but Rows/Stitches per unit and Warp/Weft per unit allowdifferent X/Y densities.

6. Where different vertical and horizontal densities are specified,there is an option to choose Display graphic in different X/Yratio.

This will be a familiar concept to Knitting Mode or Knit Expertusers; the graphic display is effectively 'stretched' or 'squashed'according to the uneven aspect ratio defined. This enables thedesigner to work to the adjusted aspect ratio, automaticallyadjusting the design on a technical level, keeping thehorizontal and vertical ruler to the same scale in visual terms.

Note: the adjusted aspect ratio display is only active in zoom ratioshigher than 100%. At 100% the image will appear distorted.

7. If the current setting is to be kept as default for future use,check the Default Setting option at the bottom of the dialogbox.


8. Select OK to confirm the settings and exit the command.

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The Define Dimension button provides an easy way to identifylife-size dimensions for the image currently on the drawing area.The software uses the information generated by the DefineDimension command to calculate the Density values applied tothe Graphic Reference. It may be used with the Pixel per unitsetting only.

1. Click the Define Dimension button.

2. Click the starting point and drag the cursor to define ameasuring line on the garment - e.g. chest measurement orhem to underarm measurement. The measuring line can bevertical, horizontal or diagonal.

i. To use a vertical or horizontal measuring line, select theFixed Directions option in the Status Assistant.

ii. To use a diagonal line, deselect the Fixed Directionsoption in the Status Assistant. The line will now movefreely in any direction and the software will compute thehorizontal and vertical densities.

The Define Dimension dialog; the software calculates the X/Y densitieswhen a diagonal dimension is input.

3. Select the appropriate measuring unit (inches/cm).


4. Input the required dimension.

5. The software will calculate the required density settings.

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Draw a vertical or horizontal measuring line (left) and specify thedimension (right). The software will apply the same scale horizontally andvertically.

6. Select OK to confirm the settings and exit.

7. The X/Y values under the Density fields will have changed,calculated by the software according to the dimension defined.

8. Finally, if the Default Setting check box is selected beforeexiting the Ruler and Scale Setting command, the currentsettings will be saved ready for use when starting PrimaVisionnext time.

Note: if specifying a hem or chest dimension, remember to inputonly the correct life-size dimension for the part of the garmentshown - e.g. chest measurement for front only or back only, asopposed to an all-round measurement.


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1. Select the Drawing Area Resolution option under RulerSetting at the top of the dialogue box. (The Scale Settingsection is deactivated).

2. Input required resolution and ruler unit.

3. Select OK to exit command and confirm settings.

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Use Ruler and Scale Setting in combination with Grid,Advanced Settings.

1. Set the appropriate scale in Ruler and Scale Setting.

i. For new designs, simply draw one line (e.g. hem width),and use that line as the basis on which to DefineMeasurement. This sets the ruler, and the rest of thegarment can then be drawn in proportion, using the screenruler and measurements within the Line and Arrowcommands as a guide.

ii. For existing designs that do not already have a specificscale, use the Define Measurement tool to indicatedesired scale, then edit the garment until proportions arecorrect.

iii. For adapting existing designs drawn to the samescale, but not necessarily to consistent scale andproportions (e.g. from an existing style library), take onedesign and use the Define Measurement tool to indicatethe scale. Re-save that design and the scale settings will besaved with it.

Those same settings can now be applied to all other designs


in the library by inputting the same X/Y values into theDensity fields for the other designs.

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X/Y density fields showing Density values calculated by DefineMeasurement command.

2. Go to Grid, Advanced, Grid Settings, and select OverlayGrid, with High (or Low) Density. (For detailed instructionssee section Grid, Advanced Settings).

3. The result will be an image shown in life-size proportions, butto scale, with an overlay grid that can be turned on and off by

pressing the Grid button.

4. Draw and edit using the screen ruler and grid as a guide, andthe measurement flag on the Line command, which adapts todisplay life-size dimensions when the Scale Percentage is set to100%.


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A garment set to life-size scale (100%) for editing - as indicated on rulerdisplay, bottom left. The Grid lines defined in Advanced Grid Settingsprovide an accurate visual guide for measurements, as well as the precisepositioning of elements such as the left-hand pocket, ensuring it will matchthe positioning of the right (positioning in progress).

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The Advanced Grid Settings provide greater detail andflexibility for the Grid Settings Command. The feature is located

under the Advanced menu on the Grid button and providesoptions for a Overlay Grid, which may be specified in a choice ofincrements and colours. The Background Grid can be activatedat a low zoom level and includes a wide choice of colours.


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The effect is like a 'graph paper' overlay. It works in conjunction

with other functions such as Ruler and Ruler and Scale

Setting . It has many uses - for example:

• As a guide for knitwear, dobby and jacquard weave designers,Grid Settings provides a 'graph paper' effect in the correctaspect ratio for their stitch tension, warp/weft density orjacquard point paper. In this case it is used in conjunction withRuler and Scale Setting .

• For garment designs, the Overlay Grid provides an instantvisual guide to the relative length and width of a garment andthe positioning of accessories such as badges, logos andpockets, enabling specification drawings to be created morequickly, easily and accurately than before. This is againachieved in conjunction with Ruler and Scale Setting. See (d)under Ruler and Scale Setting section.

• Used with the Reproportion command, it is helpful inindicating stitches or thread units when changing the scale andproportion of an image for use as a dobby or jacquard weave, ora knitwear design.

• Used in conjunction with the on-screen Ruler it provides aguide for page layouts and textile designs, enabling thedesigner to check at a glance the life-size distance betweenelements of a design, or the printout size and distance betweenelements on a page layout.

There are two key display options for Grid Settings:

• Pixel Aligned - links the grid to user-defined groups of Pixels,Rows/Stitches or Warp/Weft, depending on what has beenselected under Ruler and Scale Setting.

• Ruler Aligned - links the grid to the ruler display.

Note: The grid is usually only 'square' on screen, when the GraphicReference under Ruler and Scale Setting has been set to Pixels per


unit. The grid is designed to be rectangular when either of the othertwo options are selected, taking into account stitch or warp/weftdensity.

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To specify and display the Overlay Grid:

1. Right click the Grid command to open the pop-up menushown left.

2. The first 4 options control the Background Grid colour as ashort cut, but can now be overridden with a wider variety ofcolours in the Advanced menu.

3. To activate the Overlay Grid, select the Advanced menu.

4. The Grid Settings dialog box will open.


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Grid Settings. In this example, the Background Grid is set to Grey and theOverlay Grid to Blue, with a Critical Zoom Factor of 300% (the level atwhich the specified Background and Overlay Grids are displayed). The gridis Pixel Aligned so it is not linked to the ruler display.

5. Select an appropriate zoom percentage as the Critical ZoomFactor from the available % range. This is the zoom level atwhich the specified grid(s) will appear in the display area whenthe Grid command toggle is activated.

Notes:

• When Pixel Aligned, both the Background Grid and OverlayGrid can be activated at 300% or above.


• When Ruler Aligned, the Overlay Grid can be activated at100% or above, while the Background Grid still appears at300% or above.

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6. Check appropriate boxes for Background Grid and/or OverlayGrid as required. Select grid colours from the available rangein the pull-down menu.

7. Click on Apply to view the result before exiting command andapplying settings, or select OK to accept the new settings andexit without preview.

To change the grid alignment, select the appropriate option andfollow the steps below.

a Ruler Aligned Grid

The Ruler Aligned option sets the Overlay Grid to appear everyfull or half unit as shown on the Ruler.

1. Ensure the appropriate Graphic Reference settings havebeen selected under Ruler and Scale Setting.

Note: The Ruler Aligned option is most useful when combinedwith Pixels/inch (cm).

2. Activate the command by pressing the Grid button .

3. Right-click to go to the Advanced menu.

4. Select Overlay Grid; the alignment options become active.

5. Select Ruler Aligned; the Density menu becomes active andthe numerical input fields for X/Y are greyed out..

6. The Overlay Grid lines are linked to the ruler according to thechosen density; select Low Density to align the grid to theruler every whole unit, or High Density to align the grid everyhalf and whole unit.

Notes:


• Inches / cm are set under the Ruler command or in Ruler andScale Settings.

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• The Overlay Grid is aligned to the Ruler, but the BackgroundGrid will always remain aligned to pixels.

• It is not possible to use the Ruler Aligned setting with theBackground grid only.

b Pixel Aligned Grid

The Pixel Aligned option sets the Overlay Grid to appear atuser-defined stages such as every 10 pixels (or warp/weft or rowstitches). It then works like a knitting graph or weaver's pointpaper.

1. Enter the appropriate Density and Graphic Referencesettings under Ruler and Scale Setting. (For details seesection on Ruler and Scale Setting).

Note: The Pixel Aligned option is most useful when combined withRows / Stitches or Ends / Picks in Ruler and Scale Setting.

2. Activate the command by pressing the Grid button .

3. Right-click to go to the Advanced menu.

4. Check Overlay Grid; the alignment options become active.

Grid Setting,Ruler Aligned

The Overlay Grid isset to low densityand matches theincrements of theruler every wholeunit.


5. Select Pixel Aligned; the numerical input fields becomeactive.

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6. Set the horizontal and vertical separations to be made by theOverlay Grid lines by entering figures into the relevant inputfields or pressing on the up/down arrows.

• Uneven values can be specified for the X/Y axes, in order toallow for a numerically uneven grid if required for knittingor weaving.

• Alternatively, even values may be applied to the X/Y axes.

Note: either way, the result will depend on the Graphic Referenceand Display options selected under Ruler & Scale Setting.

7. Click on Apply to view the result before exiting the commandand applying settings, or click OK to accept the new settingsand exit without preview.

Note: If Pixel Aligned, the Overlay Grid is normally independentof the ruler display. However, if the X / Y input in Grid Settingsmatches the X/Y density set in Ruler and Scale Setting, theOverlay Grid will appear to align to the Ruler, even when it is set toPixel Aligned.

Grid Settings, Pixel Aligned.Overlay Grid is set toX = 10 and Y = 10, so it appearsevery 10 units.

On this jacquard weave designexample, both the background andoverlay grids are rectangular andunrelated to the ruler, because whenPixel Aligned, they count units, notruler measurements. The grid linesare therefore independent of theruler display.

The rectangular shape of the gridresults from the pixel alignmentreading the Density and 'Displaygraphic in…' settings in Ruler and


Scale Setting.

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Grid Settings and Ruler & Scale Settings

In this example, the Grid Settings Overlay Grid is set to X = 10 and Y =10, but in Ruler & Scale Setting, Density is X=28 & Y=20

As these two settings are different from each other, the Grid remainsindependent of the Ruler display.


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Grid Settings is set as Pixel Aligned, but uses the same X/Y settings asDensity under Ruler & Scale Setting. The grid therefore appears toalign to the ruler, even though it is set to Pixel Aligned.

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This command performs the same function as Edit, Copy on themenu bar, and copies the current window contents to Windowsclipboard.

1. Define a window around the image to be copied.


2. Select Copy to Clipboard .

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This command performs the same function as Edit, Paste on themenu bar, and pastes the current contents of the WindowsClipboard into the drawing area.

1. Select Copy from Clipboard .

2. Click in the drawing area, and the Clipboard contents will bepasted into the selected position.

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The Prima Server Setup command allows you to configure aPrima Server in your network to recognize connected printers andscanners, offering an alternative to amending the configurationdirectly on the Prima Server.

1. Select Miscellaneous , Prima Server Setup . In thedialog box, each connected Prima Server will be displayed withthree device types: Printer, Scanner and Windows Printer. TheWindow printers connected to the Prima Server installed inyour PrimaVision are listed under Window Printers and arenot editable.

2. To display the installed devices, click on + sign of the requireddevice type. To add a printer/scanner, move the cursor on therequired device type, click Add. Select a device model, and clickOK. Specify a printer/scanner port through which an installeddevice is recognized by PrimaVision as being connected to thePrima Server, and click OK. The device will be added

3. To remove a device, select it. Click Remove and OK to confirm.

4. To change the connection port of a printer/scanner, select it and


click Properties. Select a new port and click OK.*

5. To hide the devices, click Refresh.

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Note: Any modifications to the Prima Server made using the Prima

Server Setup command need only to be executed on any onePrimaVision in the Prima network.

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The Show S/W Options command under the Miscellaneous

command group lists a variety of technical configurations foryour PrimaVision system.

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To upgrade your PrimaVision system with additional modules orfunctionality, select the Upgrade Features command from the

Miscellaneous command group, insert an appropriateupgrade disk (the Eeprom disk), and follow the on-screeninstructions.

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Note: The generic library function is available only when the PrimaServer is detected upon starting up the PrimaVision system.

PrimaVision comes complete with a set of color-matched librariesfor a range of supported printers (see Color chapter). Genericlibraries offer the ability to print to any printer that has its ownWindows driver, whether supported or not by PrimaVision.


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Note: If your chosen printer is supported by PrimaVision, it isrecommended that you use the color-matched libraries that comewith the software rather than create a generic library for it. For acomplete listing of available libraries, refer to the Pantone andSuper Spectrum Proprietary/Windows Driver Color Supportmaterial at the end of this manual.

The Miscellaneous , Generic Windows Librarycommand creates for any Windows printer driver a generic libraryi.e. a color library created using the color matching process specificto the printer’s driver therefore without any screen-to-printed colormatching. Although the resulting quality may not be sufficient foryour purposes (it varies depending on the individual driver), thisgeneric library may be printed out to allow manual matchingbetween screen and printed colors (see Using the generic librarysection).

If the Super Spectrum add-on option is available on yourPrimaVision system, you can use the Calibrate feature in the

Generic Windows Library command to generate a Pantoneand Super Spectrum library for the created generic library for theWindows-based printer. The process also performs screen-to-printed color matching for the selected printer.

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Before you may use a Windows printer driver in PrimaVision, youmust first install it under Windows. You can either install it on thePrima Server (so that all PrimaVision will be able to access theinstalled printer driver) or locally on your PrimaVision.

1. Install the printer driver for your printer under the Windowsenvironment either on the Prima Server or on your localPrimaVision. The installation method used will depend on theindividual driver, refer to the printer manual for specificinstructions. In general, either run the printer setup program,or use the Add Printer function in the Settings, Printers option


in the Start menu.

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2. Print a test page (referring to printer manual if necessary) tocheck that the printer driver has been installed properly underWindows.

3. To activate all Windows printer drivers installed directly onthe Prima Server, select the File, Setup option on the menu barof the Prima Server. Check the Use Windows Printer check box(disabled by default) and then re-start the Prima Server so thatit will recognize the new settings.

On your PrimaVision, select the File, Setup option on the menubar. Check the Use PSR Windows Printer check box (disabled bydefault) to enable PrimaVision to use any of the Windows printerdrivers that you have just activated on the Prima Server. Checkthe Use Windows Printer check box (disabled by default) toenable your PrimaVision to use all locally-installed Windowsprinter drivers. Now exit from PrimaVision and re-start it sothat it will recognize the new settings.

4. All printer drivers enabled in step 3 can now be used for anyPrimaVision print functions including special functions such aslife-size print. All Windows printer drivers will be clearlyidentified by the (Win) extension to the driver name e.g.BJC 620 (Win). Printer drivers installed on the Prima Serverwill be marked as such e.g. BJC 620 (Win) on PSR.

Note: Since your chosen printer driver has been installed underWindows, you will have the added benefit of being able to print to itfrom any Windows application.

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To create a color library for your printer driver:

1. First enable the Windows printer driver using the procedure

described in the previous section.Use Miscellaneous ,

Generic Windows Library to call up a dialog box.


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2. Click the New button to create a new generic library. This callsup a small dialog box in which you must input the followinginformation:

Printer: Click the down-arrow button, and select the requiredWindows driver

Library Name: This field defaults to the printer name, but can beamended

Printer Alias: Give the printer a short name.

Any of these three settings may be amended after creating thelibrary, by using the Properties button in the dialog box. To createa Pantone and Super Spectrum support library, skip to the nextsection Creating a Pantone and Super Spectrum library.

3. Click OK to create the new library.

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Note: The procedure given in this section requires the SuperSpectrum add-on option to be available on your PrimaVisionsystem.

First print out an auto-generated set of key colors from the printerdriver’s generic library, and use it to take a Super Spectrumreading of each printed color. The Create Pantone Libraryfunction will then generate from these readings full Pantone andSuper Spectrum libraries.

Note: Pantone and Super Spectrum libraries generated using thisautomatic feature may not necessarily be as accurate as thosecolour-matched by Prima Design Systems for the officialPrimaVision-supported printers, but they should produce usableresults.


1. Select Miscellaneous , Generic Windows Library .

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2. If the designer have already created a generic library for theprinter driver, click to select it, and click Delete to delete thelibrary. To create a new library, click the New button, andselect the required printer driver. Edit the default libraryname if necessary, specify an Alias name and click OK

Important Note: To guarantee colour accuracy, the designer mustchoose driver settings for the printer before creating the genericlibrary, and use the same settings whenever the designer print tothat printer from PrimaVision.

3. Select the generic library for which Pantone or Super Spectrumsupport . Click the Calibrate button to generate a set of 216key colours on the screen.

4. Select the Print Sample Pages to print the displayedcolours. Set the Print Style field to Condense or Normalaccording to your personal preference. Using Condense stylewill print 144 colours (4 library pages) per sheet and hencegenerate just 2 printed sheets. Normal style prints 36 colours(1 library page) per sheet, and hence generates 6 printedsheets. Click OK.

5. The designer now need to start reading the printed colours

with the Super Spectrum. Select Read Sample Pages .

6. Initialise the Super Spectrum as per usual. When prompted onscreen to read a colour, take the printout (ensuring the pagesare in the correct order!) and use the Super Spectrum to readthe first printed colour. Super Spectrum will automaticallyfind a single closest matching colour, and display it on screenwith its colour code. The system will then move on to thescreen space reserved for the next colour.

7. Use the Super Spectrum to read all printed colours one by onein colour code order. The current colour will be indicated with abox outline. (Please note that the system reads each colour at aset speed, so it is important to ensure that the user does not tryto read a new colour before the system has moved on from the


previous one. If the user makes a mistake, do not exit thecommand - just go back to the mistake, re-select the colour boxand re-read the relevant colour(s)).

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8. When the designer has read the last colour in the printout,

select Read Sample Pages to stop reading.

9. Select Create Pantone Library . This will generate aPantone library for the printer driver from the colour readingsand when the designer next calls up either the Pantone

Textile or Pantone Profess. commands, he/she willbe able to select the printer driver from the Printer Type drop-down menu. The designer will also be able to use SuperSpectrum with the same printer driver.

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When printing to a Windows driver using a generic library, yourprint job will be sent to two queues: first to the print queue within

PrimaVision (accessible under the Print , Print Queuecommand), and then to the Windows printer driver queue(accessible by clicking the relevant printer icon in the Settings,Printers option of the Start menu). At any time, the job may appearin one or both print queues. It will appear only in the PrimaVisionprint queue in the early stages of the process, in both print queueswhen the job is being sent from one queue to the other, and only inthe Windows print queue later in the process.

Multiple-page jobs will appear very differently in the two printqueues. For example, a six-page life-size print job has been sent toprint. The job is first spooled as a single job in the PrimaVisionprint queue. To maintain a swift printing speed, each page isprepared sequentially and sent to the Windows print queue when itis ready, resulting in each page appearing as a separate print job inthe Windows print queue.


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To kill a print job, you must delete it from all queues whereit appears (if the job does not exist in either queue when you go todelete it, it has already been sent out from this queue, or has notreached this queue yet, hence killing it here is impossible). If yourjob consists of multiple pages, remember that it will appearas multiple print jobs in the Windows print queue, and thateach of these jobs must be deleted in order for the entire jobto be killed.

To enable swift deletion of unwanted jobs, it is recommended thatyou place the Windows driver print queue on the desktop beforesending the print job.

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Once created, the generic library can be used as a normal color

library in the Color , Color Library command. Allgeneric libraries are identified by the (Win) extension, exampleBJC 620 (Win).

Important Note: Any generic library printout is dependent uponthe printer driver’s current settings: if you change the settings(example: resolution or print quality), the colors in the printedlibrary may change too. Therefore, before printing a generic libraryfor a particular Windows printer driver, you should alwayscheck that the required settings have been selected for thatdriver (under File, Print, Properties on the PrimaVision menubar). To ensure consistently accurate color matching, print adifferent library for each new configuration of printer settings thatyou select, and make a record of those settings on your printedlibrary.

To delete the created generic library at any stage, use the Deletebutton in the dialog box

To copy a generic library from one PC to another, use the Export/Import buttons in the dialog box to transfer the file via a


removable storage device such as a floppy disk. Note that the PC towhich the library is to be transferred must also have theappropriate Windows driver installed.

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As stated earlier, the standard of color matching offered by yourchosen Windows printer driver may not be accurate enough foryour purposes. In such cases, you may use the printed genericlibrary for manual color matching within PrimaVision to achievethe required printed colors.

1. Before starting your design, mark out on the printed genericlibrary all the colors which you want to use.

2. Create a drawing area of the required size and settings (seeearlier section Drawing Area Setting).

3. Go to the Color Assistant palette, and re-create each of theselected colors in an individual color box. For each of these

color boxes, select the Color , Color Levers commandand input the color’s RGB code (the first of the two printedcodes in the library). By default, the printer code for this color(the second of the two codes) will be created to be the same asits RGB code, hence the color will print exactly as shown in thegeneric library printout.

If you find that the on-screen color is not a sufficient match for theprinted color, adjust the RGB levers until the on-screen color issatisfactory, then change the printer code field to the requiredcolor’s printer code as shown in the generic library printout.

Note: For a frequently-used Windows printer driver that is notsupported by PrimaVision, you may find it useful to build up auser library or an independent palette file of manually matchedcolors.


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The Edit Document command saves a PV file with adocument file (*.doc). This is useful to attach some comments to adesign file. Auxiliary software/hardware is needed when using thiscommands. This will normally be WordPad that has been set up inyour Windows registry to open files with *.doc extension, or anyversion of Microsoft Word for Windows 95 or above if installed.

Note: Only one document and one wave file can be attached to a PVfile or loaded into the memory of a single drawing area.Attachments loaded into the current drawing area’s memorythrough retrieval of a new file will replace the existing memorycontents.

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1. Select Miscellaneous , Edit Document . This calls upyour *.doc application.

2. Type the text that you want to attach to your PV file.

3. Close the *.doc application by clicking the standard Windows

Close button in the top right of the window (or select File,Exit on the menu bar). When prompted, click Yes to save thetyped text. The document file is now loaded into the current PVdrawing area along with the normal drawing area contents.

Warning: Do not attempt to change the assigned file name.

4. To save the contents of the current window in PV with theattached document file, use the normal PrimaVision Read &Save feature. A dialog box will be displayed. If you activate theDocument File check box in the Save with section, you willsave the PV file with the document file that has been loaded


into current drawing area’s memory. If you do not activate theDocument File check box, you will save only the PV file withno multimedia file attached.

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5. Activate the Delete Document File check box in the AfterSave section if you wish to clear the document file from thecurrent drawing area’s memory after saving your PV file.Otherwise, the document file will be left in the current drawingarea’s memory.

6. Click Save to save the file according to the selected settings.

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When you open a PV file with an attachment, a dialog box isdisplayed. Activate the appropriate check box to call the requiredattachment(s) into memory when the PV file is opened. ClickRead.

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The Sound Recording command allows you to save a PV filewith one wave file (*.wav). Auxiliary software/hardware are neededto open and save the wave file: a sound card, microphone and theSound Recorder application (this is available with all versions ofWindows 95/98/NT, but not necessarily installed on your PC).

This command is similar to the Edit Document command(see Edit Document section), but you must select the Sound

Recording command instead of the Edit Document command,record a wave file instead of typing text, and select wave-relatedcheck boxes rather than document-related check boxes whenappropriate.


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Form Manager creates and manages business forms such asproduct line lists, order confirmations, cost calculation sheets,specification sheets and shipping forms.

A form is made up of its page layout and a number of input fields.The form layout may include tables, lines, text, and images. Thedata in the input field may be text and numbers, either directlyinput by the users or calculated by formula.

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Two main procedures are involved when using Form Manager:create/edit a form and input data.

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To enter Form Manager, select Form Manager in the modebar.

To create a form, select the Edit Form command to enter the

form editing mode. Then use the Scan Form command if youare building a form from an existing form on paper, to base yournew form layout on the scanned image. For lines, tables and text,use commands under Edit Form to reproduce them; for thegraphical part, switch to Graphics Mode for image editingcommands.


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Note: Form Manager relies on Graphics Mode to provide thegraphical part of the form, and the graphics in the form can only bedisplayed in Graphics Mode and hidden in Form Manager. Theform layouts can only be edited in Form Manager. Remember tosave any useful images in the Graphics Mode drawing area beforeyou switch to Form Manager for form editing, because when youswitch back to Graphics Mode, any existing images will be cleared.

To stop displaying the form whilst editing images in Graphics

Mode, deactivate the Form Info button in Form Manager’smode bar. Just remember to turn the form back on again before youprint, save, or export it.

After you have produced a form and created the input fields in

Form Manager, save it using the Read & Save command inGraphics Mode when the form is turned on.

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To input data into a form, use Read & Save to read the form

out in Form Manager, and then click the Input command.

After data input, save the filled form using the Read & Save

command in Graphics Mode when the Form Info button inthe Form Manager’s mode bar is activated to turn on the form.

To print a form, use the Print Window command in GraphicsMode when the form is turned on. To print the form without

images, use the Print command in Form Manager.


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All the commands under Edit Form are for creating andediting forms. Objects created by these commands become thepermanent part of the form, or the form itself, as opposed to the

data it is designed to hold. First click the Edit Form commandto enter the form editing mode.

Once an empty form is complete, save this form as a separatetemplate file for later use. Then proceed to the next section to input

data into the form using the Input command.

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This command is for scanning existing forms so that they can beused as a guideline for putting together a form in the FormManager. To scan a form, put the form into your scanner, select the

Scan Form command. Select the required scanner, adjust the

Brightness, click Scan Form and OK to scan. When thescanning process is complete, the scanned form will immediately bedisplayed on-screen.

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If the form was not absolutely straight when placed on the scanner,the scanned image will not be perfectly aligned on the screen. To

re-align the image, click Rotate . Draw a line parallel to thecurrent (misaligned) horizontal axis of the image by clicking onceon one end-point, and once on the other end-point. The imageshould now be correctly aligned.


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Draws horizontal and vertical lines. Select Draw Line , and

select Single Line Style to draw a single line, Double Line

Style to draw a double line. Click to begin a line segment, andthen click again to end it and begin the next line segment in a new

direction. Select the New Line command to start a new line.You may re-select the line style at any stage before drawing a new

line segment. Select Undo to undo the last line segment.

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Draws a rectangular box. Select Draw Rectangle , and select

Single Line Style to draw a single line rectangle, Double

Line Style to draw a double line rectangle. The first clickdetermines one corner of the rectangle. The second click completesit by fixing the position of the opposite corner. To resize andreposition a rectangle, simply click it once. Select Resize

Rectangle in the command bar and adjust its size in thedrawing area, click once to confirm the new size. Move the resizedrectangle to a new position, click once to confirm. To delete a

rectangle, click it once and select Delete Rectangle in thecommand bar, click OK to confirm.


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Creates a table. Select Draw Table , and select Single Line

Style to draw a single line table, Double Line Style todraw a double line table. Define the table outline as you woulddraw a rectangle. Move the table to the required location, click onceto confirm. This creates a 2 x 2 table.

To reposition the table, click on the table, move it to a new locationand click once to confirm. To change the number of rows or columnsin the table, click the table once. In the command bar, select + No.

Of Row , - No. Of Row + No. Of Column or - No. Of

Column to add/delete a row/column, repeat this procedure as

required. To delete a table, select Delete Table and OK toconfirm.

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Defines the fonts used for text that you are about to type.


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Adds text to your form layout. Click in the form on the positionwhere you want to start typing. Type your text. When your textreaches the right edge of the form, the text automatically wrapsdown to the next line, beginning from the left edge of the form. Tofinish typing the current text, click once in the drawing area or

click Command End . Repeat this procedure to type anothertext.

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Adds text blocks to your form layout. This command allows you todefine a rectangular boundary to contain the typed text. Define thetext block as you would define a rectangle. A flashing cursor willappear inside the text block to indicate you may begin typing yourtext. To finish typing the text in the current block, click once in the

drawing area or click Command End . Repeat this procedureto type another text block.

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Clears the whole form including the input data and any of theelements, such as rectangles, lines and text.

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Click this command to enter the input field editing mode and usethe available commands to create and manipulate the input fields


containing your data.

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Use this command to select the fonts that will be used for anycontents of subsequently-defined input fields.

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Defines an input field to hold a short string of text on a single line.Simply click any position where you want to place an input field.The single line fields cannot overlap each other.

The single line field can be hidden in the data inputting mode ofthe form to store intermediate results of a complex formula (seeDefine Formula section). Select the single line field, click the

Toggle Single Line Hidden command, the input field willnow be displayed as a small rectangle outline with a diagonal line.

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Defines a rectangular boundary into which the input data(generally a paragraph) must fit. Define the comment box as youwould draw a rectangle. The comment fields cannot overlap eachother.

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Formula allow you to perform calculations with numbers containedin other fields in the same form. Define a formula for an emptysingle line input field (the target field) whose value depends on thevalues of other fields.


To create a formula for a single line input field:

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1. Select Define Formula .

2. Click once the target field - the result of the calculated formulawill be displayed here. The field code will be displayed in theform and on top of the white box in the Status Assistant.

3. Set the Decimal Place(s) in the Status Assistant as required.

4. Construct the formula as you would add numbers on acalculator. Click on all empty single line fields that are thecomponents of the formula. In the Status Assistant, click in theformula and type the + - * / operands and brackets (definesexecution order for complex formula) as required to completethe formula. Type <Backspace> if necessary.

5. Click Done to confirm your formula. The field linked witha formula is now displayed in the form as a small solidrectangle.

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1. Select Define Formula .

2. Click once the target field of the formula you want to edit. Itsformula will be displayed in the Status Assistant.

3. Edit the formula as you would when create the formula (seesteps 3 and 4 in the previous procedure).

4. Click Done .

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To change the position of a field:


1. When you are in the first level of the input field editing mode,click on the input field you want to move.

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2. To move the field, click Horizontal Move , Vertical Move

or Free Move , position the field in its new positionand click once.

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To control the justification of the field contents:

1. When you are in the first level of the input field editing mode,click on the input field where you want to change thejustification.

2. Select Left Justified or Right Justified .

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When you are in the first level of the input field editing mode, click

on the input field you want to delete. Click Delete Field andOK to confirm.

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When you are in the first level of the input field editing mode, clickthe field whose defined formula should be cleared. Click Erase

Input Def. , and the field becomes a blank input field.


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The cells in a table are mainly used to store numbers and text, sothat the whole table can indicate some measurements in the form.

The Repeat Input Fd. command copies a field to all othercells which are also designed to store data of the same type.

When you are in the first level of the input field editing mode, click

a field in the table to be copied. Click Repeat Input Fd. , movethe cursor outwards across other cells in the table to create a fieldin each cell that is included in the rectangular area between yourfirst click and the current cursor position. When the required fieldsare displayed, click once to confirm. Repeat the procedure fordefining input fields of another collection of data.

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Switch the orientation of your page between A3 portrait, A4portrait, A3 landscape and A4 landscape.

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Select the Input command to enter the data inputting mode.To select a field for data input, simply click it. Type the requirednumbers or text in the field, press <Enter> to confirm. To movebetween fields, press down-arrow key on the keyboard to the nextfield and up-arrow to the previous field. To exit from the currentfield selection, click once in the drawing area or click Command

End . Repeat the procedure to input other data.


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In PrimaVision, you can create two types of drawing area: theusual PV 256-color drawing area and the TCX true-color drawingarea. This chapter describes the additional TCX features in detailsand a number of important differences of command usages in TCX.

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For ordinary textile and garment design work, the 256-colorpalette that has been discussed up until now offers a convenientmethod of defining color. But there may be times when 256 colorsprove insufficient; for example, when working with photo-qualityimages, generally the greater the number of available colors, thefiner the quality produced.

In PrimaVision, you can create two types of drawing area: theusual PV 256-color drawing area and the TCX true-color drawingarea. The key difference between them is color range. Whereas in aPV drawing area you are confined to a palette of 256 colors, in aTCX drawing area you have 16.7 million colors at your disposal.This greatly enhanced color resolution gives you maximum controlover your designs: a much wider spectrum of colors to use in yourcreations, photorealistic quality of scanned images, andenhancement of special PrimaVision features such as draping.

The TCX system does not rely on the palette, so the colors used in aTCX drawing area are entirely independent of the colors in thepalette. A major functional difference between a TCX and PVdrawing area is therefore that colors used in the drawing areacannot be changed by simply adjusting the RGB or CMYK leversfor the relevant palette color (such adjustments change the color inthe palette, but leave the drawn image unchanged). For moreinformation on how to control color in TCX, see the color-related


sections later in this chapter.

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Note: If you want to use the same color palette when you read a TCX

file back into the drawing area, use the Color , Color Palette

, Save Palette command to save the palette as anindependent file. When you read this TCX file into the drawing arealater on, the first step before beginning work will be to read in therelevant palette file.

Before going on, it is important that you clearly understand thedifference between the following two terms:

256-color: This refers to the 256 colors that are available in thenormal PV palette. It is sometimes referred to as index color or 8-bit color

True-color: This refers to the 16.7 million colors available in TCX.It is sometimes referred to as 24-bit color.

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You can in PrimaVision access both TCX drawing areas and PVdrawing areas.

TCX drawing areas have access to the same command groups asPV drawing areas (although some commands in the commandgroups are no longer useful and so not available in TCX true-colordrawing area), plus a number of additional features.

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To convert the default 256-color drawing area (PV) to a true-color

drawing area (TCX), select Miscellaneous , Drawing Area

Setting , set the Color field to TCX, and click OK. To switchback to a PV drawing area, select PV instead. The leftmost icon on


the PrimaVision menu bar shows the color type of the currentdrawing area: a blue rectangle for 256-color, a circular color chartfor true-color.

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Alternatively, a quick shortcut is provided when you click the colortype icon to call up a menu. The PV<>TCX option switchesbetween PV 256-color and true-color drawing area.

Note: Decide on a drawing area type before you start creating yourdesign, as it is not possible to keep drawn images when you switchbetween PV and TCX.

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A 256-color drawing area gives you the option to draw with a

Normal Pen or an Airbrush . TCX provides two more pen

types: Crayon Pen and Pencil as shown in the PenAssistant. The TCX airbrush pen is a refined version of the 256-color airbrush. A translucent pen and watercolor pen are also

available under the Special Effect command (see the laterSpecial effects section).

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The Layer Setting allows you to create multiple PV and TCXlayers for the current PV sketch file. You can switch between PVand TCX layers by using the layer information toolbar in thedrawing area. The Match to Screen column in the Layer Propertiesdialog box is only available for TCX layers to affect the printedcolors of your images. Switching on this option will instruct thesystem to use the available PrimaVision color libraries to color-match the color screen codes with the printed codes. Any PV andTCX layers can be combined to form a TCX layer. See the LayerSetting chapter for full details.


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Line Art Mode and Photo Mode (Diffusion) are not available in

TCX Transform , Reproportion command.

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TCX colors are independent of the palette, hence adjusting a colorin the palette has no effect on anything drawn in that color in thedrawing area.

If you need to change the color of a drawn object, create the newcolor in an unused color box in the palette, and then apply the

Color , Change Color command to the object. Note thatbecause each discrete application of a color in the drawing area isviewed by TCX as an independent object, you will need to define awindow around each occurrence of the color before applyingChange Color. Alternatively, you can use the Chg. Col. By Pen

command with a thick pen width.

Because of the wide range of colors that are now available in TCX,the Multi. To Single and Multi. To Multi. options within the

Change Color , Chg. Col. By Pen and Fillcommands are not available for use in the TCX bitmap layer. Tochange multiple colors, you have two alternative approaches:

either apply the Change Color / Chg. Col. By Pencommand sequentially for each individual color, or apply the

Adjust Color command to the current window.


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The Adjust Color functions according to the same principle in bothPV and TCX drawing areas: it works by applying color adjustmentto the entire contents of the current window. Note however that inTCX, the command is always applied to the whole contents of thewindow, and it is not possible to select the colors to be adjusted.

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As in 256-color, TCX offers the ability to color group created imagesinto a limited number of colors. However, in most cases, you do notneed to group colors in TCX drawing area because there should beenough unused color boxes available for applying any color editingcommands. There is an additional command called To Grey Scale

under the TCX Color Grouping command, whichconverts the contents of the defined window to greyscale. To

Default Pal. is not available in TCX layers.

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The Color Percentage , Color Finder and Color

Combo Gen. commands in the Color command group arenot available in TCX layers.

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By superimposing translucent images over solid ones, you cancreate visual layering effects in your design. They may be created


in TCX using either the Copy , Translucent Copy

command or the Translucence feature in the Read & Savecommand.

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1. Define a window around the image to be copied.

2. Select Copy , Translucent Copy .

3. The Status Assistant will display the default degree of

translucence (50%). Use Translucence: +5% and

Translucence: -5% in the command bar to adjust thetranslucence of the image in 5%intervals. The closer you setthis figure to 100%, the more translucent your image will be.

4. Position the copied image in the drawing area as appropriate,and click once to confirm its location.

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When you read a sketch file into a TCX drawing area, you are giventhe option to adjust its translucence.

1. As per the normal procedure for reading a sketch file, select the

Read & Save command, and open the file by either

double-clicking it or selecting Open from the button menu.

2. When you are returned to the drawing area, click the Onoption in the Translucence section of the Status Assistant. Editthe Degree of Translucence field and press <Enter> to confirmyour entry.

3. Position the image in the drawing area as appropriate, andclick once to confirm its location.


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The Repeat , Irreg. Rep. Gen. command is not availablein TCX layers. This is particular useful in Print MaskFilm moduleas you need to find the original repeat unit from a whole piece ofrepeat pattern for further editing in Print MaskFilm.

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In the TCX Special Effect command group, the Overlapping

Eff. , Remove Outlines , Enlarge Object and Rm.

Scatter Dot commands are not available. The followingSpecial Effect commands are for TCX layers only:

• Translucent Pen

• Smoothing

• Mosaic

• Filtering.

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This command allows you to draw on top of your existing designwith ink of varying translucency. To activate the pen, simply select

the Special Effect , Translucent Pen command, andadjust the translucency of the ink with the Translucence: +5%

and Translucence: -5% buttons displayed in thecommand bar.


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This command diffuses the colors of an image, softening hard edgesto create much the same effect as a diffusion filter on a camera. Itis very similar to the Blurring and Averaging filter types under

the Special Effect , Filtering command; the majordifference between the smoothing and other two functions is thatsmoothing can only be applied with the pen, whereas blurring andaveraging can also be applied in a single step to the entire contentsof the current window. To apply smoothing, simply select Special

Effect , Smoothing and apply the smoothing effect in thedrawing area with the pen.

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The Mosaic command groups adjacent pixels into squareblocks of a single color. The color of each generated mosaic block isthe average color of the pixels it replaces, and all blocks are of thesame user-defined size.

1. If you want to apply the mosaic effect to the contents of awindow, first define the window.

2. Select Special Effect , Mosaic .

3. The mosaic blocks can be either square or rectangular in shape.If square blocks are required, select Yes in the Square sectionof the Status Assistant, otherwise select No. Now type thehorizontal width (in pixels) of the mosaic blocks in the X Unitfield, and press <Enter>.

4. If the Square option was set to Yes, the Y Unit field will changeautomatically to equal the X Unit field. If the Square optionwas set to No, type the vertical height in pixels of the mosaicblocks in the Y Unit field, and press <Enter>.


5. Apply the mosaic effect anywhere in the drawing area with the

pen and click Command End when you have applied the

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effect by pen. Alternatively, select Go to apply the mosaiceffect to the defined window and exit the command.

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Digital filters modify the color of each pixel in an image accordingto a set of rules which take into account the colors of neighboringpixels. TCX provides a number of pre-defined filters as well as theoption to define your own filters to create a variety of special effectsfor your designs. You may apply any of these filters either directlyto the entire contents of a window, or selectively using the pen.

1. If you want to apply the filter to the contents of a window, firstdefine the window.

Note: Even if you may be applying the filtering effect by pen, it isuseful to define a window, because you will be given the option to seea preview of the effect applied to the window contents.

2. Select Special Effect , Filtering .

3. A dialog box appears, containing a list of filter types. Click atype to select it. Activate the Preview check box to see apreview of the selected filter applied to the window contents.You may adjust the filter strength using the levers displayedunder the list of filter types.

4. Click OK to confirm your changes.

5. Apply the chosen filtering effect anywhere in the drawing areawith the pen. To call up the Image Filtering dialog box again,

click Filter Settings . Click Command End when

you have applied the effect by pen. Alternatively, select Goto apply the chosen filtering effect to the defined window andexit the command.


The available filters under the Special Effect command are:

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Averaging: Sets a target pixel to the average value of itsneighbors, and is hence good for smoothing speckled images,creating a fleece effect or smoothing the boundary between twocombined images

Blurring: Adds a myopic-like blur to the image, and tends to havea stronger effect than averaging or smoothing

Embossing 1: Adds a relief effect, with the image appearing tostand out from a stone background

Embossing 2: Creates a three-dimensional embossed effect, withthe image appearing to be carved out of a stone background

Sharpening: Sharpens the contrast between adjacent pixels toreveal hard-to-see details

Custom Filter: Allows advanced special effects control. Adjustingthe numbers in the 5x5 filter matrix will allow you to create yourown customized filter.

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Thanks to the wide range of available TCX colors, draping effectscreated in TCX are much more photorealistic than those created ina 256-color drawing area.

Draping in TCX works in much the same way as 256-color draping,apart from a few important differences:

• Difference 1: In TCX, you do not need to perform pre-drapingcolor grouping or definition of the modifiable palette, since youare no longer confined by the 256-color example limit on thepalette. Having selected your drape pattern, simply click on thedrape pattern and click on the object to be draped.

• Difference 2: When draping in TCX, you can only use the


Object Palette command to adjust the contrast of thedrape material before draping; the object palette has no effectafter the image has been draped. There is no preview function

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available as you adjust the object palette, but you can use the

Undo command immediately after draping if you aredissatisfied with the end result.

• Difference 3: Because the object palette cannot be used toadjust contrast simultaneously for multiple objects, if you needto drape several objects in the same fabric and require thesame contrast for all objects, you should note down the objectpalette settings after draping the first object, and then re-keythese settings into the object palette for each subsequentobject.


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Professional designers who work with CAD systems often need toelectronically re-create the colors of a color swatch or fabric sample.Prima Super Spectrum is a color detection device that automatesand significantly speeds up the traditional manual approach tocolor-finding.

A hand-held instrument (spectrophotometer), the Super Spectrumreads color through its electronic eye from a wide range of mediasuch as color swatches, fabric samples and paint dips. Based on thecurrent printer’s color libraries, PrimaVision browses the fullspectrum of colors available to your printer to find a range of colorsthat closely matches the read color. You may specify that thecandidate colors should only be selected from the PANTONE®Textile Color System library. Print all the candidate colors, andthen choose from your printout the color which best suits yourpurposes.

Printers supporting Super Spectrum and Pantone withinPrimaVision are listed end of this manual.

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You must first connect the Super Spectrum device to yourPrimaVision (see Super Spectrum installation section).

Each time you start up PrimaVision, you must perform a quickcalibration for Super Spectrum to ensure accurate results duringthis session (refer also to Super Spectrum maintenance). Thisprocess is also called initializing the Super Spectrum.

1. Select Color , Super Spectrum .


2. Wait for the prompt, then press the Super Spectrum devicedown firmly onto its base, and hold it for a few seconds until it

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stops vibrating. Release pressure on the Super Spectrum. Aprompt informs you that Super Spectrum is ready for use.

Note: To cancel the Super Spectrum command, click Cancel in the dialog

box, or click Command End .

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To find a color using Super Spectrum:

1. Initialize Super Spectrum as described above in Starting upSuper Spectrum.

2. Place your color sample on a horizontal surface near your PC.Remove Super Spectrum from its base and place it gently on topof the sample.

Note: For an accurate color reading, your color sample must beuniform in color, and large enough to cover the entire SuperSpectrum eye. If the sample is transparent to any degree, place apiece of plain white paper between the sample and the surface toprevent reading distortion.

3. Firmly but gently press down the Super Spectrum device for afew seconds until it stops vibrating. Release the SuperSpectrum and put it back on its base.

4. When processing is complete, 6 pages of candidate colors aredisplayed on the PrimaVision window. Each color is displayedwith its RGB code and its printer code for the currently-selected printer (see next step).

If you want to select from colors in the PANTONE® Textile Color

System, select Toggle Pantone . Select this command again toreturn to a full selection of non-Pantone candidate colors.

5. If the wrong printer is selected, the wrong printer codes will be


displayed for each color. Select the required printer in the

Printer Type drop-down menu. Then use Print All Pages

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command to print the candidate colors, and select a color fromthe printout.

6. To insert the chosen color immediately into the palette, locateit in the list of candidate colors. Click the color box that is tohold the new color in the Color Assistant palette, then click thechosen color to copy it to that color box. To insert a color withthe LAB code to the palette, click the color box in the palette,

click Use Color (Lab) on top of the Super Spectrum dialogbox. The color’s LAB code will be shown in the Color Leverdialog box.

7. At this point, you can save all candidate colors for future

reference if required. Select the Save To File command atthe top of the window. Select a file location, specify a file name,and click Save. The saved file will automatically be assignedthe *.SS extension.

To retrieve a Super Spectrum file later on, call up this windowagain by reading a color (any available color source will do), and

select the Read From File command. Locate the required fileand click Open. The saved colors of the selected file will bedisplayed.

8. Select the Super Spectrum command and repeat thisprocedure from step 2 onwards to read a new color.

9. Click Command End to exit from the Super Spectrumcommand.

Note: If you need to read many colors at a time, batch the read colors forentering into the palette. At step 6, circle the chosen color on the printout,then read all required colors by repeating this entire procedure from step 2

onwards. As a final step, go to Color , Color Levers to input all newcolors one by one into the palette.


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Tip: After exiting from the Super Spectrum command, if you need touse the last set of candidate colors again, you do not need to repeatthe whole process of initializing the Super Spectrum and reading

the color. Simply select Color , Super Spectrum , andwhen the Last Color button is displayed, click it to call up the lastfound colors.

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Whilst retaining the original colour identification functionalityprovided by Super Spectrum, Version 5.1 allows the designer toinsert a colour directly into the current palette using Lab values ifdesired.

In order to generate the best possible Lab match, the new softwareis able to take a number of colour readings from the sample andgenerate an average Lab value from this information. This meansthat the accuracy of the Lab reading can be enhanced orcompromised, depending on the situation and the designer'srequirements.

When reading in a colour using Super Spectrum, a dialogue boxwill appear, with two options - Use Lab and Find Colour.


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Advanced Input Mode

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Having read in a colour using Super Spectrum, the process forputting the colour selection into the palette is as follows:

1. Select the target colour box on the palette.

2. Click on the Find Colour button.

3. Select the chosen colour from the resulting sample colour pagesas before.

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Having read in a colour using the Super Spectrum, the process for


putting the colour selection with Lab value into the palette is asfollows:

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1. Select the target colour box on the palette.

2. Click the Use Lab button.

3. The colour and its Lab codes will be inserted into the selectedpalette location.

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In order to help the designer identify a good average colour from afabric with noticeable colour variations, the software provides anoption to read a number of colour inputs and calculate an averageLab colour value from this information. To achieve this, follow thesteps below :

1. Activate the Advanced check box at the bottom of the SuperSpectrum dialogue box. An 'Advanced' menu will then openup, as illustrated below.

2. Go to the tolerance section and select the required level; thedegree of tolerance (i.e. colour variation allowed) is displayedas Low, Medium and High options.

3. Specify the number of samples to be taken by inputting a figure(from 2 to 10) in the Number of Samples edit box.

4. Read the corresponding number of samples through SuperSpectrum.

Note: The Use Lab and Find Colour buttons will not operate ifthe number of inputs taken does not match the figure in the box.

5. If both the Use Lab and Find Colour buttons are inoperativedespite having the correct number of inputs, it will be becausethe colour variations detected are greater than those allowedby the tolerance setting.


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If this is the case, enlarge the tolerance range by increasing thesetting in the Tolerance section, selecting Medium or High toachieve greater tolerance in colour discrepancies among the inputs.

Alternatively, in order to keep the Tolerance selection constant(e.g. Low ), unacceptable colour inputs can also be eliminated byreading additional colour inputs from the sample. The system willautomatically replace the most unacceptable input with thecurrent new input. Repeat this step until the Use Lab and FindColour buttons become operative again.

Note: Any input may also be manually deleted by selecting it andclicking the Delete button. To delete all the inputs, select theDelete All button.

6. The latest colour input will automatically be displayed at thetop of the Super Spectrum dialogue box. If this is the onedesired, insert it into an appropiate palette by selecting theUse Lab or Find Colour button in the upper half of thedialogue box.

Note: You may notice that there are two 'Use Lab' buttons once theAdvanced menu is open. The upper one is used to recall the last Labvalue read into the system, whereas the lower one finds the averageLab value based on a set of readings.

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Installation process is actually simple, but it is recommended thatyou seek assistance from your local agent if you are unfamiliarwith installing PC peripherals.

1. Place the Super Spectrum on its base with its eye facingdownwards.

2. The Super Spectrum device has a cable with two ends. Connectthe larger end to your PC’s COM2 port. (You may need to use a9-pin-to-25-pin gender if your COM port is 25-pin.)


3. Connect the small end of the Super Spectrum’s cable to a 100-250 volt power adaptor.

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4. Connect the adaptor to a power source.

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The Super Spectrum is a highly sensitive instrument and shouldalways be handled with care to retain its color detection accuracy.

When not in use, the device should be stored on a horizontalsurface, placed on its base with its eye facing downwards.

For accurate calibration (see Starting up Super Spectrum), it isimportant to keep perfectly clean the small white square located onthe Super Spectrum base directly under the eye of the device.


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Draping is the process of filling a pattern onto an object, generallya photo, so that the final image retains the shadows creating itsthree-dimensional appearance.

A draping process involves an object to be draped, a drape pattern,and a draping grid that will mold the drape pattern around thecontours of the drape object. The individual steps required in thedraping process vary from case to case, but the general outline is:

1. Group color: reduction of colors in the drape object and patternis needed to make way for new colors required to create theshadows in the resulting draped image.

2. Create outlines for the object.

3. Create a grid for the object.

4. Edit the outlines and grid of the object.

5. Generate the shadow colors: define a modifiable palette byselecting the portion in the palette to hold the generatedshadow/highlight colors, and compute the palette to generatethe shadow colors.

6. Drape: this creates the final result with the drape patternapplied to the object according to the specifications of thedraping grid.

Additionally, you can define multiple objects to be a group of objectdefinition and filled them with the same drape pattern at a time.

Note: It is impossible to drape any further patterns over an image that hasalready been draped. If you are unsatisfied with the results of your draping


on your image, click Undo . To redo the last undone operation, click

Redo . To avoid losing valuable information, save your draping objectand drape pattern before draping.

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In Graphics Mode, use the Transform command group toresize the drape objects and patterns to the exact required sizes. To

switch into Draping Mode, simply select Draping Mode in themode bar.

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Drape object grids will be saved along with the images in the

defined window when you use the Read & Save command inDraping Mode. However, the grids will be lost if you save theimages in Graphics Mode.

When you read in a sketch file that has a grid, any existing grid(s)in the current drawing area will be cleared.

Note: If a grid is not always displayed does not necessarily implythat the grid does not exist. Call up Draping Mode and select Edit

Object , Edit Grid command to view all currently-definedgrids.

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Most of the time the drape object and pattern are part of anexisting picture (any bitmap image). The scanned picture usuallyconsist of a large number of tones that use up much of the colorboxes in the color palette. You must reduce the total number ofcolors in the drape object and pattern to leave enough unused colorboxes (modifiable palette) to store colors for creating the shadoweffects when your drape pattern is draped onto your object. Thisadds realism to the draped pattern.


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Note: It is advisable to have at least as many unused color boxes inthe palette as the number of pattern colors multiplied by the numberof object colors. Avoid grouping to more than 120 colors to ensurethat enough unused color boxes are left for the modifiable palette.

Draping is most successful when applied to plain-colored objectscontaining many tones of a single color, e.g. beige. The quality ofthe scanned image also affects the draping results.

Warning: Do not include black color in your object image becausethe number of black tones are not enough to generate enoughshadow for the final draped image.

1. Use the Clear command to clear all images in the currentdrawing area.

2. Scan or read a pattern image into the drawing area, selectMerge color in the Status Assistant if necessary to retain thecolors of the selected image and the existing image colors in thecurrent drawing area. Edit the image by using the availableediting commands as appropriate. Or you can create a patternimage by using the available editing commands.

3. You may at some stage need to check the percentage usage ofeach palette color in the current drawing area, select the Color

, Color Percentage command. To group together allthe used color boxes in the upper part of the palette, click

Rearrange along the top of the color Percentage dialogbox and click OK to confirm.

4. Use the Change Color and Color Groupingcommands to reduce the number of colors used in the currentdrawing area (see the Change color and Color Groupingchapters).

5. Repeat steps 2 to 4 for the object image.

6. If you find there is enough unused color boxes in the palette for


draping, define a window for each image and save as individualPV file.

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The procedure for defining a draping object is very similar to thatfor defining an irregular window:

1. Read and locate the object image into the drawing area.

Note: If you read a new object image in the drawing area thatcontains any draping object, make sure the new image does notoverlap the existing object outlines in the drawing area. Use Show

Object to display all the existing objects in the drawing area,

and use Delete Object to delete unnecessary objects (seeEditing the object, Deleting an object section).

2. To create outlines for the object image, select New Object .

3. To trace the outline of the object, click on the image border. Bydefault, the drawing format is set to Line, which means that astraight line will be drawn between two clicks. To change thedrawing format, select Line or Curve in the Status Assistant.

Note: The object outline defines the area to which the drape pattern isapplied. Since the outline nodes created using the New Object command may

not be in the exact required positions, use the Edit Object , Edit Object

Node command after you exit the New Object command to edit the nodes(see Editing the object section).

4. When you are close to completing the outline, click Close Loop

or press the Blue Button in the drawing area to close theoutline.

5. Click Done . Do not click Command End at this stageunless you want to exit from this command, but proceed to thenext section, Creating a grid for the object.


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The draping grid is the definition of a contoured surface over whichthe drape pattern is molded when applied to the draping object.The grid could be represented as a wire mesh molded into therequired contour around the drape object, and the drape pattern asa piece of silk fabric which is dropped over that mesh.

There are a number of points to remember when defining a drapinggrid:

• Every draping grid is constructed from vertical lines andhorizontal lines, with a node at each intersection of a verticalline and a horizontal line. A grid must consist of at least twovertical lines and two horizontal lines. The generated grid willgenerally contain more lines than the ones you draw, becausePrimaVision will add the grid lines required unbeaten. Sincethe nodes on the grid lines that you draw allow you tomanipulate the contours of the generated grid, the morecomplex your drape object, the more grid lines and nodes pergrid line you are recommended to use.

• Vertical and horizontal grid lines may have any orientation.They are vertical and horizontal only in the sense that theydefine the orientation in which the drape pattern is applied.When the pattern is draped onto the grid, the horizontal gridlines will be horizontally relative to the direction in which thedrape pattern is applied, and the vertical lines verticallyrelative to that same direction.

• You must always draw your horizontal lines from left to rightrelative to the orientation of the final draped image, andvertical lines from top to bottom relative to the orientation ofthe final draped image. Any deviation from this rule will causeinversion of the drape pattern when applied to the object. Forexample, if you draw horizontal lines vertically relative to thedrape object and vertical lines horizontally relative to thedrape object, you can rotate the usual direction in which yourpattern is applied by 90 degree.


• The area affected by the Draping command is the areawhere the draping object and the draping grid overlap. It is

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therefore important that you define your draping grid to belarger than your draping object (the outermost grid linesshould be defined outside the outline of the object).

1. Select the New Object command. To add a vertical or

horizontal grid line, click the Add Vert. Line or Add

Hori. Line .

2. Click the starting point of the grid line, then click again to fixthe next node in the same grid line. Repeat this procedure untilyou fix the last node.

Note: If the color of the object is too similar to the color of the grid

lines, use the Mod. Line color command to choose from arange of other available colors.

3. Click End of Line or press the Blue Button in the drawingarea to end the current grid line. Repeat step 2 until you havecreated at least two vertical/horizontal grid lines for the object.

4. Click Done or the Blue Button in the drawing area.Repeat steps 1 to 3 until you have created at least two verticallines and two horizontal lines for the current object.

5. Click Done - Add Line to confirm that the grid definitionis complete.

6. You can adjust the grid density in the horizontal and thevertical directions. The denser the grid lines, the more nodesare available for molding the grid contours, hence the moreediting control you have. For horizontal grid lines, select

Enlarge Hori. Sp. to increase the distance between any

two adjacent horizontal lines; select Reduce Hori. Sp. to


reduce the same distance. Select Enlarge Vert. Sp. and

Reduce Vert. Sp. to adjust the vertical grid density in a

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similar way. Enlarge Both Sp. and Reduce Both Sp.

adjust the density in both directions at the same time.

To re-define any of the grid lines defined in steps 1 to 5, select

Modify Line . This returns you to step 1 where you canreposition the nodes of existing grid lines or define additional gridlines.

Note: More advanced grid editing features are available in the Edit

Object , Edit Grid command (see next section Editing theobject for details).

7. When you have created an object with a grid, click Done - New

Obj. or the Blue Button in the drawing area.

Note: You cannot edit the grid density of the object after you exit theNew Object command.

8. Save the object image and grid as a PV file.

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Use the Edit Object command to edit the created objectoutlines and grid. Remember that you cannot edit the object thathas already been draped with pattern.

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The nodes on the object’s border defines the area to which thedrape pattern is applied, so you should fix the nodes at the exactpositions.


Note: Zooming in the object helps make the node positioning easier.

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Select Edit Object , Edit Object Node subcommand todisplay the nodes of the object outlines. To reposition a node,simply click to pick it up, and click its new location to put it down.To restore the original position of a node that you have just picked

up, click Cancel or the White Button in the drawing area.

Before you define the node, you can delete and add nodes to theclosed object outlines. To delete nodes to the anti-clockwisedirection of the original node, press the Blue Button in the drawingarea for each node to be deleted. To add nodes to the clockwisedirection of the original node, press the Green Button for each newnode.

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To mold the draping grid to fit exactly the contours of the object,

select Edit Object , Edit Grid . There are three

subcommands: Block Editing (for a block of nodes), Coarse

Editing (for a line of nodes) and Fine Editing (for asingle node). Editing the grid to fit the contours of the drapingobject usually requires a combination of all three grid editingsubcommands. Block Editing is often used first to define therough form of the grid. Coarse Editing is then applied to shapethe grid closer to the object's form. Finally, Fine Editing is used toperfect the details.

Note: If you are unsatisfied with the most recent editing operation

on your grid, click Undo immediately.

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This is for editing a block of nodes. You may specify the whole or apart of the grid to be the block to modify.


1. Select the Block Editing subcommand.

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2. Select a block of nodes by clicking the node at one corner of therequired block and then the node at the opposite corner. Theblock will be highlighted.

3. To reposition a corner node of the block, click to pick up thenode, click its new position.

To distort the shape of any side of the block, press the Blue Buttonin the drawing area. Click one end-point (corner node) of the sideand then other end-point (corner node). Move the cursor to bendthe selected side to make the block match the draping objectcontours more closely. Click to confirm the new block shape.

Note: To cancel the current node selection, click Cancel or theWhite Button in the drawing area.

4. To delete the selected block of which at least one side of the

block touches the edge of the grid, click Delete Block .

5. Repeat steps 2 to 4 for editing other block of nodes. Click

Command End to exit.

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Coarse Editing allows you to adjust the curvature of the grid linebetween two selected nodes. These nodes must lie along the samegrid line.

1. Select the Coarse Editing subcommand.

2. Click one end-point (node) of the grid line that you want toadjust, then click the other end-point (node).

Note: To cancel the current node selection, click Cancel or theWhite Button in the drawing area.


3. Move the cursor until the grid line reaches the requiredcurvature. To evenly allocate the nodes of the grid line, selectOn in the Even Spacing section of the Status Assistant or use

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the Even Spacing On command in the command bar toswitch the even spacing On and Off. Switching off the evenspacing retains the original ratio of the spaces between nodes.Click once to confirm the new shape.

4. Repeat steps 2 to 3 for editing other lines of nodes. Click

Command End to exit.

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Use Fine Editing to reposition individual nodes on the drapinggrid.

1. Select the Fine Editing subcommand.

2. Click on a node to pick it up. Click its new position to confirmthe new shape.

Note: To deselect the node that you have just picked up, click

Cancel or the White Button in the drawing area.

3. Repeat step 2 for editing other nodes. Click Command End

to exit.

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To display all existing objects in the current drawing area, click

Show Object . To delete an object, select Delete Object .Click on any node of the object, and then OK to confirm. To delete

all objects in the current drawing area, click Del All Objects ,and then OK to confirm.


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Once the outlines and grid of the object image have been finalized,you can read the color-grouped pattern image in the drawing area.

Within the Draping command, use Def Mod Palette todefine enough unused color boxes as modifiable palette, then use

Compute Palette to generate the shadow/highlight colors forthe final draped image and check whether the selected modifiablepalette size and the number of colors used in the image and patterncan combine successfully into a final draped image.

In order to retain the exact colours of the original Drape Pattern,change the relevant portions of the Draping Object to white (codeFF FF FF) prior to draping. Other portions if the design may usecolours required to depict shadow, in which case they should not bechanged to white.

In the course of draping, check the Yes option in the KeepPattern Colour section in the Compute Palette dialog box (seeFigure below).

This eliminates the requirement for manual adjustments to fabriccolours in the no-shadowed areas of the final draped image, afterthe draping process is compute.

Finally, refer to the Draping section for procedure to drape the


pattern onto the object.

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1. You should now have a completed drape object in the drawingarea. Read the color-grouped pattern image into the currentdrawing area, select Merge Color in the Status Assistant toretain the original colors of both the drape object and pattern.

2. To check if there are enough unused color boxes defined as

modifiable palette, select the Color , Color Percentage

command. To group all unused color boxes in the lower

part of the palette, click Rearrange on top of the ColorPercentage dialog box and click OK to confirm. To color-groupthe object and pattern colors, refer to color-grouping the objectand pattern section for details. Note the range of unused colorboxes.

3. Select Draping , Def Mod Palette . To select theportion of the palette to hold the generated shadow/highlightcolors, click the first modifiable color box, and then the last.

Note: The modifiable palette should not include any used colors,otherwise the draping process will change the colors in the originalimage or pattern.

4. Only when you are sure that the current palette and modifiable

palette definition are confirmed, select Compute Palette .All objects in the current drawing area will be displayed. Todeselect an object that you do not want to be affected, simplyclick on a node of the object.

Note: You must re-compute the palette each time you change thepalette or the modifiable palette in any way.

5. Click Done , the colors for creating the shadow effects ofdraping will be generated and placed in the palette. However, ifPrimaVision has found your definitions to be infeasible, it willprompt you, providing hints on how to correct your definitions.


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You are now ready to drape the pattern onto the object.

1. Select Draping , Drape .

2. If necessary, specify in the Status Assistant a half-drop valuefor repeating of the pattern when it is draped onto the object.

3. Move the cursor in the drawing area. The drape pattern will beattached to your cross-hair.

4. Position the pattern over the object and click once in thedrawing area. Note that the position into which you drop thepattern is the anchor for repeating the pattern: a copy of thepattern is placed in the anchor position and then repeatedoutwards from there.

5. If you are unsatisfied with the results of your draping, click

Undo immediately. You will not be able to drape anyfurther patterns over an image that has already been draped.

6. To tune the colors in the final draped image, select Object

Palette . Scroll the RGB levers to adjust the general tonesof the image. To restore the original tones, click the Restorecolor button. Click OK to exit the dialog box.

Note: The object palette is best used after draping is complete,because you can then see the effect of the tuning real-time on thefinal draped image.



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Draping Mode allows you to fill several object outlines in thedrawing area at the same time with the same pattern. This isuseful, for example, if the image to be draped is too complex to bedefined with just one object outline or just one grid. After creatingan outline and grid for a drape object, you can use the Edit Object

, Add To Object and Add To Grid commands at anystage to add more drape objects, outlines and grids to be the same

drape object definition before you use the Draping commandto drape a pattern onto any drape object in the same definition.Then, all the objects in the same definition will be draped with thesame pattern.

Apply the Add To Object command to create object outlines

and then apply Add To Grid to create grid as you would to use

the New Object command to create object outlines and grid(see the relevant sections in this chapter for detailed workingprocedures). Edit the object outlines and grid by using the Edit

Object Node and Edit Grid commands respectively.

Note: You can read a new image to be defined as drape object in thesame definition, but remember not to overlap the original and newobject images in the drawing area.

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To print the final draped image without the object outlines,

deactivate the Draping Object button in the mode bar to hidethe outlines from the drawing area and on the printout before

using the Print command to print.


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Please refer to Chapter 2 for details on Lectra Catalog.


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Knit Expert generates knit simulations to a degree of realism thatallows the designer to visualize and edit their work real-time downto the smallest detail, without needing to create any actual knittedsamples.

The individual steps of the design and simulation process for aknitted garment will, of course, vary from case to case; but thetypical procedure for designing a knit panel design in Knit Expertis:

1. Define the knit tension: you must decide the tension before youbegin to create the panel

2. Create the panel outline: PanelSpec is a comprehensivecommand for the construction of life-sized knit panel outlines.The panel outlines generated by PanelSpec are production-feasible and cost-efficient. Alternatively, you can scan image ofan actual knitted garment, create and edit the outlines in KnitExpert, from beginning to end by using available panel editing

commands, e.g. Drawing Tools , Cast Off Curve and

Cast Off Line . Besides, the panel outline can be sketchedin Graphics Mode or Draping Mode, and then transferred toKnit Expert to add and fine-tune the stitch-work.

3. Finish the panel: apply the Fill command to fill the panelswith colors, and construct the knit structures of the panel in

Instruction Display mode, apply Casting to finish theedging of the panel.


4. Printing the panel: apply the Print , Life Size Print toprint the design with stitch effect.

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5. Keep Stitch: convert the knit panel with stitch effect into abitmap image.

6. Interfacing with knitting machines: the pattern information ofthe knit pattern can be exported from Knit Expert to a knittingmachine via floppy disk, cassette tape or punch tape.

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As shown in the Knit Expert’s Scroll Assistant, 3 display modes are

available: Normal Display , Stitch Display and

Instruction Display modes. Stitch Display mode displays agreatly magnified view of your design in which each pixel isdisplayed as a single stitch with realistic three-dimension effect.Instruction Display mode converts the display to industry-standard knit instruction symbols - the conversion process isimmediate, error-free and without labour costs. Switching betweenthe display modes in Knit Expert does not affect the design in anyway – all that will change is the manner in which the design isdisplayed in the drawing area.

Instruction Display mode enhances communication betweendesigners and knit technicians. When viewed in InstructionDisplay mode, the drawing area contents are displayed using thesame standard knit instruction symbols that a knit technicianwould use when preparing the design for production. This avaluable communication aid, and the fully automated translationguarantees complete conversion accuracy.

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In Stitch or Instruction Display mode, the first 32 color boxes of theColor Assistant palette will assume stitch shapes, and can be usedto edit the colors and stitch types used in your design. The rest of


the palette is reserved for use in creating the three-dimensionallook of each stitch.

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Note: Before you begin editing your knit design, you might find ituseful to move the required colors to the top of the palette with the

Color , Color Percentage , Re-arrange command.

Knit Expert uses the Color Assistant palette to display and allowcustomizing of knit stitch, but they are not considered part of thepalette. Changing the stitch type in a color box of the palette willhence not affect any part of your design drawn in that color.Similarly, customized stitch types cannot be saved with a colorbox, and are displayed in the palette only up until you retrieveanother sketch file into the current drawing area. Therefore,switching the drawing area between the display modes within thesame file will not clear any customized palette stitch types in eachcolor box as long as you do not change the types before you switchback to the original mode.

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In Stitch Display mode, all of the first 32 color boxes of the ColorAssistant palette are by default displayed as front stitches. Whenyou pick up a color from the Color Assistant palette and startdrawing in the drawing area, you will not draw in solid color, but institches with a realistic three-dimensional effect.

The Knit Expert palette can also be used to draw in back stitch. Toswitch any color box in your palette from one stitch type to another,click on it with the Green Button in the Color Assistant palette.

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In Instruction Display mode, all of the first 32 color boxes of theColor Assistant palette by default contain a vertical linerepresenting front stitch. As in Stitch Display mode, these 32 knitinstruction colors may be used for drawing in the normal way, andto edit the colors and stitch types used in your design.


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There are 5 available types of individual stitches in InstructionDisplay mode. Right-click on any of the first 32 color boxes to toggleto a different type of stitch:

Front stitch

Rear (back) stitch

Knit using both front and rear beds

Merge two stitches (from rear bed to front e.g. rib) – front


Merge two stitches (from front bed to rear e.g. rib) – rear

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(Additional 73 knit instruction symbols are used in thePrimaVision knit structure libraries, see Finishing the panel, KnitStructures section.)

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Selecting the Instruction Display mode button in the Scroll

Assistant will activate the Grid button in the mode bar, andthe drawing area of any zoom ratio is now displayed as a fine grid.This button has no effect in Stitch and Normal Display mode. Eachgrid square is actually equivalent to a single stitch in StitchDisplay mode or a single pixel in Normal Display mode.

For better visualization of the symbols, the Chg. Display Color

command toggles between 3 available Instruction Displayformats. This command has no effect in Stitch and Normal Displaymode.

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In the Stitch and Instruction Display modes, use the zoom lever inthe Scroll Assistant to adjust the drawing area magnification from

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Actual color 0 Depends on palettecolor

Selected palette color

Black Grey Black

White Black White


25% to 300%, like in Normal Display mode.

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Use Define Tension to specify the tension of your knit design.Changing the tension of an existing panel in the drawing area willadjust the panel size real-time, it is recommended to set thetension before you begin to create a panel.

Measuring Unit : The unit of measurement used by the twooptions below.

Stitches / Unit : The horizontal tension. For any given image, thelower the stitches/unit, the wider the image in the drawing areaand on printout.

Rows / Unit : The vertical tension. For any given image, the lowerthe rows/unit, the taller the image in the drawing area and onprintout.

If you want to change the tension of the image on printout only,

adjust the tension in the Print , Life Size Print commandinstead.

Note: The effect of tension, or the real aspect ratio of the knit design,is visible on-screen in almost every zoom ratio of Stitch andInstruction Display modes, and in zoom ratio 200% or above ofNormal Display mode.

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Panel outlines in Knit Expert is best created by PanelSpec whichhas a set of customized panel templates and other panel editing

features. Select PanelSpec in the command group bar to callup the PanelSpec dialog box. First set the knit tension inPanelSpec to be the same as in the drawing area (1 stitch= 1 wale,1 row=1 course), so that the panel design in PanelSpec will be


generated into drawing area without distortion.

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Read a panel template file from the \Pv_patt\MasterLibraries\Knit Panel Library\Chinese Simplified, \ChineseTraditional or \English folder that is closest to the chosen paneldesign. The total number of stitches and the height are displayedfor each panel, you can check this information before you selectFile, Generate Panel & Exit on the PanelSpec menu bar totransfer the panels to the drawing area However in many cases,you may want to edit the panel to suit your need. See PanelSpecsection for details of generating the panel outlines and the otheressential PanelSpec features such as grading table, specificationsheet.

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To drape panel outlines with knit design pattern, Knit Expert usesthe following procedure with Draping Mode :

1. The outline of the knitted garment should first be sketched inKnit Expert. If you will be using your design for draping,retrieve in Draping Mode the photo or picture onto which thedesign is to be draped, and define the garment outline usingappropriate drape objects and grids (see Draping chapters fordetails).

2. Create the knit pattern design (or modify it from a scannedimage of an actual knitted garment) and fine-tune it withstitch-work in Knit Expert.

3. Combine the knit pattern and the garment outline using the

Fill , Pattern Fill or the Special Effects ,

Texture Mapping commands in Knit Expert, or go backto Draping Mode, and drape the pattern onto the drape objects.


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Alternatively, the panel outlines and knit design pattern can besketched and edited in Graphics Mode, but the outlines might notbe as detailed as those created in Knit Expert. After importing the

panel from Graphics Mode, apply the Drawing Tools , Cast

Off Line and Cast Off Curve to edit the outlines asappropriate (see Shaping the panel design with Cast Off Line andCast Off Curve section).

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To retain the original size (in inches or cm) of your knit design,

apply the 1:1 => Knit Size command in Knit Expert.

The 1:1 => Knit Size command multiplies the original imagesize by the tension and then divides it by the resolution. Thereforebefore applying this command, you should check the resolution of

your image in the Miscellaneous , Drawing Area Setting

command, and the tension under Define Tension .

1. Define a window around the panel design whose the originalsize should be retained.

2. Click 1:1 => Knit Size . Wait for few seconds for theconversion. The converted panel design will be displayed inStitch Display mode.


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Knit Expert offers all fundamental editing commands in GraphicsMode, but it also includes two additional production-friendly

Drawing Tools commands: Cast Off Line and Cast Off

Curve , which are used to shape the outlines of the panel,making the panel outlines more feasible and cost-efficient toproduce. These commands are mainly used to edit panels importedfrom Graphics Mode.

For perfectly vertical or perfectly horizontal lines, Cast Off Line

has the same effect as the Line command. For diagonallines, a number of parameters of the Cast Off Line determine howthe line is built up horizontally in cast off stitches and vertically incast off intervals (rows). As an illustration, compare the followingtwo Stitch Display mode lines of the same gradient and length:

In the illustration, the top line is a normal line. The “steps” thatmake up the line are decided by the system and are not editable.The bottom line is a Cast Off Line with the minimum stitches orrows per step value set to 4. Each step therefore is at least 4


stitches long and at least 4 rows high.

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In production terms for the normal line, the system determines thenumber of rows between each cast off row and the number ofstitches to cast off, this can sometimes result in a large number ofknit instructions. For the above Cast Off Line with minimumstitches or rows per step set to 4, it casts off at least 4 stitches atleast every 4 rows. If curve off lines consist of non-uniform steps,the step sequence (cast off line style) can be adjusted to reduce thenumber of handled instructions (see Cast Off Options section fordetails).

The Cast Off Curve command draws production-friendlycurves using a similar principle.

Note: The Cast Off Lines and Curves always begin and end with arow of cast off stitches. They only draw in single stitches and areindependent of pen dimension shown in the Pen Assistant.

The following is an example of how a Cast Off Line and Cast OffCurve can be used to create realistic and production-friendlygarment shaping:


Cast Off Line Cast Off Curve

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Panels such as the above can be created easily in the PanelSpec

command, which comes complete with a set of customizablepanel templates (see PanelSpec sections for details). Edited life-size panel outlines can be generated into the drawing area forfilling with colors and knit structures and finishing (see theFinishing the panel section).

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1. 1In Stitch or Instruction Display mode, select Drawing Tools

, Cast Off Line . The Status Assistant is displayed.

2. Select the required palette color and click the starting point of

your line. (Alternatively, use Restore Position tocontinue drawing from the end of the last-drawn line.)

3. Specify the line style and the stitch/row step options in the


Status Assistant (see Cast Off Options section for details).

4. Click the end-point of your line.

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5. To append another line onto the end of the line that you havejust drawn, repeat steps 3 to 4.


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1. In Stitch or Instruction Display mode, select Drawing Tools

, Cast Off Curve . The Status Assistant is displayed.

2. Select the required palette color and click the starting point of

your curve. (Alternatively, use Restore Position tocontinue drawing from the end of the last-drawn curve.)

3. Specify the curve style and the stitch/row step options in theStatus Assistant (see Cast Off Options section for details).


4. There are two curve input modes that determine whether theturning point or the end-point is defined first. With 1-3-2 mode,you must define the end-point before the turning point, and

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vice versa with 1-2-3 mode. Select the required input mode inthe Status Assistant

5. If using 1-3-2 input mode, move the cursor to the required end-point of the curve, and click once. Then move the cursor to theturning point of the curve, and click to confirm.

If using the 1-2-3 input mode, move the cursor to the requiredturning point of the curve, and click once. Then move thecursor to the end-point of the curve, and click to confirm.

6. To append another curve onto the end of the one that you havejust drawn, repeat steps 3 to 5.



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The stepping of the Cast Off Line or Cast Off Curve command isnot always uniform. For example, consider the following cast offlines:

The cast off sequence is always chosen automatically by the systemto fit the required line or curve as much as possible, withinlimitations imposed by the specified cast off options. Each cast offoption is explained below in detail.

Note: For easier explanation, Cast Off Lines only will be used asexample in this section, but unless otherwise specified, the sameoptions apply equally to Cast Off Curves.

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This determines the order in which steps are grouped along theline or curve. All the lines shown in the above example are of


Smooth line style, where the step sequence is repeated consistentlyalong the length of the whole line. Such lines result in straightergarment lines, but can require more effort to knit in practice.

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A Smooth line, Inner line and Outer line of the same step optionsand the same endpoints all consist of the same steps, but arrangedin a different sequence (see the illustration above).

For Inner and Outer lines, all steps of the same size are groupedtogether, producing just one knit instruction for each group of steps(cast off 3 stitches every 4 rows for 10 times, cast off 1 stitch every2 rows for 5 rows would represent two step groups). This reducesthe number of instructions per garment and so makes the garmenteasier to knit. Inner and Outer lines are not as straight as Smoothlines, because the step grouping causes the gradient to changealong the length of the line. Their greatest benefit is in reducingproduction cost and effort.

The difference between Inner and Outer lines is the order in whichgroups of the same step size are placed along the line. Inner linesalways bend downwards relative to a Smooth line of the same end-points. They are therefore useful for tasks such as shapingnecklines. Outer lines always bend upwards relative to a Smoothline of the same end-points. Outer line shaping is useful forcreating production-friendly hidden panel seams.

The difference between Smooth, Inner and Outer line styles isillustrated below:


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In the above illustration, the two straightest lines consisting ofregular steps use the Smooth line style. The lowermost, dark greylines are Inner lines, and hence bend downwards relative to Smoothlines of the same end-points. On the other hand, Outer lines such asthe light grey uppermost lines, bend upwards relative to Smoothlines of the same end-points. The inner and outer lines can beknitted from just 2 instructions each.

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These define the minimum step size. For example, if Stitches-Minis set to 3 and Rows-Min set to 4, the smallest step size in the lineis 3 stitches wide and 4 rows high. In production terms, thetechnician must cast off at least 3 stitches at least every 4 rows.

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These define the step-size increment. The width of any step in theline must be a multiple of Stitch-Step stitches greater thanStitches-Min. Similarly, the height of any step must be a multipleof Rows-Step rows greater than Rows-Min. In other words, if thenumber of stitches cast off changes, it must be increased ordecreased in multiples of Stitches-Min stitches. And if the cast offinterval changes, it must be increased or decreased in multiples ofRows-Min rows.

For a greater change of gradient along an Inner or Outer line,specify large Stitches-Step relative to Stitches-Min (cast offmany more stitches per row to make the cast off line much flatter),or large Rows-Step relative to Rows-Min (knit many more rowsin between cast off rows to make the cast off line much steeper).

The technical specification for any cast off line is as follows:

• Cast off at least Stitches-Min stitches at least every Rows-Min rows

• The actual number of stitches to cast off each time must beStitches-Min + (N x Stitches-Step), where N is an integer


• The actual number of rows in between cast off rows must beRows-Min + (N x Rows-Step), where N is an integer

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Consider the following example:

Stitches-Min 1 Stitches-Step 3

Rows-Min 2 Rows-Step 6

For this line:

Cast off at least 1 stitch at least every 2 rows

The actual number of stitches to cast off each time must be one ofthe following:

1, 4 (i.e. 1+3), 7 (i.e. 1+2x3) etc.

The actual number of rows in between cast off rows must be one ofthe following:

2, 8 (i.e. 2+6), 14 (i.e. 2+2x6) etc.

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Once you have created the panel outlines, apply the available panelediting commands to fill the panels with colors and knit structures,and finish the panel. Some of the commands have a specialmention as they apply to Knit Expert stitches and structures:

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PrimaVision comes complete with a set of knit and edgingstructures which may be used to construct complex and varieddesigns within Knit Expert. This knit structures are found in the\Knit Structure Library folder under \Pv_patt\Master Librarieson the PrimaVision drive (unless PrimaVision was installedintentionally without this library, or unless the library was


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installed to a location other than the specified default). However,due to the structural complexity of knit finishing, you are advisedto apply edging cast on and cast off structures using the Casting

command (see the later Automatic finishing section fordetails).

Knit structures imported from the PrimaVision knit structurelibraries into an Instruction Display mode drawing area will bedisplayed using the appropriate combination of Knit Expert’s 73available knit instruction symbols. Most of these instructionssymbols are industry standards in Japan and the rest of Asia. Theseparate document Symbols Used in Prima Knit Expert’sInstruction Display Mode gives a complete listing of all availableinstruction symbols and their meanings.

Note: To ensure true production feasibility, each structure of thelibrary has been meticulously replicated by hand prior to inclusionin the PrimaVision software.

To read a knit or edging structure into your knit design:

1. Select Read & Save , go to the \Pv_patt\MasterLibraries\Knit Structure Library folder on your PrimaVisiondrive.

2. Double-click the required structure in the relevant subfolder.

3. In the Knit Expert drawing area, position the selected knitstructure (represented by its rectangular outline) in your knitdesign, click once, replacing any other stitches or structuresthat originally existed there.

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Many editing commands require you to define a window around thestitches on which the command is to be applied. Knit Expert offers


a window definition shortcut for speeding up the selection ofstitches.

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1. Select the Window command, click a stitch in the drawingarea with the Green Button at the corner of the requiredwindow.

2. Click with the Green Button on the stitch at another corner ofthe window. All stitches within the window will be selected.Repeat this step as necessary to include other stitches into thecurrent window definition.

3. Click anywhere in the drawing area to confirm the definition.

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The Fill Single Color command under the Fill commandgroup may be used to fill boundaries defined by color in KnitExpert (as in Graphics Mode), but also to fill boundaries defined byclosed knit structures (example: within a diamond structurecreated from aran stitches). It enables you to fill the boundary witha particular color, and also to fill it with plain back stitch or plainfront stitch – simply make sure the color box contains the correctstitch type before using it as the fill color.

The Fill , Pattern Fill command can likewise be used tofill closed knit structures as well as color boundaries. The fillpattern may be a color pattern, stitch pattern or both. You may forexample fill a structure with moss stitch.


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When working with different aspect / ratio settings as required inKnitting Mode or Knit Expert, the stitches or screen pixels (asshown in graph format when zoomed in), are displayed asrectangular instead of square, as the software takes into accountthe uneven aspect / ratio dictated by stitch tension. This meansthat even when the ‘Circle’ or ‘Square’ options are checked in theStatus Assistant and an equal aspect ratio number is indicated,shapes drawn with these commands still appear as ellipses andrectangles in stitch mode.

If the Circle / Square checkboxes are selected whist in StitchDisplay Mode, the software takes the stitch tension into accountand automatically defines the optimum square or circle for thecurrent stitch tension.

This feature also works in conjunction with Graphics Mode and

the new Ruler and Scale Setting command, allowingoptimum circles and squares to be created whenever an unevenaspect ratio has been defined. This is useful in creating designs forjacquard weave, or any other form of textile-related designrequiring the designer to compensate for stretching or shrinking,such as hosiery, lace and print or weave designs using’shrink-yarn’, Elastane etc.


The optimum circle shape results once the user selects the Circle option inthe Status Assistant. The uneven Aspect Ratio indicated in the StatusAssistant as 39:31, has taken the stitch tension into account.

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The Copy and Move commands such as Mirror Copy

, Mirror Move , Upside Down Copy and Upside

Down Move are useful for editing the panel designs in KnitExpert. Note however that not all knit structures may be upside-down or mirror copied/moved.


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Knit design finished with 2-stitch edging. Finishing was appliedusing the new Casting command.

It would be very cumbersome to build up finishing for a knit designby manually importing individual library files from the knit

structure libraries. Knit Expert offers a Casting commandwhich automatically and instantaneously applies finishing to knitobjects.

The Casting command works only within the current window,applying finishing along any boundary between backgroundcolor zero and any other palette color.

Note: If you apply the Casting command to a shaped knitdesign that is not created by PanelSpec, you are highly


recommended to use the Cast Off Line or Cast Off Curvecommand to define the outline (see Creating the panel outline,Shaping the design with Cast Off Line and Cast Off Curve section).

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If you apply the Casting command to an object outline drawn

entirely with one execution of the Cast Off Line or Cast Off

Curve command, the warning message described in step 6below should not appear. If the Cast Off Line or Curve merely formspart of an outline, you may encounter complications when applyingautomatic finishing.

1. Define a window around the design to which finishing is to beapplied. Take care not to include in this window any objects towhich you do not want to apply finishing.

Important Note: Leave a margin of at least 1 pixel between thedefined window and the edge of your design in all directions toensure complete finishing.

2. Select Casting . This calls up the Status Assistant.

3. Select the direction in which you want to apply the finishing. Ifyou select From the Left, finishing will begin at the bottom leftcorner of your design in the drawing area and work anti-


clockwise around the knit edge. If you select From the Right,finishing will begin at the bottom right corner of your design inthe drawing area and work clockwise around the knit edge.

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4. In the Edge Width field, specify (in stitches) the width of fullyfashion marks that you require for the panel.

5. Click once in the drawing area (or select Go in thecommand bar). Finishing will be applied instantaneously.

6. If Knit Expert detects that production feasibility may become aproblem with the applied finishing, a warning message isdisplayed, reminding you to check it for unknittable structures.Click OK to clear this message from the screen.

Should the finishing require adjustment, use the Undocommand to cancel the finishing. Adjust your design and thenrepeat from step 2 onwards for more accurate finishing.

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If your knit technician does not have PrimaVision, you will need toprint a hard copy for communicating your production information.

You can print your knit design just as it appears in Instruction

Display mode using the Life Size Print command of the Print

command group. You can choose to print the current windowcontents in either color or black and white knit instruction symbolsby selecting Color Knit Instructions or B/W Knit Instructionsoption button in the Style section of the Life Size Print dialog

box. Besides, the Image Print , Aspect Ratio Print 0, Graph

Print and Symbol Print commands in the Printcommand group are also specifically used in Knit Expert.


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To convert a knit design complete with its stitch effect into abitmap image:

1. Save your knit design.

Note: Since Knit Expert and Graphics Mode use the same drawingarea, it is important to save your knit design before converting it tobitmap to avoid data loss. Once converted, it is impossible to changea bitmap image back into the original knit design.

2. Select Keep Stitch .

3. Position the rectangular outline that appears in the drawingarea over the part of the design that you want to convert tobitmap, and click once. The selected portion of the knit designwill automatically be enlarged into a bitmap image.

The operation of the Keep Stitch command is linked to the Ruler

and Scale Setting feature; it uses the current scale as thesize to convert from a knit file into a graphics file, eliminating theneed for the designer to calculate the smaller size by adaptingstitch tension and printer resolution.

To create a small graphics version of a knitted garment:

1. Select the appropriate size in percentage (e.g. 10%, 25%) or

scale (1:4, 1:10) under Ruler and Scale Setting .

2. Convert image to Graphics Mode using Keep Stitchcommand as before.

Note: to convert a knit file to a graphic file at life size, simply set thescale in Ruler and Scale Setting to 1:1 or 100%.


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Knit Expert is able to interface with various knitting machines.Pattern information can be exported from Knit Expert to theknitting machine via floppy disks, cassette tape or punch tape, butthe actual knitting of the design is handled by the machine itself.Patterns can also be imported from knitting machines for use inKnit Expert.

The Import Knitting Interfaces command and the Export

Knitting Interfaces command are found under the Knit

Expert Read & Save command bar when you select Read &

Save and click Exit to leave the Read & Save window. To

interface with punch card machines, use the Punch Interfacecommand instead.

To interface with the universal knitting machines, use the

Universal Interface command. Specify your requiredinformation in the dialog box and click the Write Tape button totransfer them to magnetic tape. Use the Read Tape button to reada pattern from tape into Knit Expert.

Knit Expert currently supports interfaces to the following knittingmachines:

Model/Series Machine Type Interface Type

Lonatti L362/E Circular sock Disk

Mayer MCPE Circular Disk

San Giacomo Circular sock Disk

Steiger Flatbed Disk


Stoll ANVH Flatbed Punch Tape

Tatsumi Flatbed Punch Tape

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Three Star Flatbed Punch Tape

To apply the Export Knitting Interfaces command, here arethe procedures for exporting sock design files for use with SanGiacomo and Lonatti knitting machines:

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1. In Knit Expert, click Read & Save, then Exit and select

the Export Knitting Interfaces command.

2. Select San Giacomo Setup and select the yarn colorsused in your design file (this converts the yarn colors into codes

that San Giacomo can understand). Click Save Setting .

3. Click Export File , and save your design file in SanGiacomo format (*.pic), either Format 1 or Format 2.

4. Transfer the exported file to a high-density floppy disk forreading into the San Giacomo knitting machine controller.

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1. In Knit Expert, click Read & Save , then Exit and

select the Export Knitting Interfaces command.

2. Click Export File , and save your design file in Lonattiformat (*.pic). The file will be exported in Lonatti 300 format.


3. Transfer the exported file to a high-density floppy disk forreading in the Lonatti knitting machine controller.

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Please refer to Chapter PanelSpec for details operation of thiscommand.


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Prima Weave Expert was created to assist textile designers whowork with woven fabrics, and it provides a range of specializedtools for the weave design process.

For conciseness, throughout this chapter we shall refer to a weavepattern as simply a weave.

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Call up Weave Expert from Graphics Mode by selecting Weave

Expert in the mode bar.

A number of features and option buttons in the mode bar areavailable in Weave Expert:

• The fabric editing area contains two repeats of the fabricdesign along both warp and weft (it will contain more than tworepeats only if they are necessary to fill one screen width/height). Like the Graphics Mode drawing area, it is scrollablefor large designs and has multiple zoom ratios.

• The Grid in the mode bar enables you to see the weavewith fine grids of pixels. The grid lines are shown when thedrawing area zoom ratio is 800 or higher.

• The Hair toggles between displaying yarns with orwithout the hair types that have been defined for each yarn(including any objects which have been manually drawn ontothe yarn by the user.


• The Ruler switches the ruler display on and off. Right-click the button, select inch or cm as ruler measurement unit

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• The Shading adds or removes the color shading that givesyarns their three-dimensional look

• By clicking Single Repeat in the mode bar, you canchoose to display either a single repeat (useful for e.g. drapingpurposes) or the repeated pattern (useful for viewing the finalrepeated effect of your design)

• The Weave Bar enables easy access to both yarn andweave information at the same time

• The Edit Warp/Weft is used for editing the weft and warpyarn mappings.

• In Weave Expert, a new Fabric Assistant is added in themode bar and will automatically be activated when you call upWeave Expert. It displays either the weave library or yarn

library for the current fabric file when the Weave or Yarn

button on top of the Assistant is selected. In the ScrollAssistant, scrolling the lever will show the fabric from bottomleft in a variety of zoom ratio, the panning area in the ScrollAssistant is irrelevant in Weave Expert.

Note: Weave Expert operates entirely independently from GraphicsMode, and any graphic image remaining in Graphics Modedrawing area will be unchanged while you work in Weave Expert.

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A fabric in Weave Expert is composed of yarns mapped in warp andweft, just as in actual production. The weave structure, however, iscreated separately, and is best applied once the basic fabric designis complete.


The basic steps in creating a Weave Expert fabric are:

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1. Create or retrieve a yarn library for this fabric

2. Create or retrieve a weave library for this fabric

3. Use the selected yarns to build up the basic fabric design

4. Apply the selected weaves to develop a complete weavestructure for the fabric.

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Before you begin to design your fabric, some fabric settings must de

defined. Select Edit Setting in the Weave Expert commandgroup bar.

Measuring Unit: the unit of measurement used in the weave (cmor inch)

Weft Density: the number of weft yarns per selected Unit

Warp Density: the number of warp yarns per selected Unit

Keep No. Of Yarns the same / Keep Dimension the same :

If a fabric already existed in your Weave Expert, and you changeits Weft Density and Warp Density, the system re-allocates theyarns into the fabric according to the new density, keeping eitherthe same total number of yarns, or the same fabric width andheight (dimension) in cm/inch.

The other settings are described in later sections.


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To work with the yarn-related commands presented in this section,

first select Yarn Library to call up the Yarn Library window.To return to the Weave Expert command group bar at any stage,

select Command End .

Note: The total number of yarn colors used in any given fabric filecannot exceed 215. A running total of yarn colors used is displayedin the Yarn Library window.

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There are three fundamental yarn types of in Weave Expert: thesimple yarn, the basic yarn and the mixed yarn.

Simple Yarn : A hairless yarn in a single solid color, useful forkeeping colors to a minimum

Basic Yarn : A yarn in a single color with shading to create athree-dimensional effect

Mixed Yarn : A variation of the basic yarn that allows up to 8yarn colors in the same yarn

All three yarn types can be manually edited once they have beenadded to the yarn library.

The use of existing yarn libraries is described in Managing YourYarns.


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1. Select the New Simple Yarn subcommand. Specify aYarn Code (a short name which will be used to identify youryarn), Yarn Material, Yarn Count, Yarn Unit and a YarnDescription. Weave Expert is able to work with the followingunits:ECC for cotton840 yards/pound

EWC for worsted = 540 yards/pound

YSW for woollen = 256 yards/pound

GALA for woollen = 200 yards/pound

Tex = grammes/1000 metres

dtex (decitex) = grammes/10000 metres

den (denier) = grammes/9000 metres

Ne for cotton = 840 yards/pound (equivalent to the Ne1standard unit)

Ne for flax = 300 yards/pound (equivalent to the Ne2standard unit)

Ne for woollen = 560 yards/pound (equivalent to the Ne3standard unit)

Ne for worsted = 560 yards/pound (equivalent to the Ne3standard unit)

Nm for cotton = Ne (cotton)/1.7 metres/gramme(equivalent to the Ne1 unit expressed in metres/gramme)


Nm for flax = Ne (flax)/0.6 metres/gramme(equivalent to the Ne2 unit expressed in metres/gramme)

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Nm for woollen = Ne (woollen)/1.13 metres/gramme (equivalentto the Ne3 unit expressed in metres/gramme)

Nm for worsted = Ne (worsted)/1.13 metres/gramme (equivalentto the Ne3 unit expressed in metres/gramme)

Note: Woollen and worsted yarns of the same yarn count will be ofdifferent diameters due to differences in material density.

2. Specify a yarn color using either the Color Assistant palette, orany other color source available in the New Simple Yarncommand bar (color levers, system color libraries, Pantone oruser-defined color libraries). The current yarn color(s) used inthe library is/are placed temporarily towards the end of thepalette ending at color box 215.

3. Select Put into Lib. to transfer the yarn to the current yarnlibrary.

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1. Select the New Basic Yarn subcommand. Specify a YarnCode, Material, Yarn Count, Yarn Unit, Hair Length, HairDensity, Yarn Twist, and a yarn Description (see step 1 ofCreating a new simple yarn for available yarn counts).

2. Select a yarn color as for a simple yarn (see step 2 of Creating anew simple yarn).

3. Select Put into Lib. to transfer the yarn to the currentyarn library.

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1. Select the New Mixed Yarn subcommand. Specify a Yarn


Code, Material, Yarn Count, Yarn Unit, Hair Length, HairDensity, Yarn Twist, and a Yarn Description (see step 1 ofCreating a new simple yarn for available yarn counts).

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2. Select Change Mode to call up the color composition listto the Status Assistant. Click on the first color composition box,specify a yarn color for it, using either the Color Assistantpalette, or any other color source available in the New MixedYarn command bar (Color levers, system color libraries,Pantone or user-defined color libraries). Edit the colorcomposition percentage as necessary. To add colors, click on thenext color composition box and specify a new color. Note that asyou edit the composition percentage for each color, thecomposition percentage of the first color automatically adjuststo compensate. Up to 8 different yarn colors are allowed permixed yarn. The current yarn color(s) used in the library is/areplaced temporarily towards the end of the palette ending atcolor box 215.


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The Duplicate Yarn subcommand adds an existing yarnduplicate into the yarn library, which can be edited to create quickvariations of the original.

1. Select the yarn that you want to duplicate from the yarnlibrary in the Fabric Assistant.

2. Select the Duplicate Yarn subcommand. Thisimmediately creates a duplicate of your yarn at the end of thecurrent library.

Note: The duplicate yarn will be given the same name as theoriginal yarn, but with a number appended to it. For example, aduplicate of “Whiteslub” will be called “Whiteslub1" or “Whiteslub2"if a yarn called “Whiteslub1" already exists etc.


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Scanned images of yarns may be imported into Weave Expert.

1. Scan your yarn into Graphics Mode and remove all scatter dotsfrom both around and within the image. To ensure a trouble-free yarn import, there should be nothing but background colorzero around your scanned yarn image.

Note: It is recommended that you color group the yarn before inGraphics Mode in order to minimize the color box use in the WeaveExpert palette.

2. Define a window around the body of the scanned yarn.Elements that do not form the main body of the yarn, such asslubs or hair, should be excluded from the window: theseelements will be brought into Weave Expert automatically.

3. Call up Weave Expert. Select Yarn Library and create anew basic or mixed yarn.

Create the yarn to be of the final required yarn count and with hairlength set to Extra Long. Hair length determines the maximumwidth of the imported image, and any scanned elements which donot fit into this width will be cropped out. The longer the hairsetting, therefore, the more room will be made available for theimport of non-body elements such as slubs and hair. Yarn count isimportant, because the imported yarn body will be scaled to fit thedimensions of this template yarn. Yarn color, yarn type, hairdensity and yarn twist have no effect on the final imported yarn.

Add this yarn to the library with Put into Lib. .

4. Select this yarn in the library and select Draw Yarn .

5. Select Import Yarn . The scanned yarn is immediatelyimported into the Draw Yarn window, reproportioned to fit thedimensions of the original library yarn body.


6. Select Put into Lib. to update the library yarn.

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A Weave Expert yarn can be used as it is, or edited. There are two

basic ways to edit a yarn: Edit Yarn (edit the yarn definition)

and Draw Yarn (draw directly on the yarn).

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This command allows you to change the definition of the createdyarn.

Select the yarn from the yarn library in the Fabric Assistant.

Select the Edit Yarn subcommand, and modify the yarndefinition as required. To confirm your changes, select Put into

Lib. . Or select Command End to restore the changes,click OK to confirm.

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This feature allows you to draw directly on your yarn to create theexact look that you require.

1. Select the yarn from the yarn library in the Fabric Assistant.

Select the Draw Yarn subcommand to call up a yarnediting screen.

2. Pick up a color from the palette and draw with it on the yarn inthe magnified yarn layout. You may repeat a yarn design along

the yarn’s entire length by selecting Define Repeat . Todefine the repeat window, click at the top end of the repeat andthen the lower end of the repeat in the magnified layout. Anysubsequent amendments made to your yarn design will berepeated real-time along the whole length of the yarn.


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3. When you have finished making your changes, confirm by

selecting Put into Lib. . Or select Command End torestore the changes, click OK to confirm.

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To delete a yarn from the current yarn library, select the yarn to be

deleted, and then select the Delete Yarn subcommand in theYarn Library command bar.

To clear all yarns from the current yarn library, select the Clear

Yarn Lib. subcommand.

Each fabric file is saved complete with its current yarn and weavelibraries. You can also manage your yarns independently from thefabric file, either individually as yarn files, or collectively as yarnlibrary files. Sharing individual yarns and yarn libraries betweendifferent fabric files is therefore a simple process.

To manage an individual yarn as a yarn file, simply select the yarnfrom the current yarn library in the Fabric Assistant and select

Read/Save Yarn subcommand. In this window, all usualPrimaVision file management commands are available for use withyour yarn file. You can therefore use it also to import yarn files intothe current yarn library.

To manage the current yarn library as a yarn library file, simply

select the Read/Save Y. Lib. subcommand. All usual filemanagement commands are available.

Note: If you are creating a complex fabric with many yarns,remember that the 256-color palette restricts the number of yarncolors that may be used in a particular sketch file. For basic andmixed yarns, at least six color boxes are reserved for each yarn color.


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To work with the weave-related commands, first select the Weave

Library command to call up the Weave Library window. Toreturn to the Weave Expert command group bar at any stage,

simply select Command End .

PrimaVision offers a wide selection of ready-made weave librariesincluding crepe weaves, diamond weaves, herringbone weaves,satins, sateens and twills. To view the available ready-made

libraries, simply select the Read/Save W. Lib. subcommandand go to the PV_Patt\Master Libraries\Weave ConstructionLibrary subfolder on your PrimaVision drive. If you cannot findthese libraries, it is likely that PrimaVision was installed withoutthe weave libraries, or that the libraries were installed to anotherlocation than the specified default.)

The use of weave libraries is described in Managing your weaves.

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1. Select the New Weave subcommand. This will call up awindow that displays three different representations of thesame weave: a notation, a peg-plan and a draft.

2. Define the size of the weave by amending the No. Of Shafts,No. of Ends and No. of Picks fields, pressing <Enter> aftereach modification. The new definition will affect all threedisplay formats simultaneously. In the Weave Code field,specify a short name for the new weave.

3. Edit the plans by clicking on appropriate grid squares to switchbetween, for example, raised and depressed pegs in the peg-plan. As you edit one of the plans, the two other ones willchange accordingly.


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4. Once you have completed your design, select Minimize Shaft

to reduce the design to its most compact size. You may alsoreverse the design (exchange raised pegs for depressed pegs

and vice versa, etc.) by selecting Reverse Weave .

5. To restore the changes and define the weave again, select

Restore . To print the current peg-plan and draft, select

Print Peg-Plan & Draft .

6. Select Put into Library to add your new weave to thecurrent weave library.

Note: As an alternative to using the New Weave subcommand,

use Transform Bitmap to retrieve a bitmap weave patternfrom the Graphics Mode drawing area and convert it into a weavethat Weave Expert can recognize.

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To return to the weave editing screen, select Edit Weave .Repeat steps 2 to 6 of the Creating a weave section as required.

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Weave peg-plans may be exported from Weave Expert as ASCII(MS-DOS) text, providing clear production details for the weavetechnicians who will create the final fabric.

1. Select the weave from the weave library in the FabricAssistant.


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2. Select the Edit Weave subcommand, then select Export -

Text .

3. Specify the name and location of the new text file. Click Save.

4. The text file will be opened automatically using the WindowsNotepad editor application (or any other Windows applicationthat has been identified in your computer’s registry as thedefault program used to open text files). An example of anweave peg-plan in exported text format is shown below:

Weave Code : Weave 30

No. Of Shafts : 10

No. Of Ends : 12

No. Of Picks : 12

DRAFT

1, 2, 3, 4, 5, 6, 7, 8, 9,10, 3, 2,

END--

PEG-PLAN

WEFT 1 <-> OOXXXXXXXX 3, 4, 5, 6, 7, 8, 9,10,

WEFT 2 <-> XOOXXXXXXX 1, 4, 5, 6, 7, 8, 9,10,

WEFT 3 <-> OXOOXXXXXO 2, 5, 6, 7, 8, 9,

WEFT 4 <-> OOXOOXXXOO 3, 6, 7, 8,

WEFT 5 <-> OOOXOOXOOX 4, 7,10,

WEFT 6 <-> OOOOXOOOXO 5, 9,


WEFT 7 <-> OOOOOXOXOO 6, 8,

WEFT 8 <-> OOOOXOOOXO 5, 9,

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WEFT 9 <-> OOOXOOXOOX 4, 7,10,

WEFT 10 <-> OOXOOXXXOO 3, 6, 7, 8,

WEFT 11 <-> OXOOXXXXXO 2, 5, 6, 7, 8, 9,

WEFT 12 <-> XOOXXXXXXX 1, 4, 5, 6, 7, 8, 9,10,

-END--

5. To print this file immediately, select File, Print on theNotepad menu bar to print to the current Windows default

printer. To close the Notepad, click the Windows Closebutton, or select File, Exit.

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To delete a weave from the current weave library, select the

Delete Weave subcommand in the Weave Library commandbar.

To clear all weaves from the current weave library, select the

Clear Weave Lib. subcommand.

Each fabric file is saved complete with its current weave and yarnlibraries. You can also manage your weaves independently fromthe fabric file, either individually as weave files, or collectively asweave library files. Sharing individual weaves and weave librariesbetween different fabric files is a simple process.

To manage an individual weave as a weave file, simply select theweave from the current weave library in the Fabric Assistant and

select the Read/Save Weave subcommand. In this window,all usual PrimaVision file management commands are available foruse with your weave file. You can therefore use it also to import


weave files into the current weave library.

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To manage the current weave library as a weave library file,

simply select the Read/Save W. Lib. subcommand. All usualfile management commands are available.

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To transform a weave structure into a bitmap image and send it tothe Graphics Mode, select a weave structure and click Transfer

Weave to Bitmap . Then, a single unit of the weave structurewill be copied to the Graphics Mode drawing area.

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Once you have created your yarns and weaves, you can construct afabric. To build a fabric, use the yarns first, and apply the weavestructure afterwards.

A Weave Expert fabric is composed of a series of yarn blocks alongthe warp and weft color bars. All commands introduced in thissection will make extensive use of these two elements.


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There are three yarn insert modes: Boundary Insert, SplitInsert and Arbitrary Insert. Boundary Insert allows you toinsert yarns only at the boundary between existing yarn blocks.Split Insert allows you to insert a yarn only at the mid-point of anyexisting yarn block, splitting it exactly into two halves — each halfthen becomes an independent yarn block. Arbitrary Insert allowsmaximum flexibility, enabling insertion at any point along theexisting fabric.

1. Go to the Weave Expert command group bar in Fabric viewmode, select from the yarn library in the Fabric Assistant theyarn that you want to insert into the current fabric.

2. Right-click on either color bar, and select Insert...

Alternatively, select the Insert Yarn/Weave command inthe Weave Expert command group bar.

3. If necessary, click the Change Mode command or GreenButton on the fabric until the required insert mode is displayedin the Status Assistant.

4. Move your cursor to the insertion point. The current insertionpoint is marked by a black arrowhead. In Boundary Insertmode, this arrowhead is restricted to yarn block boundarypositions. In Split Insert mode, this arrowhead appears at themid-point of existing yarn blocks. In Arbitrary Insert mode,this arrowhead can be moved freely along the length of thecurrent fabric definition.

5. Once the insertion point is correctly positioned, drag to createthe new yarn block. Press and hold down the Yellow Button.The total number of yarns and the width in cm/inch of the yarnblock to be inserted are displayed next to the arrowhead whenyou move the cursor along the color bar. When the new yarnblock is of the correct size, release the Yellow Button.


6. Repeat this procedure as many times as required to build upyour fabric.

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Position your cursor over any yarn block to see a tooltip thatdisplays the library name of the relevant yarn. Each yarn block’slibrary name will be preceded by a bracketed number which givesits position in the fabric’s yarn sequence. For example, “(11) 3"means the selected block is the 11st block on the warp/weft of thefabric to which the yarn with yarn code 3 in the yarn library isassigned.

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Click on a single yarn block to select it. To select multiple non-adjacent yarn blocks, hold down the <Ctrl> key as you select eachadditional yarn block. To select a range of adjacent yarn blocks,click on the first yarn block in the required range, hold down the<Shift> key, click on the last yarn block in the range, then releasethe <Shift> key.

The yarn block editing commands may be applied to multiple yarnblocks at the same time, with the exception of yarn block insertionand yarn block resizing. Select the single block or multiple blocksto highlight it/them before you apply the commands. For thecommands to copy all warp/weft to weft/warp and delete all warp/weft, the selected yarn blocks are unimportant.

Note: All yarn block editing commands except the yarn blockcopying will be applied either on the weft or warp of the fabric, butnot both, although you can simultaneously select yarn blocks onboth warp and weft.


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To resize a yarn block, move the cursor over the rightmostboundary (or uppermost depending on the color bar) of the yarnblock to be resized. When the cursor becomes a two-headed arrow,drag the boundary until the yarn block is of the required size.

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You may resize a yarn block whilst retaining the original positionsof all other yarn blocks in the fabric.

Hold down the <Ctrl> key during resizing, and the yarn blockimmediately to the right/above the selected yarn block willautomatically resize according to the selected yarn block.

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To change the yarn used in a yarn block, select the new yarn in theyarn library of the Fabric Assistant, right-click the yarn block, andselect Change to Selected Yarn.

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Select the yarn block to be deleted and right-click it. Select DeleteSelected Section. To delete all warp or weft yarns, select DeleteAll Warp or Delete All Weft respectively.

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Select the yarn block to be moved, and simply drag it to its newposition.

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Select the yarn block to be copied, and hold down the <Ctrl> key asyou drag it to its new position.

To copy a selected yarn block from warp to weft or vice versa, right-click the selected yarn block, and select Copy Selected Section.Click on the insertion point on the destination color bar and theyarn block will be copied to the position marked by the blackarrowhead.

To copy all yarn blocks from warp to weft or vice versa, right-clickany yarn block on the color bar to be copied, and select Copy AllWarp to Weft or Copy All Weft to Warp as appropriate.

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The yarn block mirror copy functionality speeds up the creationprocess for yarn sequences with a degree of mirror symmetry.

1. Select the yarn blocks to be mirror copied. These yarn blocksmust lie adjacent to each other if this command is to functionas a true mirror copy.

2. Right-click the yarn block selection and select Mirror CopySelection. Move your cursor to the insertion point for themirror copy, and click once. The selected yarn blocks will bemirror-copied to the position marked by the black arrowhead.


original yarnblocks

mirror-copiedblocks

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A copy of a yarn block selection will not change if you edit theoriginal yarn blocks. The Insert Repeat Section command allowsyou to create a copy that changes with the original yarn selection.For example, if you delete a yarn block from the original selection,it is automatically deleted from the repeated section too. Or if yourearrange the yarns in the original selection, the correspondingyarns are immediately rearranged in the repeated section.Insertion of a new yarn block into the original yarn selection istreated in the same way.

1. Right-click on a yarn block on either color bar, select Insert

Repeat Section or select Insert Repeat in the commandbar.

2. The Status Assistant will display the prompt Repeat From...Click on the yarn block at one end of the yarn selection to berepeated.

3. The Status Assistant now displays the prompt Repeat To...Click on the yarn block at the other end of the yarn selection tobe repeated.

Note: The yarn blocks of a section to be repeated must be adjacent toone another.

4. At the prompt Insert Repeat At.., move your cursor to theinsertion point for the repeated section (marked by a blackarrowhead) and click once. The repeated section is displayed onthe color bar as a single grey bar to indicate that you cannotdirectly edit its contents.

The repeated section may be moved, copied and deleted as a singleunit in a similar way to a yarn block. To edit its contents, you mustedit the original yarn blocks from which it was created. Click on arepeated section on the color bar and its original yarn blocks will behighlighted. As mentioned above, any changes made to the originalset of yarn blocks will be reflected in the repeated section also.


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To change the color of a created yarn, select the yarn from the yarnlibrary in the Fabric Assistant, the Status Assistant now displaysthe settings of the selected yarn. In the Color Assistant palette,

Original

Yarn Blocks

Repeated

section


select a new color for the yarn. You can see the real-time colorchange on the fabric.

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The above procedures all use the color bars as a fast andconvenient method for editing the fabric design. You may prefer tothink of your design in terms of warp and weft mappings. If so,

simply activate the Edit Warp/Weft button in the mode bar.This calls up a dialog box with one page for warp mappings andanother for weft mappings. Click on the page tabs to switchbetween Warp and Weft. To switch between displaying the yarnwidth in cms and inches, click the Width column heading. Eachentry on either page represents a yarn block.

You can edit any of the yarn blocks on either page by double-clicking it to call up its Edit Mapping Entry dialog box. (This dialogbox can also be called up for an individual yarn block by double-clicking it on the fabric color bar.) Edit the Yarn Code, Yarn Countand Width in inches/cms as necessary. Click OK to confirm thechanges.

To insert a yarn block on the warp or weft, go to the Warp or Weftpage respectively and select the yarn that is directly before the newyarn to be inserted. Click the Insert button to call up the EditMapping Entry dialog box. Type the Yarn Code, Yarn Count andWidth in inches/cms. Click OK to confirm, and the new yarn blockwill be inserted. To delete a yarn block, simply select it, and clickDelete.

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You may at some stage need to use Weave Expert to create avirtual representation of an actual woven fabric. The Read

Drawing Area Bitmap command used together with ascanned image of the fabric can provide a useful reference sourcewhen re-creating the fabric in Weave Expert.


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First scan your fabric into the Graphics Mode drawing area anddefine a window around the section to be transferred to WeaveExpert. Then call up Weave Expert, and select Read Drawing

Area Bitmap to create a copy of the drawing area contents inthe fabric editing area. (This imported image uses a maximum of20 colors, and will be automatically color-grouped if necessary.)Note that the created image is not editable, but is intended to serveas a guideline in the creation and positioning of appropriate yarnsin the fabric — the fabric itself must be created in the usual way,and inserted yarns are simply laid on top of the bitmap image.

Note: Always activate the Single Repeat button in the modebar whilst using a bitmap image as a guideline, otherwise, thebitmap image will be entirely hidden by the yarns.

Note: The dimensions of the image retrieved into Weave Expert’sfabric editing area will be exactly those of the original GraphicsMode image. It is therefore advised that you adjust the resolution inGraphics Mode before transferring the image to Weave Expert.

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The created fabric in Weave Expert can be saved with its yarnlibrary and weave library as a PrimaVision sketch file by using the

Read & Save command in the Weave Expert command groupbar. Read the saved file in the same manner. Alternatively, you cansave and read a fabric by selecting File, Save/Save As and File,Open respectively on the Weave Expert menu bar.


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This section focuses on the creation of a weave structure for yourfabric. For editing convenience, you may choose to view your fabricin one of two modes: Fabric view mode (the fabric itself completewith both yarns and weaves) and Structure view mode (the weavestructure alone — most of the weave structure editing commandsreside in this mode). To toggle between the two view modes, use the

Fabric/Structure command.

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The weave bars in Structure view mode work in similar manner tothe color bars in Fabric view mode, with the same insert, resize anddelete functionality. And just as yarn mappings may be displayedfor an individual yarn block, weave “mappings” may also be viewedby double-clicking the weave block.

The section in the weave structure where a warp weave patternand weft weave pattern overlap is independent from the warp andweft weave block in the weave bars, you can view the weave librarytooltip for each section by positioning your cursor over the sectionin the weave structure. To change the weave pattern used in anysection, select the new weave from the weave library in the FabricAssistant, right-click the section in the weave structure, and selectChange to Selected Weave.


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Note from the above figure that the right-click menu of a weavesection contains a second option: Advanced Weave Positioning.This is used to control the positioning of the weave pattern relativeto either the weave section (local origin) or the entire fabric (fabricorigin). Different positioning of the weave pattern within the samesection can lead to a very different look; on occasions it may also bea crucial factor in production feasibility.

Selecting the Advanced Weave Positioning option calls up thefollowing dialog box:


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The diagram in the rightmost column of the dialogue box providesa pictorial representation of the currently-selected origin position.The two most frequently-used option combinations are explainedhere, with the remaining combinations simply being variations onthe same theme:

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The bottom left corner of the weave section is the point at whichrepeating of the weave pattern (the notation) begins i.e. the origin.The origin moves with the weave section, so the positioning of theweave pattern within the section always remains the same.

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The bottom left corner of the fabric is the point where the weavepattern repeat starts, i.e. the origin. The origin stays fixed relativeto the fabric, so if you move the weave section, the positioning ofthe weave pattern within the section changes.

In addition to these options, you may fine-tune the weavepositioning relative to the chosen origin with the vertical andhorizontal Extra Offset fields. Using the above dialog box settingsas an example, a vertical extra offset of 3 will move the wholeweave pattern down by 3 weft threads, and a horizontal extraoffset of 10 will move the whole weave pattern to the left by 10warp threads.

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Select the Fabric/Structure command to return to Fabricview mode. To display the weave bars, simply activate the Weave

Bar button in the mode bar.


To view the actual weave structure of any part of your fabric whilstin Fabric view mode, simply drag to create a transparent windowthrough to Structure Mode (see figure below).

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1. In Fabric view mode, position your cursor on one corner of thefabric area for which you need to see the structure.

2. Press and hold down the Yellow Button.

3. Move the cursor to the opposite corner of the required area.Release the Yellow Button.

4. To close down this weave structure window, simply click theYellow Button once more anywhere in the drawing area.


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When yarn counts are high but yarn densities low, the backgroundcolor shows through the fabric, and hence has a significant effecton the overall appearance of the fabric colors.

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To change the background color, select Define Bg. Color inthe Weave Expert command group bar, the Color Levers dialog box

Transpar-ent win-dowrevealingthe fab-ric’sweavestructure

Fabric in Fabric

view mode


is displayed. Adjust the RGB/CMYK levers to obtain the desiredcolor. To restore the changes, click the Restore Color button.Click OK to confirm the color.

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Weave Expert offers a function Ignore Yarn Count which reducesthe effect of the background color, and therefore allows you tovisualize more accurately the appearance of the finished fabric,without changing the background color itself.

Select Edit Setting in Fabric view mode, the Edit Settingdialog box is displayed. Go to the General page, activate theIgnore Yarn Count check box. Click OK. In ignoring the yarncount, the system will thicken all the yarns until the background isno longer visible behind the fabric. To restore the original yarn

count, select Edit Setting once again, and deactivate theIgnore Yarn Count check box.

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The Yarn Combo Generator is very similar in functionality toGraphics Mode’s Color Combo Generator, but rather than generatevariations of an image by interchanging colors, the Yarn ComboGenerator creates its variations of a fabric by interchanging yarns.

1. First retrieve into Weave Expert the fabric for which you wantto generate different yarn combos. Select the zoom ratio to viewyour yarn combos.

2. Select Yarn Combo . Select all the yarns that may beswapped in or out of the design during combo generation.

3. To select all yarns in the yarn library, click the Green Buttonon the fabric. To select the last-used yarns for the combogeneration since starting up PrimaVision, click the BlueButton on the fabric. Select each yarn by clicking it in the yarn


library of the Fabric Assistant or/and by clicking anappropriate yarn block on the color bars.

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To deselect a selected yarn, click it once again on the color bars or

in the Fabric Assistant. Select Enough to confirm your yarnselection.

4. This calls up the Yarn Combo Generator dialog box. By default,4 combos are displayed per page.

Note: Each of the displayed combos defaults to show the bottom leftcorner of the fabric. The scroll bars scroll all combossimultaneously.

5. All commands within the Yarn Combo Generator behave inexactly the same way as their corresponding Color ComboGenerator commands in Graphics Mode. Available commandsare:

• Previous Combo

• Next Combo

• Auto Yarn Combo

• Freeze Combo

• Unfreeze Combo

• Keep Combo

• Save Combo

• Print Combo

Note: In the Yarn Combo Generator, you may freeze or unfreezemore than one yarn combo at a time. At any stage, click each combo


that you want to freeze or unfreeze.

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Note: This option affects only the on-screen display and printedoutput of a fabric: yarns in the Fabric Assistant remain unchanged.

The Override Yarn Hair Setting option allows you to view yourfabric with different brushed effects. When activated, this optionwill override the hair settings of all yarns in the fabric.

1. First make sure that the Hair button in the mode bar isactivated so that you will be able to see the effect of the yarnhair setting override.

2. From the Weave Expert command group bar in Fabric view

mode, select Edit Setting .

3. To override the current hair settings of all yarns in the library,go to the Hair page, activate the Override Yarn Hair Settingcheck box. Adjust the Hair Length and Hair Density leversas requested.

4. Click OK. All yarns in the fabric will now assume the specifiedhair length and density. Repeat this procedure to view theeffect of various hair setting combinations. To return theoriginal hair settings as specified by the library yarns, deselectthe Override Yarn Hair Setting check box.

Note: If any of the yarns in your fabric were created or edited in

Draw Yarn , the Override Yarn Hair Setting option willreplace them with system-generated hairy yarns according to the

hair length and hair density specified under Edit Setting .

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This option affects only the on-screen display and printed output of


a fabric: yarns in the Fabric Assistant remain unchanged.

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The Shading button in the mode bar removes all the system-generated shading that creates the 3-dimensional look of the yarns,retaining only the fundamental yarn color(s) that you selectedupon creating the yarn. This feature is best applied before using

the Fabric To Bitmap command, because the solid color

yarns obtained by unchecking Shading minimize the need forcolor grouping of the exported bitmap image.

Note: This option removes only the shading colors that are system-generated from the yarn color(s) originally selected by the user. Itdoes not remove any additional “non-shading” colors applied to the

yarn under the Draw Yarn command.

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Note: Before executing this command, it is advisable to go to thePrimaVision Graphics Mode, make sure the Options, FabricMode on the menu bar is activated.

1. To convert your Weave Expert fabric to a bitmap image forpurposes such as draping or presentation boards, call up therequired fabric in the fabric editing area and select Fabric to

Bitmap . This calls up a dialog box containing check boxoptions for exporting with or without hair, with or without yarnshading (see Yarn shading on/off section) or a single repeatrather than the full Weave Expert fabric.

2. The Printer section of the dialog box determines the size andcolor of the exported image. Before exporting the fabric, selectthe printer on which you intend to print the exported image,because the exported colors will be dependent upon the selectedprinter codes. Setting the resolution of the exported image atthis stage will save reproportioning work later in GraphicsMode. Any changes made to printer and resolution within thisdialog box will affect the Graphics Mode Print command


defaults.

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3. The Scale field is used as a percentage scale factor whenexporting a fabric to Graphics Mode. Type the percentage, clickOK. You can also edit this scale factor using the new Bitmap

Scale field under the Edit Setting command.)

Note: The Scale field can accept any value from 15% to 100%inclusive. To export to a fabric size beyond this scale range, youmust temporarily adjust the fabric dimensions in Weave Expertprior to export.

4. Once all option settings are defined, click OK. The conversionprocess may take a while to complete, but when the cursor hasbecome an arrowhead again, a bitmap image of your fabric willhave replaced the original contents of the Graphics Modedrawing area.

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In the Print command group, two printing commands called

Print Fabric and Print Structure allow you to print thecurrent fabric and its weave structure. The dialog boxes offer thefollowing options:

Printer Name: the destination printer

Resolution: the resolution used during printing

Paper Size: the size of paper used for the printout

Number of copies: Number of printed copies

Print Weave Info. check box: includes at the top of the printoutthe individual weave structures used in the fabric

Print Yarn Info. check box: includes at the top of the printout theyarn colors used in the fabric arranged in the fabric yarn’s


sequence (available only in the Print Fabric command)

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Tip: For a better print quality in Weave Expert, the resolution ofprinter should be set to the largest possible multiplier (L.C.M.) ofwarp density and weft density. If this number does not exist,consider the L.C.M. of either the warp or weft density that has thesmaller value.

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This command exports the current fabric’s yarn sequences to anASCII (MS-DOS) text file, and was created to improvecommunication of production details to the weave technicians whocreate the final fabric.

1. First call up the fabric for which you want to export yarnsequence details (all information provided in the Warp/WeftEditor dialog box).

2. Select Print , Export - Text .


4. The text file will be opened automatically using the WindowsNotepad editor application (or any other Windows applicationthat has been identified in your computer’s registry as thedefault program used to open text files). An example ofexported yarn sequence text is shown below:

• Fabric Name: FABRIC_2

• Warp Density: 59.99 per inch

• Weft Density: 59.99 per inch

• Warp Sequence :

No. Yarn Code Count Width (inch)


1 3-1 60 1.00

2 3-3 30 0.50

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3 3-6 30 0.50

4 4-1 30 0.50

• Total Width = 2.50, Total Count = 150

• Weft Sequence :


1 3-6 60 1.00

2 3-4 30 0.50


5. To print this file immediately, select File, Print on theNotepad menu bar to print to the current Windows defaultprinter. To close down the Notepad, click the Windows Close

button, or select File, Exit.


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Prima Weaving Mode is used for simulating the colour, texture andpattern of woven fabrics.

For conciseness, throughout this chapter we shall refer to a weavepattern as simply a weave.

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Call up Weaving Mode from Graphics Mode by selecting Weaving

Mode in the mode bar.

A number of features and option buttons in the mode bar areavailable in Weaving Mode:

• The fabric editing area contains two repeats of the fabricdesign along both warp and weft (it will contain more than tworepeats only if they are necessary to fill one screen width/height). Like the Graphics Mode drawing area, it is scrollablefor large designs and has multiple zoom ratios.

• The Grid in the mode bar enables you to see the weavewith fine grids of pixels. The grid lines are shown when thedrawing area zoom ratio is 800 or higher.

• The Hair toggles between displaying yarns with orwithout the hair types that have been defined for each yarn(including any objects which have been manually drawn ontothe yarn by the user.


• The Edit Warp/Weft is used for editing the weft and warpyarn mappings.

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• In Weaving Mode, a new Fabric Assistant willautomatically be activated when you call up Weaving Mode. Itdisplays either the weave library or yarn library for the current

fabric file when the Weave or Yarn button on top ofthe Assistant is selected respectively. In the Scroll Assistant,scrolling the lever will show the fabric from bottom left in avariety of zoom ratios, the panning area in the Scroll Assistantis irrelevant in Weaving Mode.

Note: Weaving Mode operates entirely independently from GraphicsMode, and any graphic image remaining in Graphics Modedrawing area will be unchanged as you work within Weaving Mode.

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A fabric in Weaving Mode is composed of yarns mapped in warpand weft, just as in actual production. The weave structure,however, is created separately, and is best applied once the basicfabric design is complete.

The basic steps in creating a Weaving Mode fabric are:

1. Create or retrieve a yarn library for this fabric

2. Create or retrieve a weave library for this fabric

3. Use the selected yarns to build up the basic fabric design

4. Apply the selected weaves to develop a complete weavestructure for the fabric.

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Before you begin to design your fabric, some fabric settings must de


defined. Select Edit Setting in the Weaving Mode commandgroup bar.

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Measuring Unit: the unit of measurement used in the weave (cmor inch)

Weft Density: the number of weft yarns per selected Unit

Warp Density: the number of warp yarns per selected Unit

Keep No. Of Yarns the same / Keep Dimension the same :

If a fabric already existed in your Weaving Mode, and you changeits Weft Density and Warp Density, the system re-allocates theyarns into the fabric according to the new density, keeping eitherthe same total number of yarns, or the same fabric width andheight (dimension) in cm/inch.

The other settings are described in later sections.

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To work with the yarn-related commands presented in this section,

first select Yarn Library to call up the Yarn Library window.To return to the Weaving Mode command group bar at any stage,

select Command End .

Note: The total number of yarn colors used in any given fabric filecannot exceed 215. A running total of yarn colors used is displayedin the Yarn Library window.

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There are three fundamental yarn types of in Weaving Mode: thesimple yarn, the basic yarn and the mixed yarn.

Simple Yarn : A hairless yarn in a single solid color, useful for


keeping colors to a minimum

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Basic Yarn : A yarn in a single color with shading to create athree-dimensional effect

Mixed Yarn : A variation of the basic yarn that allows up to 8yarn colors in the same yarn

All three yarn types can be manually edited once they have beenadded to the yarn library.

We first look at how to create a single yarn from scratch; use ofexisting yarn libraries will be covered in Managing Your Yarns.

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1. Select the New Simple Yarn subcommand. Specify aYarn Code (a short name for identifying your yarn), YarnMaterial, Yarn Count, Yarn Unit and a Yarn Description.Weaving Mode is able to work with the following units:ECC for cotton = 840 yards/pound

EWC for worsted = 540 yards/pound

YSW for woollen = 256 yards/pound

GALA for woollen = 200 yards/pound

Tex = grammes/1000 metres

dtex (decitex) = grammes/10000 metres

den (denier) = grammes/9000 metres

Ne for cotton = 840 yards/pound (equivalent to the Ne1standard unit)


Ne for flax = 300 yards/pound (equivalent to the Ne2standard unit)

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Ne for woollen = 560 yards/pound (equivalent to the Ne3standard unit)

Ne for worsted = 560 yards/pound (equivalent to the Ne3standard unit)

Nm for cotton = Ne (cotton)/1.7 metres/gramme(equivalent to the Ne1 unit expressed in metres/gramme)

Nm for flax = Ne (flax)/0.6 metres/gramme(equivalent to the Ne2 unit expressed in metres/gramme)

Nm for woollen = Ne (woollen)/1.13 metres/gramme (equivalentto the Ne3 unit expressed in metres/gramme)

Nm for worsted = Ne (worsted)/1.13 metres/gramme (equivalentto the Ne3 unit expressed in metres/gramme)

Note: Woollen and worsted yarns of the same yarn count will be ofdifferent diameters due to differences in material density.

2. Specify a yarn color using either the Color Assistant palette, orany other color source available in the New Simple Yarncommand bar (color levers, system color libraries, Pantone oruser-defined color libraries). The current yarn color(s) used inthe library is/are placed temporarily towards the end of thepalette ending at color box 215.


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1. Select the New Basic Yarn subcommand. Specify a YarnCode, Material, Yarn Count, Yarn Unit, Hair Length, HairDensity, Yarn Twist, and a yarn Description (see step 1 of


Creating a new simple yarn for available yarn counts).

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2. Select a yarn color as for a simple yarn (see step 2 of Creating anew simple yarn).


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1. Select the New Mixed Yarn subcommand. Specify a YarnCode, Material, Yarn Count, Yarn Unit, Hair Length, HairDensity, Yarn Twist, and a Yarn Description (see step 1 ofCreating a new simple yarn for available yarn counts).

2. Select Change Mode to call up the color composition listto the Status Assistant. Click on the first color composition box,specify a yarn color for it, using either the Color Assistantpalette, or any other color source available in the New MixedYarn command bar (Color levers, system color libraries,Pantone or user-defined color libraries). Edit the colorcomposition percentage as necessary. To add colors, click on thenext color composition box and specify a new color. Note that asyou edit the composition percentage for each color, thecomposition percentage of the first color automatically adjuststo compensate. Up to 8 different yarn colors are allowed permixed yarn. The current yarn color(s) used in the library is/areplaced temporarily towards the end of the palette ending atcolor box 215.



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Having created a Weaving Mode yarn, you can either use it as it is,or edit it as you please. There are two basic ways to edit a yarn:

Edit Yarn (edit the yarn definition) and Draw Yarn(draw directly on the yarn).

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This command allows you to change the definition of the createdyarn.

Select the yarn from the yarn library in the Fabric Assistant.

Select the Edit Yarn subcommand, and modify the yarndefinition as required. To confirm your changes, select Put into

Lib. . Or select Command End to restore the changes,click OK to confirm.

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This feature allows you to draw directly on your yarn to create theexact look that you require.

1. Select the yarn from the yarn library in the Fabric Assistant.

Select the Draw Yarn subcommand to call up a yarnediting screen.

2. Pick up a color from the palette and draw with it on the yarn inthe magnified yarn layout. You may repeat a yarn design along

the yarn’s entire length by selecting Define Repeat . Todefine the repeat window, click at the top end of the repeat andthen the lower end of the repeat in the magnified layout. Anysubsequent amendments made to your yarn design will berepeated real-time along the whole length of the yarn.


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3. When you have finished making your changes, confirm by

selecting Put into Lib. . Or select Command End torestore the changes, click OK to confirm.

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To delete a yarn from the current yarn library, select the yarn to be

deleted, and then select the Delete Yarn subcommand in theYarn Library command bar.

To clear all yarns from the current yarn library, select the Clear

Yarn Lib. subcommand.

Each fabric file is saved complete with its current yarn and weavelibraries. You can also manage your yarns independently from thefabric file, either individually as yarn files, or collectively as yarnlibrary files. Sharing individual yarns and yarn libraries betweendifferent fabric files is therefore a simple process.

To manage an individual yarn as a yarn file, simply select the yarnfrom the current yarn library in the Fabric Assistant and select

Read/Save Yarn subcommand. In this window, all usualPrimaVision file management commands are available for use withyour yarn file. You can therefore use it also to import yarn files intothe current yarn library.

To manage the current yarn library as a yarn library file, simply

select the Read/Save Y. Lib. subcommand. All usual filemanagement commands are available.

Note: If you are creating a complex fabric with many yarns,remember that the 256-color palette restricts the number of yarncolors that may be used in a particular sketch file. For basic andmixed yarns, at least six color boxes are reserved for each yarn color.


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To work with the weave-related commands, first select the Weave

Library command to call up the Weave Library window. Toreturn to the Weaving Mode command group bar at any stage,

simply select Command End .

PrimaVision offers a wide selection of ready-made weave librariesincluding crepe weaves, diamond weaves, herringbone weaves,satins, sateens and twills. To view the available ready-made

libraries, simply select the Read/Save W. Lib. subcommandand go to the PV_Patt\Master Libraries\Weave ConstructionLibrary subfolder on your PrimaVision drive. If you cannot findthese libraries, it is likely that PrimaVision was installedintentionally without the weave libraries, or that the libraries wereinstalled to a location other than the specified default.)

The use of weave libraries is described in Managing your weaves.

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1. Select the New Weave subcommand. This will call up awindow that displays three different representations of thesame weave: a notation, a peg-plan and a draft.

2. Define the size of the weave by amending the No. Of Shafts,No. of Ends and No. of Picks fields, pressing <Enter> aftereach modification. The new definition will affect all threedisplay formats simultaneously. In the Weave Code field,specify a short name for the new weave.

3. Edit the plans by clicking on appropriate grid squares to switchbetween, for example, raised and depressed pegs in the peg-plan. As you edit one of the plans, the two other ones willchange accordingly.


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4. Once you have completed your design, select Minimize Shaft

to reduce the design to its most compact size. You may alsoreverse the design (exchange raised pegs for depressed pegs

and vice versa, etc.) by selecting Reverse Weave .

5. To restore the changes and define the weave again, select

Restore . To print the current peg-plan and draft, select

Print Peg-Plan & Draft .

6. Select Put into Library to add your new weave to thecurrent weave library.

Note: As an alternative to using the New Weave subcommand,

use Transform Bitmap to retrieve a bitmap weave patternfrom the Graphics Mode drawing area and convert it into a weavethat Weaving Mode can recognize.

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To return to the weave editing screen, select Edit Weave .Repeat steps 2 to 6 of the Creating a weave section as required.

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To delete a weave from the current weave library, select the

Delete Weave subcommand in the Weave Library commandbar.

To clear all weaves from the current weave library, select the


Clear Weave Lib. subcommand.

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Each fabric file is saved complete with its current weave and yarnlibraries. You can also manage your weaves independently fromthe fabric file, either individually as weave files, or collectively asweave library files. Sharing individual weaves and weave librariesbetween different fabric files is a simple process.

To manage an individual weave as a weave file, simply select theweave from the current weave library in the Fabric Assistant and

select the Read/Save Weave subcommand. In this window,all usual PrimaVision file management commands are available foruse with your weave file. You can therefore use it also to importweave files into the current weave library.

To manage the current weave library as a weave library file,

simply select the Read/Save W. Lib. subcommand. All usualfile management commands are available.

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To transform a weave structure into a bitmap image and send it tothe Graphics Mode, select a weave structure and click Transfer

Weave to Bitmap . Then, a single unit of the weave structurewill be copied to the Graphics Mode drawing area.

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Once you have created your yarns and weaves, you can construct afabric. To build a fabric, use the yarns first, and apply the weavestructure afterwards.


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A Weaving Mode fabric is composed of a series of yarn blocks alongthe warp and weft color bars. All commands introduced in thissection will make extensive use of these two elements.

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Boundary Insert allows you to insert yarns only at the boundarybetween existing yarn blocks.

1. Go to the Weaving Mode command group bar in Fabric viewmode, select from the yarn library in the Fabric Assistant theyarn that you want to insert into the current fabric.

2. Right-click on either color bar, and select Insert...

Alternatively, select the Insert Yarn/Weave command inthe Weaving Mode command group bar.

3. Move your cursor to the insertion pointfor your yarn. Thecurrent insertion point is marked by a black arrowhead. InBoundary Insert mode, this arrowhead is restricted to yarnblock boundary positions.


4. Once the insertion point is correctly positioned, drag to createthe new yarn block. Press and hold down the Yellow Button.The total number of yarns and the width in cm/inch of the yarn

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block to be inserted are displayed next to the arrowhead whenyou move the cursor along the color bar. When the new yarnblock is of the correct size, release the Yellow Button.

5. Repeat this procedure as many times as required to build upyour fabric.

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Position your cursor over any yarn block to see a tooltip thatdisplays the library name of the relevant yarn. Each yarn block’slibrary name will be preceded by a bracketed number which givesits position in the fabric’s yarn sequence. For example, “(11) 3"means the selected block is the 11st block on the warp/weft of thefabric to which the yarn with yarn code 3 in the yarn library isassigned.

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Click on a single yarn block to select it. To select multiple non-adjacent yarn blocks, hold down the <Ctrl> key as you select eachadditional yarn block. To select a range of adjacent yarn blocks,click on the first yarn block in the required range, hold down the<Shift> key, click on the last yarn block in the range, then releasethe <Shift> key.

The yarn block editing commands may be applied to multiple yarnblocks at the same time, with the exception of yarn block insertionand yarn block resizing. Select the single block or multiple blocksto highlight it/them before you apply the commands. For thecommands to copy all warp/weft to weft/warp and delete all warp/weft, it doesn’t matter which or how many yarn blocks are selected.

Note: All yarn block editing commands except the yarn blockcopying will be applied either on the weft or warp of the fabric, butnot both, although you can simultaneously select yarn blocks on


both warp and weft.

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To resize a yarn block, move the cursor over the rightmostboundary (or uppermost depending on the color bar) of the yarnblock to be resized. When the cursor becomes a two-headed arrow,drag the boundary until the yarn block is of the required size.

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You may resize a yarn block whilst retaining the original positionsof all other yarn blocks in the fabric.

To achieve this, hold down the <Ctrl> key during resizing, and theyarn block immediately to the right/above the selected yarn blockwill automatically resize according to the selected yarn block.

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To change the yarn used in a yarn block, select the new yarn in theyarn library of the Fabric Assistant, right-click the yarn block, andselect Change to Selected Yarn.

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Select the yarn block to be deleted and right-click it. Select DeleteSelected Section. To delete all warp or weft yarns, select DeleteAll Warp or Delete All Weft respectively.

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Select the yarn block to be moved, and simply drag it to its newposition.

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Select the yarn block to be copied, and hold down the <Ctrl> key asyou drag it to its new position.

To copy a selected yarn block from warp to weft or vice versa, right-click the selected yarn block, and select Copy Selected Section.Click on the insertion point on the destination color bar and theyarn block will be copied to the position marked by the blackarrowhead.

To copy all yarn blocks from warp to weft or vice versa, right-clickany yarn block on the color bar to be copied, and select Copy AllWarp to Weft or Copy All Weft to Warp as appropriate.

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A copy of a yarn block selection will not change if you edit theoriginal yarn blocks. The Insert Repeat Section command allowsyou to create a copy that changes with the original yarn selection.For example, if you delete a yarn block from the original selection,it is automatically deleted from the repeated section too. Or if yourearrange the yarns in the original selection, the correspondingyarns are immediately rearranged in the repeated section.Insertion of a new yarn block into the original yarn selection istreated in the same way.

1. Right-click on a yarn block on either color bar, select Insert

Repeat Section or select Insert Repeat in the commandbar.

2. The Status Assistant will display the prompt Repeat From...Click on the yarn block at one end of the yarn selection to berepeated.

3. The Status Assistant now displays the prompt Repeat To...Click on the yarn block at the other end of the yarn selection to


be repeated.

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Note: The yarn blocks of a section to be repeated must be adjacent toone another.

4. At the prompt Insert Repeat At.., move your cursor to theinsertion point for the repeated section (marked by a blackarrowhead) and click once. The repeated section is displayed onthe color bar as a single grey bar to indicate that you cannotdirectly edit its contents.

The repeated section may be moved, copied and deleted as a singleunit in a similar way to a yarn block. To edit its contents, you mustedit the original yarn blocks from which it was created. Click on arepeated section on the color bar and its original yarn blocks will behighlighted. As mentioned above, any changes made to the originalset of yarn blocks will be reflected in the repeated section also.

Attributes of the repeated section may be edited by

double-clicking the section to call up the following

dialogue box:


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To change the color of a created yarn, select the yarn from the yarnlibrary in the Fabric Assistant, the Status Assistant now displaysthe settings of the selected yarn. In the Color Assistant palette,select a new color for the yarn. You can see the real-time colorchange on the fabric.

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The above procedures all use the color bars as a fast andconvenient method for editing the fabric design. You may prefer tothink of your design in terms of warp and weft mappings. If so,

simply activate the Edit Warp/Weft button in the mode bar.This calls up a dialog box with one page for warp mappings andanother for weft mappings. Click on the page tabs to switchbetween Warp and Weft. To switch between displaying the yarnwidth in cms and inches, click the Width column heading. Each


entry on either page represents a yarn block.

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You can edit any of the yarn blocks on either page by double-clicking it to call up its Edit Mapping Entry dialog box. (This dialogbox can also be called up for an individual yarn block by double-clicking it on the fabric color bar.) Edit the Yarn Code, Yarn Countand Width in inches/cms as necessary. Click OK to confirm thechanges.

To insert a yarn block on the warp or weft, go to the Warp or Weftpage respectively and select the yarn that is directly before the newyarn to be inserted. Click the Insert button to call up the EditMapping Entry dialog box. Type the Yarn Code, Yarn Count andWidth in inches/cms. Click OK to confirm, and the new yarn blockwill be inserted. To delete a yarn block, simply select it, and clickDelete.

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The created fabric in Weaving Mode can be saved with its yarnlibrary and weave library as a PrimaVision sketch file by using the

Read & Save command in the Weaving Mode command groupbar. Read the saved file in the same manner. Alternatively, you cansave and read a fabric by selecting File, Save/Save As and File,Open respectively on the Weaving Mode menu bar.


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Weave Bar

The above diagram shows a grey bar (the weave bar)below the horizontal colour bar.

The weave bars work in a similar manner to the color bars inFabric view mode, with the same insert, resize and deletefunctionality. And just as yarn mappings may be displayed for anindividual yarn block, weave “mappings” may also be viewed bydouble-clicking the weave block.

Note that there is just one weave bar and you may work withweaves in the warp direction only.


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Position your mouse over any weave block to see a tooltip thatdisplays the library name of the relevant weave.

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You may change the weave pattern used in any of the weave blocksjust as you would change the yarn used in a yarn block. Simplyselect the new weave from the Fabric Assistant, right click theappropriate weave block and then select Change to SelectedWeave.

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When yarn counts are high but yarn densities low, the backgroundcolor shows through the fabric, and hence has a significant effecton the overall appearance of the fabric colors.

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To change the background color, select Define Bg. Color inthe Weaving Mode command group bar, the Color Levers dialogbox is displayed. Adjust the RGB/CMYK levers to obtain thedesired color. To restore the changes, click the Restore Color


button. Click OK to confirm the color.

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Weaving Mode offers a function Ignore Yarn Count whichreduces the effect of the background color, and therefore allows youto visualize more accurately the appearance of the finished fabric,without changing the background color itself.

Select Edit Setting in Fabric view mode, the Edit Settingdialog box is displayed. Go to the General page, activate theIgnore Yarn Count check box. Click OK. In ignoring the yarncount, the system will thicken all the yarns until the background isno longer visible behind the fabric. To restore the original yarn

count, select Edit Setting once again, and deactivate theIgnore Yarn Count check box.

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Note: This option affects only the on-screen display and printedoutput of a fabric: yarns in the Fabric Assistant remain unchanged.

The Override Yarn Hair Setting option allows you to view yourfabric with different brushed effects. When activated, this optionwill override the hair settings of all yarns in the fabric.

1. First make sure that the Hair button in the mode bar isactivated so that you will be able to see the effect of the yarnhair setting override.

2. From the Weaving Mode command group bar in Fabric view

mode, select Edit Setting .

3. To override the current hair settings of all yarns in the library,go to the Hair page, activate the Override Yarn Hair Settingcheck box. Adjust the Hair Length and Hair Density leversas requested.


4. Click OK. All yarns in the fabric will now assume the specifiedhair length and density. Repeat this procedure to view the

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effect of various hair setting combinations. To return theoriginal hair settings as specified by the library yarns, deselectthe Override Yarn Hair Setting check box.

Note: If any of the yarns in your fabric were created or edited in

Draw Yarn , the Override Yarn Hair Setting option willreplace them with system-generated hairy yarns according to the

hair length and hair density specified under Edit Setting .

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Note: Before executing this command, it is advisable to go to thePrimaVision Graphics Mode, make sure the Options, FabricMode on the menu bar is activated.

1. To convert your Weaving Mode fabric into a bitmap image forpurposes such as draping or presentation boards, call up therequired fabric in the fabric editing area and select Fabric to

Bitmap . This calls up a dialog box containing check boxoptions for exporting with or without hair, with or without yarnshading (see Yarn shading on/off section) or a single repeatrather than the full Weaving Mode fabric.

2. The Printer section of the dialog box determines the size andcolor of the exported image. Before exporting the fabric, selectthe printer on which you intend to print the exported image,because the exported colors will be dependent upon the selectedprinter codes. Setting the resolution of the exported image atthis stage will save reproportioning work later in GraphicsMode. Any changes made to printer and resolution within thisdialog box will affect the Graphics Mode Print commanddefaults.

3. The Scale field is used as a percentage scale factor whenexporting a fabric to Graphics Mode. Type the percentage, clickOK. You can also edit this scale factor using the new Bitmap


Scale field under the Edit Setting command.)

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Note: The Scale field can accept any value from 15% to 100%inclusive. To export to a fabric size beyond this scale range, youmust temporarily adjust the fabric dimensions in Weaving Modeprior to export.

4. Once all option settings are defined, click OK. The conversionprocess may take a while to complete, but when the cursor hasbecome an arrowhead again, a bitmap image of your fabric willhave replaced the original contents of the Graphics Modedrawing area.

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In the Print command group, two printing commands called

Print Fabric and Print Structure allow you to print thecurrent fabric and its weave structure. The dialog boxes offer thefollowing options:

Printer Name: the destination printer

Resolution: the resolution used during printing

Paper Size: the size of paper used for the printout

Number of copies: Number of printed copies

Print Weave Info. check box: includes at the top of the printoutthe individual weave structures used in the fabric

Print Yarn Info. check box: includes at the top of the printout theyarn colors used in the fabric arranged in the fabric yarn’s

sequence (available only in the Print Fabric command)

Tip: For a better print quality in Weaving Mode, the resolution ofprinter should be set to the largest possible multiplier (L.C.M.) ofwarp density and weft density. If this number does not exist,


consider the L.C.M. of either the warp or weft density that has thesmaller value.

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This command exports the current fabric’s yarn sequences to anASCII (MS-DOS) text file, and was created to improvecommunication of production details to the weave technicians whocreate the final fabric.

1. First call up the fabric for which you want to export yarnsequence details (all information provided in the Warp/WeftEditor dialog box).

2. Select Print , Export - Text .


4. The text file will be opened automatically using the WindowsNotepad editor application (or any other Windows applicationthat has been identified in your computer’s registry as thedefault program used to open text files). An example ofexported yarn sequence text is shown below:

• Fabric Name: FABRIC_2

• Warp Density: 59.99 per inch

• Weft Density: 59.99 per inch

• Warp Sequence :


1 3-1 60 1.00

2 3-3 30 0.50

3 3-6 30 0.50

4 4-1 30 0.50



• Weft Sequence :

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1 3-6 60 1.00

2 3-4 30 0.50


5. To print this file immediately, select File, Print on theNotepad menu bar to print to the current Windows defaultprinter. To close down the Notepad, click the Windows Close

button, or select File, Exit.


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Print Repeat can only be used on files consisting of a single bitmaplayer. It is available in both 256-colour and TCX layers (see LayerSetting chapter for details).

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Print Repeat allows the designer to work quickly and intuitivelywith irregular repeat designs. Adjusting the gap/overlap betweenadjacent repeats is now a simple process - just pick up a repeat andmove it closer to the original. There are also advanced newfeatures for working with overlapping repeats.

Whilst in Print Repeat, all standard Graphics Mode bitmapcommands are available for use on the generated repeat patternand repeated results are displayed real?time. Hence repeat editingis much more flexible and natural than ever before.

Print Repeat uses a new repeat grid concept. Start with therepeat design in the current window and Print Repeat generates a3x3 repeat grid from it, placing eight repeat cells around theoriginal design in the centre cell - i.e. the repeat area.

Editing changes made to any of the repeat cells in the grid areimmediately replicated in the other 8 cells. In a similar way toRepeat Pen, the designer can edit or draw across repeat cellboundaries, making it very easy to create irregular repeats.However, whereas the Repeat Pen works with a full-area repeat,the repeat grid within Print Repeat doesn't have to occupy theentire drawing area. Hence the designer can allow room outsidethe repeat grid for manipulating sections of the design beforeeventually incorporating them into the repeat using commands


such as Copy or Move .

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A repeat element created outside the repeat grid is incorporated into themain design

An overlapping repeat example created using the Adjust Repeat command.


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Print Repeat is at its most powerful when the background colour ofthe repeat design is in background colour box zero. Working withbackgrounds of any other colour may result in unwanted cropping

of the design. Superimpose in the mode bar is automatically

switched on when Adjust Repeat is selected.

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Many of the illustrations used in these release notes display thelines of the repeat grid for clarity of explanation. The designer canat any stage switch grid lines on or off whilst using the Adjust

Repeat command by clicking the Grid check box in the AdjustColour dialog box. When not using Adjust Repeat, select the

Repeat Area , Repeat Grid On/Off command for thesame effect.

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The Undo command's memory of previous editing steps iscleared whenever a new repeat grid is defined manually orautomatically by the system, including automatic re?definition of

the grid after use of the Adjust Repeat command).


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To minimise the effect of any editing mistakes made whilstworking with repeats, it is recommended that the designer alwayssave your repeat design before using it in Print Repeat.

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This section explains how to switch into Print Repeat fromGraphics Mode. If the designer wish to change the current repeatgrid definition in Print Repeat, refer to step 5 of the followingsection Working in Print Repeat.

1. Before switching into Print Repeat from Graphics Mode, firstdefine a window around the design to be repeated. Thiswindow will become what is known as the repeat area whenthe designer switch into Print Repeat - i.e. the area thatcontains the original design

Similar to the approach used by the Repeat Pen command, itis not essential to have a repeat design ready for use when thedesigner starts up Print Repeat. If the designer wishes to startwith a blank repeat grid and create your design from scratch inrepeated form, simply define your window around a blank region ofthe drawing area

In step 4, eight repeats will be generated around the currentwindow. Allow enough drawing area space around the window forall repeats to be generated, and allow additional space if thedesigner intends to increase the gap between repeats. If the designerdoes not, part of the generated repeat pattern will be cropped out. Inparticular, if the designer intends to work with a half-shift or half-drop, leave at least two repeat widths or heights respectively on

drawing area space around the window. (Use the Movecommand to reposition the window contents if necessary.)


2. Switch to Print Repeat by selecting Print Repeat fromthe mode bar.

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3. If the designer is not calling up Print Repeat for the firsttime, a prompt for selecting a repeat area may appear at thispoint. The system remembers the last-defined repeat area anduses it if he/she returns to Print Repeat at any point beforeshutting down PrimaVision. If, when the designer returns toPrint Repeat, the current window is different from the last-defined repeat area, a prompt will appear asking whether he/she wish to use the existing (last-defined) repeat area or thecurrent window as a new repeat area. Click the appropriateoption and click OK to re-enter Print Repeat.

4. Eight repeats will be generated around the defined window,forming a 3x3 repeat grid:

Left picture: The original Graphics Mode repeat design.

Right picture: The same design in Print Repeat. The centre repeatcell (the repeat area) is the original.


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1. If the designer is calling up Print Repeat using the last-definedrepeat area, skip directly to step 2. If he/she is calling up PrintRepeat using a new repeat area, the designer will

automatically be brought into the Adjust Repeatcommand. Grid lines are switched off by default. With theAdjust Repeat command, the designer can change the repeattype (normal, half-drop or half-shift), adjust the gap/overlapbetween repeats and work magic with overlapping repeats!See later section The Adjust Repeat command for full details.

Note: The Graphics Mode editing commands cannot be used whilstthe Adjust Repeat command is active.

2. When the designer has finished adjusting the repeat settings

and gap/overlap, exit from the Adjust Repeat command

by clicking the standard Windows Close button on theAdjust Repeat dialog box or by clicking the White Button in thedrawing area. The designer will be left in Print Repeat.

3. When Adjust Repeat is not active, you can use PrintRepeat to edit your repeat pattern using all Graphics Modebitmap commands - with results displayed real-time as thedesigner works. See Editing the repeated pattern section forfull details.

As the repeat pattern is being edited, the designer can apply the

Repeat Area , Repeat Grid On/Off command at anystage to hide or display the lines of the repeat grid. The designer

can also return to the Repeat Area , Adjust Repeatcommand mentioned in step 1 to adjust repeat settings.

4. When you have finished working with your repeated pattern,you may want to save a single repeat unit (the repeat area) as a


separate file. Select the Repeat Area , Repeat Area to

Window command and the repeat area will become the

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current window. Then use the Read&Save command tosave the window contents in the usual manner.

5. The designer may at some stage wish to work with anotherrepeat design in the same drawing area. The designer mayonly generate one repeat grid at a time in the drawing area, sohe will need to re-define the repeat grid. (Before doing so, it isrecommended that the existing repeat area be saved using theprevious step.) Define a window around the image to be used

as the new repeat area. Then select the Repeat Area ,

Window to Repeat Area command. The designer will beprompted to confirm that he wishes to use the current windowas the repeat area. Click OK and the current window will beused as the new repeat area, generating a repeat grid around itaccordingly.

Warning: Be careful to ensure that sufficient space is left betweenthe new repeat area and the existing repeat grid to avoid overlap;otherwise, when generated, the new repeat grid will partially coverthe existing repeated pattern.

6. To return to Graphics Mode, select Graphics Mode fromthe mode bar. The repeated pattern will remain in the drawingarea, and the designer may continue to work with it using

commands in the Repeat command group.

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Note: Whilst using the Adjust Repeat command, the designer willnot be able to apply any Graphics Mode editing commands to yourrepeat design.

The Repeat Area , Adjust Repeat command allowsadvanced manipulation of repeat designs. With it, the designer can


change repeat type (normal, half-drop or half-shift), easily adjustthe gap/overlap between repeats and work intuitively withoverlapping repeats.

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When the designer enters Print Repeat for the first time with a

new repeat area, the Adjust Repeat command isautomatically activated. To exit from this command, click the

standard Windows Close button in the top right corner of theAdjust Repeat dialog box or click the White Button in the drawing

area. Re-enter the command by selecting Repeat Area ,

Adjust Repeat .

Whilst Adjust Repeat is the active command, the dialog box belowis displayed:

A range of basic through to advanced repeat settings may beadjusted using this dialog box.

Whilst working with Adjust Repeat, the grid lines between repeatsare switched off by default. If desired, switch them on by activatingthe Grid check box in the top right corner of the Adjust Repeatdialog box.


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Important Tip: The Adjust Repeat command is at its mostpowerful when the background to your repeat design is ofbackground colour zero. Working with backgrounds of any othercolour may result in unwanted cropping of the design

Superimpose in the mode bar is automatically switched on

when the Adjust Repeat command is selected.

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Within the Repeat section of the Adjust Repeat dialog box of the

Adjust Repeat command, the designer can switch betweendifferent types of repeat: normal, half-drop or half-shift repeats areall available..

The Normal option button creates a simple tiled repeat with nohalf-drop or half-shift.

The designer can apply a half-drop or half-shift by selecting theHalf Drop or Half Shift option button. This will activate the HalfDrop/Shift Setting section of the dialog box. Use the Pixels field inthis section to specify a half-drop or half-shift in the usual manner.Alternatively, the designer can define your half-drop or half-shiftin terms of actual dimensions or as a fraction of the original repeatdesign height or width.

To express the half-drop or half-shift in actual dimensions, firstselect the desired unit of measurement by clicking the inch or cmoption button. Then type the appropriate half-drop or half-shift inthe Dimension field, pressing <Enter> to confirm your entry. Thenew settings will be instantaneously applied to the drawing area.

To express the half-drop or half-shift as a fraction of the originalrepeat design instead, type the appropriate entries into theFraction field pair, pressing <Enter> after each entry. Forexample, entering 1 in the first Fraction field and 4 in the secondFraction field will result in a half-drop or half-shift that is 1/4 of


the original design height or width respectively - i.e. a quarter-dropor quarter-shift.

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When adjusting the gap/overlap between repeats, the designer willfind it easier to work directly with the repeat cells in the drawingarea rather than by editing fields of the Adjust Repeat dialog box.This highly visual approach is presented next.

Imagine, for example, that the following repeat grid has beencreated, and that the gap between the repeat flowers needs to bereduced:

Adjust Repeat works by allowing the designer to re-position anyone of the surrounding 8 repeat cells in relation to the repeat areain the centre. The relative distance between the moved repeat andthe original repeat area is then replicated for all the other repeatcells

Warning: If the designer needs to re-use your original repeat designlater on, save it before applying the following procedure. Reducingthe gap between adjacent repeats will always cause cropping of theoriginal design, because Adjust Repeat resizes the grid cells butdoes not resize the cell contents.


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1. If the Adjust Repeat dialog box is not displayed, select Repeat

Area , Adjust Repeat .

2. Click the repeat cell to be repositioned. It will be attached toyour cross-hair, , ready for repositioning

Note: The movement of each repeat cell is restricted, so choose therepeat cell according to the effect to be achieved. No cell may bemoved beyond the boundaries of its immediately adjacent cells. Thecorner repeats can be moved freely; however, repeats directly to theright and left of the repeat area can only be moved in a horizontalplane, whilst the repeats directly above and below the repeat areacan only be moved in a vertical plane.

3. Reposition the chosen repeat cell appropriately and click onceto confirm its position. Effects are instantaneous and the fieldsof the Final Repeat Size section in the Adjust Repeat dialog boxare adjusted automatically. If the designer has moved cellscloser together, the grid lines (if displayed) may now overlap,but the repeat cell size will remain unchanged until he/she

exits from the Adjust Repeat command.

The following illustration shows a repeat cell being moved closer tothe repeat area:


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Note: If the designer has applied a half-drop or half-shift, the half-drop/half-shift fraction is kept constant when the moved grid cell isbeing repositioned; the other half-drop/half-shift settings willchange accordingly.

4. Repeat steps 2 to 3 as many times as are required to obtain thedesired results. The designer may pick a different repeat cell tomove each time.

5. When the designer has finished adjusting the repeat settings,

click the standard Windows Close button in the top rightcorner of the Adjust Repeat dialog box or click the WhiteButton on the drawing area. The recalculated repeat area andnew 3x3 repeat grid are displayed. The size of the repeat areawill be enlarged if the gap between repeats has been increased,and made smaller if the gap has been reduced.

The illustration below shows an example after exiting from the

Adjust Repeat command:


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As an alternative to steps 2 to 3 of the above procedure, thedesigner may edit the fields of the Final Repeat Size sectiondirectly within the Adjust Repeat dialog box. Edit either the Pixelsor Dimension fields (which define the repeat area size in pixels andinches / cm respectively) and the other will be adjustedautomatically. It is however recommended that the visual methodpresented above be used until the designer becomes very familiarwith the way in which the repeat area dimensions are used by thesystem.

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One of Print Repeat's most exciting features is the ability to workwith overlapping repeats. From the simple design such as the oneshown below on the left overleaf, the designer can create repeatpatterns of the type shown on the right in a few simple steps:

Left: The repeated pattern. Note the marked areas of overlapbetween adjacent repeats. Right: The original repeat design.


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Important Note: Save the repeat design before starting to workwith any overlapping repeats, because overlapping of repeat cellsinvariably causes cropping of the original image. When workingwith overlapping repeats, it is also very important to ensure that therepeat background is in transparent background colour box zero.

Superimpose in the mode bar is automatically switched on

whilst the designer is working with the Adjust Repeatcommand.

Making adjacent repeats overlap is simply a case of reducing thegap between repeats (using the procedure outlined in the previousAdjusting gap/overlap between repeats section) until they overlapeach other. How they overlap (that is, which repeat is displayed ontop and which underneath) is determined by the two sets of greybuilding blocks in the top right of the Adjust Repeat dialog box.

In many cases, the first set of building blocks will be the only setthat you need:

B stands for background and F foreground. The defaultconfiguration shown above means that for any repeat in therepeated pattern:

• the repeat on its left appears behind it (B)

• the repeat on its right appears in front of it (F)

• the repeat above it appears behind it (B)

• the repeat below it appears in front of it (F).

Use of the default horizontal-vertical overlap configuration isillustrated on the following page:


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Left picture: The original repeat design.

Right picture: The repeated pattern using the default overlapconfiguration (right overlaps left, lower overlaps upper). Note that part ofthe original repeat area (the lady's legs) has been cropped out, because ithas become hidden by the overlap and so no longer needs to be included inthe repeat design. Recalculation of the repeat area is automatic uponexiting from the Adjust Repeat command.


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The designer can reverse the overlap direction vertically and/orhorizontally, producing 4 different horizontal-vertical overlapconfigurations:

Default configuration

Click either the right or left building block to reverse the horizontaloverlap. Similarly, clicking either the upper or lower buildingblock will reverse the direction of vertical overlap.

As the designer changes the vertical and horizontal overlapdirections, he/she will notice that the diagonal pair of buildingblocks may change orientation:

One of the above orientations is selected automatically for the diagonalbuilding blocks when the horizontal or vertical overlap direction ischanged.

The diagonal blocks can be ignored if the designer is able to get therequired results simply by adjusting the vertical and horizontaloverlap. However, if the designer is working with overlaps betweendiagonally adjacent repeats, there may be occasions when he/shecannot get the required diagonal overlap by adjusting only thehorizontal-vertical overlap configuration. In that instance, clickone of the diagonal building blocks to change the relevant diagonaloverlap direction and achieve the desired result; see diagramsbelow


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[Explanation: The diagonal pair of blocks determines the overlapdirection between diagonal repeats when the horizontal andvertical overlap directions conflict. For instance, assume we areusing the default horizontal-vertical configuration (see diagrammarked "(Default configuration)" on the previous page. For anygiven repeat, the repeat to its upper right would be sent to thebackground by the vertical overlap direction (Upper B), but to theforeground by the horizontal overlap direction (Right F). Whichshould it choose? The diagonal building blocks select the actualdirection used in such situations. The first set of diagonal blocksshown above would, in this example, bring the upper right repeatinto the foreground.].

The two sets of building blocks (diagonal and horizontal-vertical)combine to offer 8 overlap configurations that cover all thepossibilities required for designing overlapping repeats.

Overlapping can be applied to all types of repeat. The buildingblock arrangement will be adjusted appropriately for half-drop andhalf-shift repeats, but the concept and mechanism remain thesame.

Upon begin clicked,the first pair of blocksabove becomes :

Upon being clicked,the second pair of blocksabove becomes :


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As previously mentioned, the entire range of bitmap GraphicsMode commands is available to edit your repeated pattern in PrintRepeat.

If a repeated pattern defined by the current repeat grid is edited,the editing will be repeated real-time throughout the grid contents.

General commands such as Copy , Move , Transform

and even Read&Save may now be applied to the repeatpattern without needing to exit from the repeat operation. Thedesigner can also edit or draw over the repeat boundaries to createirregular repeats quickly and easily (similar to using the Repeat

, Repeat Pen command). By virtue of the fact that therepeat pattern does not have to fill the entire drawing area, thedesigner has the flexibility to design and edit individual repeat

elements outside the repeat grid before using the simple Copycommand to incorporate them into the main repeat pattern - anexample is shown below.


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Note: When editing in Print Repeat, it is generally helpful to switch

on Superimpose .

An individual repeat element (a rose) is copied from outside the repeat gridinto the repeated pattern.


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The repeated pattern after incorporation of the repeat element. Note thatediting over repeat boundaries presents no problem at all.

Unlike the Repeat Pen feature, repeat patterns generated in PrintRepeat will remain in the drawing area (even after switching backto Graphics Mode) unless they are manually deleted using

commands such as those in the Clear command group

Warning: TThe repeat area is used only to define the repeat grid -do not confuse it with the window - they are two totally independentconcepts. Many Graphics Mode editing commands are basedaround the current window, as defined using the usual Window

command group. Should the designer for example wish to apply

the Clear Out Window command to the repeat area, makesure that an appropriate window has first been defined.


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Print MaskFilm is a specialized tool for the color separationprocess in textile printing.

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This section describes the basic MaskFilm procedure used totransform a Graphics Mode textile print design into color-separated, printed films. Step 2 is optional, facilitating the processof design development; these notes cover only steps 3 to 7 that arehandled by Print MaskFilm or the Print Film Generator Server. Itassumes familiarity with PrimaVision commands and textileprinting concepts.

1. In a single Graphics Mode bitmap layer, design or scan therequired textile print design, applying tools such as theIrregular Repeat Generator if necessary. Color group thisdesign.

2. To aid the process of experimenting while you design, you maybreak the design file down into separate “film” files, with onebasic color to each file. Simply change all colors to be excludedfrom this “film” to background color zero, and save the file.Using this method allows you to a focus on the colors to begrouped into individual output layers, and fine-tune your colorgrouping as necessary.


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Before proceeding to the next step, you must clear the drawing

area. Switch on Superimpose in the mode bar and read in allfilm files using the Merge Color option to re-create the originaldesign.

3. Select Print MaskFilm in the mode bar.

4. If your design requires vector output, there are two possibleapproaches.

• First approach: Convert the appropriate bitmap elements tovector format using the Print Film Generator Server program.Then import and retouch any auto traced images. (Retouchinginvolves the manual repositioning or deletion of system-generated nodes, see Retouching an autotraced image sectionfor details.)

• Second approach: Use the vector manipulation tools withinPrint MaskFilm to manually create any additional vectorelement (see Manually adding vector elements to a designsection for details).

Choose one approach depending on the particular vector elementthat you want to create. Since the retouching process tends to belong, it is recommended that easily-drawn vector elements becreated manually rather than by the Print Film Generator Server.

5. Break down your design file into individual output layers.

6. Touch up any half-tone (bitmap) images in your design inpreparation for outputting to film. Set any required targetholes.

7. Output the required layers to an output device to print thefinal films or film proofs.


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In Print MaskFilm, the concept of a layer is different from that inGraphics Mode. In Graphics Mode, each layer holds a different typeof element (bitmap, vector or text) and facilitates design editing.Print MaskFilm layers are of two very distinct types, and it isimportant to clearly understand their difference before beginningany work in this module.

The simplest type of layer to understand is the output layer, usedfor separating the different colors of your design into films forproduction. Each output layer is the basis for a separate film, andmay contain either vector elements, bitmap elements or both.

These layers are created using the Layering and Outputcommand.

The other type of layer is the color layer. The color layer conceptrelates only to vector images. When dealing with vector elementsin Print MaskFilm, a color box in the Color Assistant paletterepresents a color layer rather than a color in the ordinaryGraphics Mode sense. (The term color layer originates from thetraditional method of textile production in which each layer isproduced for ink of a single color.) In Print MaskFilm, vectorelements are always displayed in white outline regardless of actualcolor. Hence, to enable efficient editing, all vector outlines of aparticular color may be displayed or hidden in the drawing area, bycontrolling the appropriate color layer in the palette as detailed inthe following section.

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There are three modes for a Print MaskFilm color layer:

Editable: A large rectangle with no outline. (The size of a selectedcolor box in Graphics Mode). All vector elements in this color layerare displayed and editable.


View-Only: With a double white outline. All vector elements inthis color layer are displayed but not editable.

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Hidden: The size of an unselected color box in Graphics Mode. allvector elements in this color layer are hidden from view.

The following color-layer-related functions are available when yourcursor is positioned over the color palette:

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Click the Yellow Button on the appropriate color box in the palette.

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Click the White Button on the appropriate color box in the palette.Note that if the White Button is used on a color layer that isalready Hidden, it becomes View-Only.

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Click the Green Button. Hidden non-empty color layers will becomeView-Only. Note that this button will not change the status of non-empty Editable or View-Only color layers.

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Click the Blue Button on the color box of the layer that you want tomake Editable. All other color layers will be made Hidden.

Note: These various modes enable efficient and error-free editing ofvector outlines of different colors by activating only the outlines inthe layers that you want to edit. It is important to be aware of thecurrent color layers modes, because an outline that looks as a singlelayer may in fact consist of several overlapping outlines in differentlayers, and moving one of its nodes may affect all layers containingthe outlines. Refer to Retouching an autotraced image section forfurther details.

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For designs that require scanning, sketching or extensive touch-up,you will need to use Graphics Mode’s comprehensive menu ofgraphics design commands before switching into Print MaskFilm.

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Note: Print MaskFilm can only work with files that contain a singlebitmap layer, hence any vector elements must be added to yourdesign only after switching into Print MaskFilm.

Call up Print MaskFilm from Graphics Mode by selecting Print

MaskFilm in the mode bar. Since Print MaskFilm andGraphics Mode share the same drawing area, any image that existsin the drawing area when you call up Print MaskFilm willimmediately be ready to use.

Remember however to use the Read & Save command on thePrint MaskFilm command group bar to save your MaskFilm file.Unlike the Graphics Mode Read & Save, this command will saveany MaskFilm vector images in the drawing area along with thebitmap window contents. Likewise, use this command to read anyMaskFilm files containing vector images — the Graphics Mode

Read & Save cannot read MaskFilm vector images.

Note: When you retrieve a MaskFilm file containing vector images

using the Print MaskFilm Read & Save , any other vectorimages currently in the drawing area will be replaced by theretrieved file’s vector contents.

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Print Film Generator Server is a software program that runsindependently from PrimaVision. It handles both the autotracingprocess that converts bitmap images in Print MaskFilm to vectorformat, and the output of color-separated films or film proofs tooutput devices such as printers and plotters. Autotracing is verygood for “vectorization” of distinct boundaries between colors,


lending high definition to boundaries between colors in the finaltextile print.

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Start up Print Film Generator Server before attempting to sendany jobs for autotracing or outputting. To do so, double-click theicon “Print Film Generator Server” on your Windows desktop(if you cannot find this icon on your desktop, please contact yourtechnical support division or your local agent for assistance).

The Print Film Generator Server dialog box is designed to display aqueue of pending jobs and looks very similar to that of the PrimaServer:

We shall refer to this window as the Print Film Generator Serverprogram dialogue box. Within this window you can delete jobs(click the job and select Job, Delete job on the menu bar), rushjobs (click the job and select Job, Rush job on the menu bar).

Technical Note: Under Server, Setup..., you will see that there is aprinter port assigned to each type of printer device supported byPrint Film Generator Server. This setting must match the actualport to which the printer is connected. If you find at any stage thatyou cannot print through Print Film Generator Server, the wrongport setting may have been selected. Check with your technicalsupport team if you are unclear which is the correct port. Changethe port setting appropriately and click OK.

To close down the Print Film Generator Server, simply select


Server, Exit on the Print Film Generator Server menu bar.

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1. To begin autotracing, you must return to PrimaVision and callup Print MaskFilm.

2. If you have not already done so, read the bitmap image to beautotraced in the Print MaskFilm drawing area.

3. Define a rectangular window around the section of the image tobe autotraced.

4. Select Print Film Server . This calls up an Print FilmGenerator Server Control Panel similar to the following:

5. Bitmap images to be handled by Print Film Generator Servermust first be saved to a folder on your local PrimaVision drive.The following Print Film Server folders are created on thisdrive by the Print Film Generator Server program:

Folder Recommended Purpose

Pattern To contain bitmap images saved to Print FilmGenerator Server prior to autotracing


Nodes To contain the vector files that result from autotracing

Mst To contain film output exported to Mst format*

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Imds To contain film output exported to Imds format*

Ps To contain files of all other film output export formats*

*Refer to later section Outputting to films

Click the Pattern folder of the folder tree in the left pane. Thecurrent contents of the folder will be displayed in the main pane.

6. To save the current window contents to a new file name, clickthe Save to New button, type the new name and click Save. Tooverwrite a current file in the Pattern folder, click that file inthe main pane and click the Save to Selected button.

7. Click the Autotrace page tab. The name of your new file shouldbe displayed on this page, listed last under the Pattern folder.Click the file.

8. Set Pattern Characteristics at the bottom of the page toWell Touched-up, Moderately Touched-up or Roughly Touched-up.

Note: The greater the degree of touch-up, the more nodes will beused to generate the vector outlines, hence the longer autotracingwill take. The most suitable degree of touch-up depends on theindividual bitmap image, and a high degree of touch-up is notalways recommended. For example, if your bitmap image is ascanned image of a poor quality original, a high degree of touch-upis likely to result in very jagged vector outlines.

9. Set Pattern Outlined to Yes if you wish to keep in yourautotraced image any fine lines in your original bitmap of asingle pixel in width.

10. To send the file for autotracing, click the Trace button. If thePrint Film Generator Server program window is visible on thedesktop, it will display this job while Print Film GeneratorServer is processing it.

11. When autotracing is complete, click the Read From Print


Film Server page tab. The program by default savesautotraced images in the Nodes folder, which is therefore openby default. The autotraced file will have the same name as the

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corresponding file in the Pattern folder, but will have the.EASextension. To read the autotraced file in the drawing area, clickit and then click the Read Vectors button.

12. The image will be read immediately into the drawing area.Click the Exit button of the Print Film Generator ServerControl Panel and move your cursor into the drawing area toview the results.

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You should regularly delete unwanted files from the Print FilmServer folders (Pattern, Nodes, etc.) to prevent the Print FilmGenerator Server Control Panel from becoming cluttered with oldfiles.

1. In any of the Control Panel pages, click the folder containingthe unwanted file, then click the file itself.

2. Press <Delete> on your keyboard. Click Yes to confirm deletion.

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Before attempting to retouch an autotraced image, it is importantto understand the rules applied by Print Film Generator Serverwhen creating vector outlines from your bitmap image. Autotracingas a general concept draws outlines around the edges of bitmapelements and along boundaries between bitmap colors.

Note: Remember that a vector element is of a single solid color only.If you have a bitmap image that consists of three colors, theautotraced result will contain at least three vector objects.


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Autotracing of boundaries is very important to understand,because every bitmap color is always bordered by one or more othercolors. Example: at the boundary between two bitmap colors, twovector outlines are automatically created: one for each color.Although these two outlines exist in two different color layers, theyoverlap along the boundary. Similarly, at the meeting pointbetween three or more colors three or more vector outlines ofdifferent colors will overlap.

Where outlines overlap, their nodes also overlap and by default willbehave as one (Multiple Layer editing). Overlapping nodes can beedited separately (Single Layer editing - generally used only forfine editing work during retouching).

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One of the simplest examples of such an element is a single-colordoughnut shape (the color behind the doughnut or inside its hole isirrelevant). In this case, autotracing will convert to a vector outlineboth the external edge of the doughnut shape and its inner edge.The color of the vector outlines will be the same as the color of thedoughnut itself. Note that both the inner and outer outlinestogether constitute the vector object. You cannot use the Select

Object command to select only the outer outline or only theinner outline.

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These elements are converted to simple vector outlines of the sameshape and color as the original bitmap element. In this case, thevector outline is the complete vector object.


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Once you have read the autotraced image into the drawing area,you will generally find that you need to retouch the image, that is,delete some of the system-generated nodes or fine-tune the nodepositions.

Prior to retouching, activate the Node button in the mode barto display all nodes in the drawing area.

It is generally helpful to reposition the autotraced image over theoriginal bitmap as a reference for retouching. Select and move the

image using the Select Object and Move commandsdescribed in Manually adding vector elements to a design. Thismakes easier to tell which vector outlines lie in which colorlayer(s).

The most useful functions for retouching are:

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To select a node for editing, click it once.

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If you select the node at a point where several vector outlines ofdifferent colors overlap, you are in fact selecting a set ofoverlapping nodes in different color layers. The system assumesthat you want to select all the overlapping nodes, and hence makesall these layers Editable (Multiple Layer editing).

To edit the selected node in a single color layer only, click theGreen Button. A node is attached to your cursor: this node exists inthe currently Editable color layer. The remaining View-Onlyoverlapping nodes are in its original position. To make anothercolor layer Editable, click the Blue Button until the required layer


becomes Editable. To switch back to Multiple Layer editing at anytime, click the Green Button again.

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Move your cursor to the new node position and click once toconfirm.

Note: As in a vector layer, when the High Resolution button inthe mode bar is deactivated, nodes can only be moved pixel by pixel.

Activate the High Resolution button for finer control overnode positions.

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Press D on the keyboard.

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Press T on the keyboard.

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Press A on the keyboard. The node will be left in its originalposition, whilst a copy of it will be attached to your cursor. Positionthis new node appropriately, and click once to confirm.

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If you position the selected node close to a node of a differentoutline and then press S on the keyboard, the selected node issnapped into the same position as the other node. The twooverlapping nodes will behave as one, unless you use the SingleLayer editing function to separate the two nodes.

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You may need to break the connection between two adjacent nodesalong an outline.

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1. Select a node at the point where you want to create a break.

2. Click the Green Button, to switch to Single Layer editing. Ifnecessary, use the Blue Button to switch to the layer in whichyou want to edit.

3. Press B on the keyboard. The original node will be left in itsoriginal position, whilst a copy of the node is attached to yourcursor. The two nodes will not be joined together, hencebreaking the original outline.

4. Position the new node appropriately, and click once to confirmit.

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Once an outline has been broken, you can easily join the break tore-create a complete outline. The following function can also beused to join two nodes that were originally not joined together, butlie on the same color layer. The two nodes must however both be atan end-point of an outline.

1. Select the node at one end of the break. Move it over the nodeat the other end of the break and click the Green Button toswitch to Single Layer editing.

2. Press J on the keyboard. The two nodes become one and theoutline is re-joined.

3. Position the joined node appropriately and click once toconfirm.

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As you edit a vector outline, a temporary black outline marks itsoriginal shape. The system automatically refreshes the screen eachtime you reposition a node of the outline, but on rare occasions, youmay need to manually refresh the screen. Remove any black lines


by pressing R on your keyboard.

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Tip: It is common for MaskFilm files to be very large and complex,and for such files, the rate of drawing area refresh is quite slow. Ifyou have much editing to do and wish to avoid being slowed downby the auto-refresh, click the node to be edited and then move thecommand bar outside the boundary of the drawing area window.Now when you reposition the node, the drawing area will notrefresh automatically. To refresh the drawing area, press R on yourkeyboard.

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A well-constructed bitmap repeat design will repeat seamlessly.However, the autotraced version of an irregular repeat design maynot exactly match the outline of the original bitmap, which mightcause noticeable seams in the final printed films. The autotracedimage can be manually retouched using procedures described inthe previous section, but it is much simpler to use the Map

Boundary command on the autotraced image. This commandwill automatically fine-tune segments of your autotraced design sothat adjacent repeats will fit together exactly.

1. When using the Map Boundary command, you will needto specify the width, height and half-drop of your repeat design,all measured in pixels. The simplest way to measure theserepeat parameters is to consider the horizontal and verticaldistance between the same point on two adjacent repeats (takedown the X or Y coordinates of both points, and then calculatethe difference between the two) [See the following Figure inwhich A stands for Repeat Height, B for Repeat Width and Cfor Half-drop value] :

2. Define a rectangular window around your irregular repeatdesign, making sure to leave a margin of background color zeroall around the design. (The autotraced outline in background

color zero will be used by the Map Boundary command asthe boundary of your whole repeat design).


3. Autotrace the contents of the defined window (refer to previoussection Autotracing a bitmap image for full instructions).

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4. Read the autotraced image into the drawing area, and positionit over the original bitmap image.

5. The window boundary will also have been autotraced, but thisoutline should be removed before applying the Map Boundary

command. Delete it by clicking on any one of its nodes andthen pressing D on your keyboard three times.

6. Select Map Boundary .

7. In the Status Assistant, input the width, height and half dropof your repeat design (in pixels) as measured in step 1, pressing<Enter> after each entry. Select Exit.

Half-drop

Value

Repeat Width

C

B

A


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Note: Instructions described in step 7 assume that this is the first

time you are using the Map Boundary command since callingup Print MaskFilm. If you have performed other mappings sincecalling up the system, the Status Assistant will not prompt you fornew repeat parameters. To view or edit current repeat parameters,

you need to select the Repeat command to call up the requiredStatus Assistant.

8. You now need to tell Print MaskFilm which sections of yourrepeat design outline should be mapped together i.e. whichsections will be adjacent to each other upon being repeated.The example below shows a very simple irregular repeat designwithout half-drop. Sections of the repeat boundary whichshould be mapped together are outlined using the same linestyle and color.

It is not possible to map together two boundary sectionswhich lie on the same path, i.e. on the boundary of the samesingle-colour object. In the example shown above, you couldnot, for instance, try to map together the two solid white linesfirst, because they both form part of the boundary around theleftmost (darkest) colour in the design. If however you first


map together the two vertical edges of the design outline(marked out in solid grey), the path will be broken, and youcan then go ahead and map together the two boundary

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sections marked out in solid white, because they are no longeron the same path. It is therefore very important that youdetermine at this stage the order in which you intend toperform your mapping if you are to complete this proceduresuccessfully.

9. Once you have determined the mapping order, you must mapthe first source path to its corresponding destination path (i.e.map together your first pair of boundary sections). To definethe source path, click the first node in the source path, click thelast node in the source path and then click the second node inthe source path (the node on the path that is immediatelyattached to your first node).

10. Define the corresponding destination path by clicking on itsfirst node, clicking on its last node and then clicking on itssecond node.

11. You must now select the direction in which the source pathmaps to the destination path. For example, the two solid greyboundary sections in the figure shown in step 8 map togetherhorizontally, the two solid white boundary sections maptogether vertically. To toggle between the available modes,Vertical, Horizontal and Diagonal, click the Green Button. Thecurrently-selected mode is displayed in the mouse shortcutindicator in the bottom right of the PrimaVision window. Toselect the current mode, click the Yellow Button. The twomapped boundary sections will immediately be fine-tuned bythe system to match exactly when your design is repeated.Mapped boundary sections are displayed in black instead of thenormal white color, and are saved along with the design if youexit from this command and save your file.

Note: It is recommended to save your file periodically while youcreate boundary mappings. If you select the wrong mapping mode,the nodes on the mapped boundary sections will be moved to thewrong positions. There is no Undo for this command, so unless youcan call up a previously-saved version of the file and its mappings,you must start this whole procedure once again from step 4.


12. Repeat steps 9 to 11 until all boundary sections in your designhave been mapped together. The Status Assistant shoulddisplay the message “All Paths are Mapped”.

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13. Click Exit to return to the top-level Print MaskFilm menu.

14. To delete your mappings at any stage, select Map Boundary

, Delete and confirm that you want to delete allmappings. It is not possible to edit your mappings once theyhave been created; you must delete them and start again.

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In addition to the vector node editing commands, PrintMaskFilmoffers a variety of other vector commands to manipulate vectorelements created either by the Print Film Generator Server ormanually in Print MaskFilm.

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The Draw Vector command group contains a range ofcommands for drawing vector elements in the Print MaskFilmdrawing area.

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You may use this command to draw a single line, a succession ofjoined line segments or a closed vector outline.

1. Make Editable the color layers where you want to draw your

line(s). Select Draw Vector , Draw Line .

2. Click the start-point of your new line.

3. Click the end-point of your line.


4. Repeat step 3 to continue drawing lines on the end of thecurrent line. To toggle between drawing straight line segments

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and arcs, click the Green Button. If you require the end of thenew line segment to be snapped into the same position as anode of another outline, move your cursor over the appropriatenode and press S - the two nodes that have been snappedtogether will operate as a single node unless you switch tosingle layer editing (see previous section).

5. If you need to delete successive line segments created in theabove steps, use the Blue Button.

6. To form a closed outline by connecting the current line’s end-point to the start-point defined in step 2, press C on thekeyboard.

7. Click Command End to complete the operation.

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arc(s). Select Draw Vector , Draw Arc .

2. Click the start-point of the arc.

3. Click a second anchor point (node position) through which thearc will pass.

4. Move your cursor until the required arc shape and size arereached, then click once to confirm.

5. Repeat steps 3 and 4 to continue drawing other arcs on the endof the first one. To toggle between drawing straight lines andarcs, click the Green Button. If you require the new arc to passthrough a node in another vector outline, move your cursorover the appropriate node and press S - a node will be createdon your arc that is snapped together with the existing node.Both will operate as a single node unless you switch to singlelayer editing (see previous section).


6. To delete successive arcs created in the above steps, use theBlue Button.

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7. To form a closed outline by connecting the current line’s end-point to the start point defined in step 2, press C on thekeyboard.


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lines. Select Draw Vector , Draw Paral. Line .

2. In the Status Assistant, specify the number of parallel linesthat you require (from 1 to 6 inclusive), and the distancebetween lines (measured in 3-pixel units).

3. Click the start-point of your new line set.

4. Click the end-point of your line set.

5. Repeat step 3 to continue drawing lines on the end of thecurrent line. To toggle between drawing straight lines and arcs,click the Green Button.

6. To delete successive line segments created in the above steps,use the Blue Button.



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arc(s). Select Draw Vector , Draw Paral. Arc .

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2. In the Status Assistant, specify the number of parallel linesthat you require, and the distance between lines (measured in3-pixel units).

3. Click the start-point of the arc set.

4. Click a second anchor point (node position) through which thearc will pass.

5. Move your cursor until the required arc set shape and size arereached, then click once to confirm.

6. Repeat steps 4 and 5 to continue drawing other parallel arcs onthe end of the first set. To toggle between drawing straightlines and arcs, click the Green Button.

7. To delete successive arcs created in the above steps, use theBlue Button.



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line(s). Select Draw Vector , Draw Circle .

2. Click the centre of the circle. If you want to use the same centreas for the last circle created with this command, click the BlueButton. To undo the positioning of the centre, click the BlueButton again.

3. Move your cursor out from this centre until the circle is of therequired diameter.


4. Click once to complete the operation.

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The Text command creates vector text elements in PrintMaskFilm. It can only be used in one color layer at a time. Like allother vector elements in Print MaskFilm, the typed text isdisplayed in white outline only. However, MaskFilm text does notpossess any nodes.

Make Editable the single color layer in which you wish to typevector text, and then use exactly the same procedures as you wouldfor creating bitmap text in Graphics Mode.

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Note: Fill and unfill effects are visible only in printouts; you cannotview them on-screen.

To fill a vector non-text element with its outline color:

1. Select Fill/Unfill .

2. Click a node of the vector outline to select it. It will becomehighlighted in green.

If there are smaller outlines within the selected outline that you donot want to fill (forming a vector object with “holes”), click a node ofeach of these smaller outlines to highlight them too, to mark themout as “holes” which should not be filled.

3. Click the Green Button to complete the fill operation.

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1. Select Fill/Unfill .


2. Click the Blue Button to switch from Fill mode to Unfill mode.

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3. Click a node of the vector outline that encloses the filled area.The outline will become highlighted in green.

4. Press the Green Button to complete the unfill operation.

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1. Using the Select Object command, select the text that youwish to fill/unfill.

2. Select Fill/Unfill , Fill Sel. Text to fill the selected

text, or Fill/Unfill , Unfill Sel.Text command to unfillthe selected text.

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The Select Object command is slightly different from thatused in a Graphics Mode vector layer.

To select all vector objects in currently Editable or View-Only color

layers, select the Select Object , Select All Obj.command.

Within the Select Object command, you may select multipleobjects in either of the following ways:

• Click one of the object’s nodes using the Green Button

• Define a rectangular selector around the object (click twoopposite corners of the rectangular region bounding the object).

Note: When you have finished making your selection, remember to

select Enough to confirm it, otherwise you will lose your


defined selection.

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To deselect an object in the Select Object command, select

the Deselect Object command and click a node of the object(s)

to be deselected. Select Command End to continue selectingobjects.

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The Print MaskFilm Copy and Move command groupsfunction exactly as they do in a vector layer, and the usual Copy

, Mirror Copy , Upside Down Copy and UpDn

Mirror Copy subcommands are available for use on selectedobjects.

Whilst in the Copy or Move commands, the copied/movedobject is by default displayed as a rectangular outline until youclick to confirm its position. Press T on the keyboard to togglebetween displaying a rectangular outline or a true copy of theobject itself.

Press D on your keyboard to change the anchor position of thecursor relative to the copy of the object attached to it. There arefive possible anchor positions: one at each corner of the object, andone at the exact centre.

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To delete currently-selected vector elements, select the Delete

Vector , Delete Sel. Vec. command.

Important Note: You will not be asked for confirmation prior to


deletion, so be careful when using this command.

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To delete all vector elements in the drawing area, use the Delete

Vector , Delete All Vec. command instead.

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This command group contains the Rotate and Reproportion

commands of the Graphics Mode Transformationcommand group. Both work slightly differently from theirequivalents in a Graphics Mode vector layer.

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1. Select Transformation , Reproportion .

2. Define a rectangular selector around the object(s) to bereproportioned by clicking successively on two opposite cornersof a rectangular boundary around the object(s).

3. Click the Green Button if you want to fix the object’s aspectratio during reproportioning. Move the cursor until the objectreaches the required proportions.

Note: By default, the selected object will be displayed only as arectangular outline during reproportioning. Press T on thekeyboard to toggle to real-time display of the effects ofreproportioning.

4. Click once to confirm your changes.

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1. First use the Select Object command to select the objects


you want to rotate.

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2. Select Transformation , Rotate .

3. A rectangular outline attached to your cross-hair will representa copy of the selected object. Press T on the keyboard to toggleto real-time display of the effects of rotation. Click once in thedrawing area where you would like to preview the rotatingeffect.

4. Move your cursor to control the rotation angle about the centreleft point of the selected object.

5. Click once to fix the rotation angle. Move your cursor to thedestination position of the object and click once to paste it intoposition.

6. A copy of the object remains attached to your cross-hair. Tocreate further rotated copies of the selected object, return to

step 4. To end this command, select Command End .

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The Change Layer command allows you to move selectedvector objects between color layers.

1. Select the vector objects that you want to move to anotherlayer.

2. Select Change Layer .

3. Click the color box of the destination color layer in the palette.

Click Go to complete the operation.

4. Check the results by displaying only the destination color layer(click its color box in the palette with the Blue Button) to viewthe contents of that layer alone.


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Print MaskFilm’s Undo command reverses editing changesmade to Print MaskFilm vector elements.

Note: To reverse any changes made to bitmap elements, you should

instead use the separate Undo subcommand under the Bitmap

Functions command group.

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1. Use the Select Object command to select the vectorelement(s) that you want to repeat.

2. Select Repeat .

3. To define the rectangular region where you want to repeat theselected objects, click first on one corner of the region, thenclick the opposite corner.

4. Move the cursor outwards to extend the area where you wantto repeat the window contents. Click once to confirm thegenerated repeats.

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Once the image in your drawing area is ready for separating intoindividual films, the next stage is to break it down into outputlayers.

Note: We have not at this stage covered any final editing of half-tone(bitmap) images that may be required prior to output. However, this


is best handled after definition of output layers, and will thereforebe covered afterwards.

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1. Select Layering and Output . This calls up a MaskFilmDefinitions dialog box similar to the following:

All the colours currently used in the currently-defined window aredisplayed in the lower half of the screen, separated into bitmapcolours and vector colour layers, and ordered by colour box number.

2. To create an output layer, click the New button in the top rightof this dialog box. This creates a new row at the top of thedialog box, labelled with “1" for layer 1 and displaying anumber of default half-tone screen settings. To add a color tothis layer, simply click it under Available Bitmap/Vector and itwill be added into the layer. To add multiple consecutive colorsinto a layer, it is quickest to press and hold down the YellowButton over the first color, drag the cursor to the last color andthen release the Yellow Button. To remove a particular colorfrom a layer, simply click it in the layer.


3. Below each color in an output layer will be a darkness value.For vector color layers, these values range from 0 to 999inclusive, with 999 creating the darkest output. For bitmap

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colors, the darkness values range from 0 to 15 or from 0 to 255inclusive (see later section for further details of bitmapdarkness scales). A default darkness value is automaticallyassigned to each color by the system. To edit this valuemanually for any color assigned to an output layer, click it,enter the new value and then confirm it by clicking on anempty area of the dialog box. For bitmap colors, you mayalternatively edit these darkness values graphically when youpreview your output layer (see later section).

4. To edit any of the half-tone screen settings LPI (screenfrequency in lines per inch defaulted to 60), Angle (screen angledefaulted to 45 degree) or dot shape (defaulted to Round), clickthe setting’s current value. For LPI or Angle, type in the newvalue and click once in an empty area of the dialog box toconfirm your entry. For dot shape, clicking on the current valuecalls up a menu of 8 available dot shapes. Click the requiredshape to select it.

5. Repeat steps 2 and 3 for as many layers as you need to create.

6. To delete a layer, click it to select it, and then click the Del.button in the top right of the dialog box.

7. To delete all defined layers, click the Del. All button on theright of the dialog box.

8. To move a layer up or down in the list, click it and then clickthe Up or Down button.

Note: The order of your layers is important to the printing process.Films will be printed in the same order as their correspondingMaskFilm output layers, with layer 1 being printed first.

9. This dialog box contains functions for adjusting gap/overlap,darkness, output options for your output layers and forpreviewing each layer before actual printing. These featuresare described in the next sections.

10. To confirm your changes and leave this dialog box, click OK.


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To display layers that contain only bitmap colors or only vectorcolor layers, right-click in the main white area of the MaskFilm

Definitions dialog box called up by the Layering and Outputcommand. Select Bitmap to print bitmap elements only, Vector toprint vector elements only. The default setting is Combined,which displays output layers with both bitmap and vector contents.

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Note: The procedures detailed in this section relate only toMaskFilm bitmap images, and should be used only for thedefinition of user-defined output layers. Should you require CMYKhalftoning instead, skip this section and move on to Outputtingwith CMYK halftoning in the final Outputting to films section.

At the bottom of the MaskFilm Definitions dialog box under the

Layering and Output command, there is a function groupcalled MaskFilm layers that gives access to a variety of settingsand commands related to the defined output layers.

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Clicking the Darkness button calls up the following dialog box:


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You may calibrate your darkness in either 16 or 256 grey levels: 0to 15 or 0 to 255. 256 grey levels offers you finer control ofdarkness when working in the Preview function (see later section).The minimum and maximum grey level percentages define theminimum and maximum darkness levels used by the system. Ifthe maximum grey level is set to 100%, colours of maximumdarkness (15 or 255) will print pitch black on a laser printer; if theminimum grey level is set to 0%, colours of darkness 0 will not beprinted at all. If, for example, you adjust the minimum grey level to50%, colours of darkness 0 will be printed in 50% greyscale; otherdarkness levels will be printed in increasing darkness on thegreyscale up to the maximum grey level (i.e. 15 or 255) that youhave defined.

Click OK when you have finished editing the darkness settings.

Note: The settings in this dialog box affect all layers in the currentMaskFilm file.

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Clicking the Gap/Overlap button calls up the following dialog box:


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The Layer Gap/Overlap page of this dialog box shows the gap/overlap relationship between the various output layers in thecurrent file.

Select a measuring unit in mm, cm or inches using the MeasuringUnit field. If necessary, edit in the top left of the dialog box theminimum and maximum gap/overlap values allowed in this table.

The output layers along the top of the table are fixed; the outputlayers in the leftmost column vary according to the gap/overlapvalues specified. For example, the highlighted entry in the abovetable specifies that 0.2 mm. of overlap will be added to all elementsin layer 2 over layer 1.

You may convert all entries in the table to Gap or Overlap byclicking the All Gap or All Overlap buttons respectively below thetable. To toggle individual entries between Gap (G) and Overlap(O), click the O or G displayed alongside the relevant entry toactivate it, and click it again to toggle to O or G. Similarly, to edit aparticular gap/overlap value, click it to activate it, enter the newvalue, and then click elsewhere in the table to confirm your entry.

The AutoSet button below the table will automatically generatesystem-calculated gap/overlap values for all your layers based onthe maximum and minimum values defined at the top right cornerof the dialog box. For best results, it is recommended that youmanually adjust the individual gap/overlap values.

Click OK when you have finished adjusting the gap/overlapsettings.

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The Freq, Angle and Dot shape fields in the MaskFilm Definitionsdialog box provide a useful guide to the final look of the outputlayer. Using the Preview function displays the effect of your outputlayer definition before printing, but also enables you to view thereal-time effects.


1. In the MaskFilm Definitions dialog box under the Layering

and Output command, highlight the layer to be previewed

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(you can only view one layer at a time). Click the Previewbutton.

2. This calls up a preview of the selected output layer. You can

zoom to view the layer details and use the To Grey Scalecommand to convert the layer display to greyscale.

Note: The layer preview can take a little while to be generated andrefreshed, so please wait a few seconds if necessary.

Note: The To Grey Scale command affects only the previewdisplay of the selected output layer: the printed output remainsunchanged.

3. To edit this output layer without exiting from Preview mode,

select Edit Setting to call up its related Film InteractiveController panel:

4. As an alternative to editing the darkness values in theMaskFilm Definitions dialog box, you can drag-&-drop thenodes on this chart. To edit multiple nodes quickly and simply,


drag the first node that you want to edit to its new position onthe chart, and then without releasing the Yellow Button,continue to drag your cursor across the new positions of all

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other nodes that you want to edit. Release the Yellow Buttonwhen all changes are complete.

5. To preview or edit other defined output layers, select theappropriate Film number from the field in the top left of theFilm Interactive Controller panel, and repeat steps 2 and 3 ofthis procedure.

6. You may print the currently-displayed layer directly from this

screen using the Print command, but it is recommended

that you use the Print command within the Outputfunction instead, because there you will be able to check theoutput settings immediately prior to output.

7. Select Command End when you have finished previewingyour output layers.

Two buttons in MaskFilm Definitions dialog box, Output underMaskFilm layers and Output under CMYK layers, will bedescribed in the final section of these notes.

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Print MaskFilm offers some basic bitmap manipulation commandssimilar to those found in Graphics Mode. These commands aremade available so that you do not need to switch back intoGraphics Mode for minor editing of any half-tone patterns in yourdesign.

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On the Print MaskFilm command group bar is the usual Window

command group.


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All other bitmap commands within Print MaskFilm are stored

within the Bitmap Functions command group. It includes

the Clear subcommands Clear In , Clear Out , Clear All

, the simple Copy and Move commands, Undo

and Bitmap TouchUp .

Note: Undo under Bitmap Functions reverses bitmap

editing changes within Print MaskFilm. The Undo in the PrintMaskFilm command group bar only reverses changes made tovector elements.

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Print MaskFilm has a special bitmap subcommand called Bitmap

TouchUp . This is used for previewing the contents of eachoutput layer and for removing unwanted color dots from yourbitmap images (it can be very useful for fine touch-up of scannedimages). Each color pixel selected for “removal” is re-colored to acolor of a different output layer; the pixel is moved to a differentoutput layer. The chosen replacement color will always be the mostcommonly occurring color around the original pixel.

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1. First define your output layers using the Layering and

Output command, ensuring that each color to be removedis included in at least one layer.

2. Select Bitmap Functions , Bitmap TouchUp . Bydefault, only output layer 1 is displayed in the drawing area. Ifthe layer contents do not clearly show against the white


background, you can use the Background Mode

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command to toggle between variety of background displaymodes: White, Bright, Normal, Dark, Black.

3. To view individual output layers, use Next Layer and

Previous Layer .

4. You may touch up the contents of any particular layer with thepen. Bright background mode is the most suitable for touch-upwork. The pen now behaves as an eraser, and you can adjustthe pen dimensions to control the size and shape of theeraserhead. If you draw over any colored pixel with the pen, itis erased from this layer, and changed to a color from adifferent layer. The chosen replacement color is by default themost commonly occurring color that surrounds the originalpixel.

Note: It is not always clear which color will be used by the system asthe replacement color, for example at the boundary between severalbitmap elements of different colors. Before attempting to erase colordots in such locations, switch to Bright background mode, then

select the Exclude Color command and click the colors that

you do not want to use as the replacement color. Click Enoughwhen you have completed the selection, and then erase the color dotsas described above. Remember to go into this command again anddeselect all the excluded colors (by clicking on them in the StatusAssistant) when you no longer want to exclude them!

5. Repeat step 4 for all output layers that you wish to touch up.

6. Select Command End when you have completed yourtouch-up work.

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If you have not yet defined output layers for your design but wantto touch up its bitmap contents (for example, after scanning), you


may apply the Bitmap TouchUp subcommand on selected colorlayers instead.

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1. Before selecting the Bitmap TouchUp command, first make therequired color layers Editable by clicking them in the palette.

2. Select Bitmap Functions , Bitmap TouchUp .

3. If the Status Assistant displays Layer 01 Colors, select

TouchUp Mode . The Status Assistant should now showthat the system is in Selected Colors mode.

4. All selected color layers will be displayed in the drawing areaagainst a white background. If required, you can use the

Background Mode command to toggle between variety ofbackground display modes: White, Bright, Normal, Dark,Black. Bright background mode is the most suitable for touch-up work.

5. The pen now behaves as an eraser, and you can adjust the pendimensions to control the size and shape of the eraserhead. Ifyou draw over any colored pixel with the pen, it is erased fromthis layer, and changed to a color from a different layer. Thechosen replacement color is by default the most commonlyoccurring color that surrounds the original pixel.

Note: It is not always clear which color will be used by the system asthe replacement color e.g. at the boundary between several bitmapelements of different colors. Before attempting to erase color dots insuch locations, switch to Bright background mode, then select the

Exclude Color subcommand and click the colors that you do

not wan to use as the replacement color. Click Enough whenyou have completed the selection, and then erase the color dots asdescribed above. Remember to go into this subcommand again anddeselect all the excluded colors (by clicking on them in the StatusAssistant) when you no longer want to exclude them!

6. Select Command End when you have completed yourtouch-up work.


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Print MaskFilm by default places a system-generated target holein at least two opposite corners of your printout(s). You may wantto define additional target holes elsewhere in the printed film(s).

1. Select Target Hole in the Print MaskFilm commandgroup bar.

2. Move your cursor to the drawing area and click once. Thischanges the cursor shape to that of a target hole. To create atarget hole in any position of the drawing area, simply click onit. Repeat step 2 to create up to a maximum of 10 target holesper film.

3. To delete all created target holes at any stage, simply click the

Del. All Holes command in the command bar.

To delete or move a particular target hole, click it with the GreenButton to select it first. To reposition this target hole, move it tothe new position and click the Yellow Button. To delete the targethole, click the Green Button again instead.

4. Exit from the Target Hole command by clicking

Command End .


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To print only the bitmap elements or only the vector elements inyour design, right-click in the main white area of the MaskFilm

Definitions dialog box under the Layering and Outputcommand. Select Bitmap if you want to print bitmap elementsonly, Vector if you want to print vector elements only. The defaultsetting is Combined, which prints all elements in the selectedlayer. Note that if you select Bitmap or Vector, then only bitmapor vector elements respectively are displayed in the output layerlist.

Print MaskFilm always prints bitmap images before printingvector images. This facility can therefore be very useful if yourdesign contains overlapping vector and bitmap elements.

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Simply define a window around the part of your image that youwant to print.


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Having completed all the film preparation work described in theprevious section, you are now ready to send your films for printing.Select one of the two methods below, depending on the type ofhalftoning required for the bitmap elements in your design.

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If you are not already in the MaskFilm Definitions dialog box, call

it up by selecting Layering and Output from the PrintMaskFilm command group bar. Click the Output button in theMaskFilm layers function group to call up the Film Generatordialog box:


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The rest of this section lists page by page the settings available inthis dialogue box. When you have finished setting your outputoptions, either click the OK button to close the dialogue boxconfirming all changes, or click the Print button to send thecurrent print job to the Print Film Generator Server for printing.

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Layers for output: checked layers are printed upon clicking thePrint button.

Remarks: after activating this option, click Edit Remarks to addany remarks that you want to print out with each layer.

Under Edit Remarks, common remarks entered in the upper fieldappear on all printed layers; click the buttons Prev. L. Remarkand Next L. Remark to move between layers and enter layer-specific remarks in the lower field. Clear Remark clears thecurrent layer remark and also any common remark.

System Target Hole: prints system-generated target holes in atleast two opposite corners of all printed layers.

User Target Hole: prints target holes added using the Target

Hole command with all printed layers.

Halfdrop Target Hole: when the Repeat Print option in theScale/Repeat page (see later) is activated, prints target holesalongside each repeat to enable easy matching of repeats printedon different pages

Negative Print: prints all selected layers in negative (black andwhite elements reversed).

All Layers in one page: prints all selected color layers (vectorelements) on the same page.

Selected Vector only: prints only those color layers (vector

elements) currently-selected with the Select Object


command.

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Enable Gap/Overlap: enables the Gap/Overlap settings definedfrom within the MaskFilm Definitions dialog box. When this optionis inactive, those defined settings are ignored by the system.

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Line Cap: available for Postscript devices only. Prints the ends ofany open vector outlines in the selected style (see explanatorypictures in the dialog box)

Line Join: available for Postscript devices only. Prints the angularjoints of any vector outlines in the selected style (see explanatorypictures in the dialog box)

Line Thickness: this table contains 32 different pen thicknessesthat may be applied to your printed image. Any objects drawnusing a pen of “height” 5 (defined with the pen control panel’svertical scroll bar), for example, will use pen 5 in this table.Autotraced outlines always use pen 1. Hence, to change thethickness of vector outlines print, edit the default pen thicknessesby clicking on each one and typing in a new value. Confirm newentries by clicking elsewhere in the table.

Note: You can only see the effect of applying these different penthicknesses in the printouts.

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Printer Name: prints using the selected output device. Note thatthe drop-down menu for this field includes all the export fileformats that can be generated using Print MaskFilm. (See finalsection Print MaskFilm-compatible output devices for a listing ofavailable output devices.)

Device Resolution: the resolution used by the selected outputdevice. Note that this is not the same as the printer/drawingarea resolution in Graphics Mode. This resolution affects onlyprintout quality – it has no effect on the size of the printed image.

Print to File: creates a file for printing to the selected output


device, rather than printing directly to it.

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Paper Needed: displays the number of pages required to printyour entire design

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Pattern Resolution: this is equivalent to the printer/drawingarea resolution in Graphics Mode. It will therefore affect the size ofthe printed image, not its printed quality.

Unit: the unit of measure used by the other settings in this page

Film size*: the total dimensions of the printed film

Scale Ratio*: the ratio of the actual printed film dimensions to itsoriginal dimensions

Enable Repeat Print: When activated, allows repeat printing ofthe drawing area contents

Number of Repeats*: the number of repeats in the printed filmalong the horizontal and vertical directions

Single repeat size*: the dimensions of a single repeat

Irregular Repeat: when activated, Print MaskFilm recognizesyour design as an irregular repeat unit

Single Repeat Size (pixels): the dimensions of your irregularrepeat unit in pixels

Drop Size (pixels) any half-drop value required for your repeatprint may be specified here in pixels

Note: The options marked with an asterisk (*) above are interrelated. If youdouble the Scale Ratio in the X direction, for example, the Film Size widthwill automatically double accordingly. To fix any one of the asteriskssettings, activate the Fixed option button alongside it. For example, if you fixthe single repeat width, and then double the number of repeats, the film widthautomatically doubles accordingly.


Note: In all the above options, X refers to the horizontal directionand Y to the vertical direction.

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Note: Only bitmap elements may be output using CMYK halftoning.

If you are not already in the MaskFilm Definitions dialog box, call

it up by selecting Layering and Output from PrintMaskFilm command group bar. Click the Output button in theCMYK layers function group to call up the CMYK HalftoneGenerator dialog box:

Many output options for printing with CMYK halftoning are verysimilar to those for user-defined output layers. The rest of thissection lists page by page the settings available in this dialoguebox. When you have finished setting your output options, eitherclick the OK button to close the dialogue box confirming allchanges, or click the Print button to send the current print job tothe Print Film Generator Server for printing.

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Layers Included: checked layers are printed upon clicking thePrint button. Specify the screen angle for each layer in the Angle


field alongside

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Halftone Shape: the selected dot shape is used for all printedlayers

Screen Ruling (LPI): the specified screen frequency is used for allprinted layers

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Printer: prints using the selected output device. Note that thedrop-down menu for this field includes all the export file formatsthat can be generated using Print MaskFilm. (See final sectionPrint MaskFilm-compatible output devices for a listing of availableoutput devices.)

Pattern Resolution (DPI): This is equivalent to the printer/drawing area resolution in Graphics Mode. It will therefore affectthe size of the printed image, not its printed quality.

Print to File: creates a file for printing to the selected outputdevice, rather than printing directly to it.

Scale Ratio: the ratio of the actual printed film dimensions to itsoriginal dimensions

Negative Print: prints all selected layers in negative (black andwhite elements reversed).

Target Hole (Standard Type): prints system-generated targetholes (no user-defined or half-drop target holes) with all printedlayers.

Remarks: after activating this option, click Edit Remarks to addany remarks that you want to print out with each layer.

Under Edit Remarks, common remarks entered in the upper fieldappear on all printed layers; click the buttons Prev. L. Remarkand Next L. Remark to move between layers and enter layer-specific remarks in the lower field. Clear Remark clears thecurrent layer remark and also any common remark).


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Black Color Usage: determines how the RGB channels in the on-screen image are translated into printed CMYK. The higher theentered value (from 1 to 10), the more black is used. For example, azero amount of black color usage will result in a purely CMYimage.

CMYK Replacement Factor: determines how much of the darkareas of overlapping cyan, magenta and yellow are replaced withblack ink. The higher the number (from 1 to 10), the greater theamount of black ink used.

Total Ink Limit: the upper limit on ink coverage for all fourCMYK colors in any single area. This option allows you to controlthe level of ink that is deposited during printing. If you reduce theupper limit, the level of ink deposited is proportionally reduced forall colors in the film. The maximum of 400% represents 100%coverage for each color.

Use Default: returns all settings in this page to their originaldefault values.

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Calibration curves as shown on the chart on this page of the dialogbox are a mechanism for adjusting CMYK color separation tocompensate for inevitable minor printing discrepancies.


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Note: Adjustment of the CMY intensities invariably affect the blackintensities also. Black intensity is however also dependent on theoptions defined in the Separation page, and so there is no simplestandard relationship between the black intensity and theintensities of CMY. It is therefore highly recommended that whenprinting test proofs after each calibration curve adjustment, youprint not only the cyan, magenta or yellow films, but also the blackfilm.

The horizontal axis in our example represents red intensity, whilstthe vertical axis is an inverted scale representing cyan intensityi.e. the higher the vertical axis, the lower the cyan intensity. Thedefault shape of the graph is a 45° straight line (there is an indirectlinear relationship between cyan and red intensities in a color). Asa general rule, whatever the shape of the calibration curve, themore red in a color, the less cyan it contains. The shape of thecalibration curve determines the rate at which the cyan intensitydecreases as red intensity increases.

Our example calibration curve shows that for a low red intensity(on the left half of the curve), the cyan intensity is high compared


to default calibration i.e. light cyan intensities in the printed cyanfilm will be darker than those in the printed film created using thedefault calibration curve. For a high red intensity (the right half of

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the curve) the cyan intensity is low compared to default calibrationi.e. dark cyan intensities in the printed cyan film will be lighterthan those in the printed film created using the default calibrationcurve. In general, to make the cyan intensity increase morerapidly, you should drag the node(s) on the curve downwards, tomake it increase more slowly drag the node(s) upwards. For morecontrol over the shape of the curve, switch to a 3-point ControlMode using the option buttons in the bottom left of this dialog boxpage.

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Output devices compatible with Print MaskFilm are:

• HP Laserjet A4 •NovaJet (50" Max)

• Lino Type (A4) •Tektronix PhIII

• Lino Type (A3) •Canon BJ330 (A3)

• Lino Type (A2) •Teggra (17" x 17")

• Lino Type (AutoLength) •Teggra (17" x 35")

• PS (AutoSize) •Teggra (17" x 47")

• Plotter (AutoSize) •QMS860 (A3)

• CalCompPlotter •IMDS*

• NovaJet (AutoSize) •MST*

• CST Drum Plotter

The IMDS and MST export file formats are available in PrintMaskFilm only if:

(i) the MaskFilm file being printed contains only vector elements or


only bitmap elements (not both)

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(ii) your Prima Card/Dongle has been programmed to recognizethese file formats.

*The IMDS and MST print files are saved by default into the Imdsand Mst folders on your Print Film Generator Server drive.Transfer the print files to the ZEDCO IMDS system or Stork-compatible laser engraver respectively by floppy disk or throughnetwork links to your PrimaVision PC.


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däçëë~êó R

~äéÜ~åìãÉêáÅ=Eçê=~äéÜ~åìãÉêáÅ~äFW

(A character string) of letters or numbers or both.

~ééäáÅ~íáçåW

Software made for accomplishing certain tasks. For example, thereare graphics applications, word processing applications, anddatabase applications.

~ëéÉÅí=ê~íáçW

The ratio of the vertical length (height) to the horizontal length(width) of an image.

~ìíçíê~ÅÉW

To convert a bitmap image into a vector image. The conversionresembles tracing out the outlines of an image automatically by thecomputer.

ÄÉåÅÜ=ã~êâW

A bench mark is a point of reference from which comparisons ormeasurements are made. The bench mark test provided byPrimaVision is a test for checking the performance of a computersystem for delivering quality graphics.

Äáíã~éW

A bitmap is a digital representation of an image which is composedof dots called pixels.

ÄççíW


To boot up a computer means to set it up and turn it on.

QUR däçëë~êó

Å~ÄäÉW

A spiral-shape knit pattern formed by two groups of stitchescrossing over each other. Nearly all cable patterns are composed offront stitches on a back-stitch ground.

`^aW

Computer-Aided Design. The method or process involvingcomputers to assist in the design of a product.

Å~äáÄê~íáçåW

The process of adjusting the degrees of importance of colorchannels when graphic images are separated into CMYK forprinting. This adjustment is needed to obtain accurate colors in theoutput because physical factors such as the kind of paint, ink, orthe output device can affect the color accuracy.

`^jW

Computer-Aided Manufacture. The method or process involvingcomputers to control the production machines in the making of aproduct.

Å~äáÄê~íáçå=ÅìêîÉW

A graph used for describing a calibration. The x-coordinate of apoint on the curve is the value of an input color channel and its y-coordinate is the value of the output color channel.

`jvhW

The four process colors -- cyan, magenta, yellow, and black -- that acolor image is separated into when reproduced on a four-colorprinting press or color printer.

`çäçê=^ëëáëí~åíW

A free-floating window in PrimaVision showing the color palette


and commonly-used Color commands.

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Åçäçê=ÅçãÄçW

Possible combinations of assigning a fixed number of colors to afixed number of areas in the image.

Åçäçê=ëÜ~ÇÉW

Or color gradation. A shading starting from one color and thenblending toward and ending with another color.

Åçäçê=ä~óÉêW

Or simply layer sometimes. The channel/components into which animage is color separated for mask film production.

Åçäçê=ÖêçìéáåÖW

A process for eliminating unnecessary or unwanted color details. Itgroups by similarity the colors of an image, and then replaces thecolors in each group with a representative color. In the context ofmask film production, it means grouping colors of an image intoseparate color layers, each layer per process color/ink.

Åçäçê=é~äÉííÉW

See palette.

Åçäçêï~óW=

Another term for color combo.

Åçãã~åÇW

A command within a command group. For example, ColorPercentage is a command of the Color command group.

`lkcfdKmsW

The text file containing the parameters that determine themodifiable configuration of the PrimaVision system.


QUT däçëë~êó

ÅêçëëJÜ~áêW

The pair of fine vertical and horizontal reference lines thatintersect on the computer screen forming a cross-shaped cursor inthe drawing area.

ÅìêëçêW

The small bright figure on the computer screen used to indicate thecurrent position where data is entered, lines are drawn, orselections are made. Its position is usually controlled by the uservia the mouse or other pointing devices.

aapW

Formerly known as DAT, a magnetic tape cartridge used forstoring digital data. Usually used for backup.

ÇÉëÉäÉÅíçêW

A usually rectangular area that contains the colors (or other items)to be excluded from being used by the current command. See alsoselector and window.

alp=Eçê=jpJalpFW

(Microsoft) Disk Operating System. Was once the most commonoperating system (controls the basic operations performed by acomputer) for PCs. As an operating environment, Windows 95 hassuperseded DOS in popularity, but in fact, Windows 95 itself runson a DOS platform.

alp=éêçãéíW

The command prompt displayed by DOS, indicating the system isready to receive a command e.g. C:\>. In Windows 95, DOS promptor MS-DOS prompt refers to the application that calls up a windowcontaining the DOS prompt.

ÇéáW


Dots per inch. A unit for measuring the resolution of bitmapgraphics.

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Çê~ÑíW

In the context of weaving, the rectangular diagram that describesthe order of lifting the warp ends to allow weft threads to passthrough.

Çê~éáåÖW

The process of filling in an object with a bitmap pattern such thatthe pattern follows the illusionary three-dimensional form of theobject.

Çê~ïáåÖ=~êÉ~W

The work space that contains the picture you are working on.

ÉåÇW

An individual warp thread used in weaving.

bmpW

Encapsulated PostScript. A file format that describes a (graphic)document written in the PostScript language.

ÑçåíW

A set of characters and other symbols all of the same typeface.Fonts have different names, sizes, appearances and can take ondifferent attributes. For example: Courier Bold 10pt.

ÑìåÅíáçå=âÉóëW

A set of keys used by themselves or with <Shift>, <Ctrl>, and<Alt> keys to perform certain functions provided by an application.They are usually labelled F1, F2, F3 and so on, and often locatednear the upper edge on the keyboard.

ÖêÉóëÅ~äÉW


A scale of equally spaced grey tones starting from total white andending with complete black.

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ÖêáÇW

A network of uniformly spaced vertical and horizontal lines. In thecontext of draping, the grid is used to model the contour lines of thethree-dimensional object.

Ü~äÑJÇêçéW

An important parameter of a repeat operation; the verticaldisplacement from the previous column of repeated images.

Ü~äÑJëÜáÑíW

An important parameter of a repeat operation; the horizontaldisplacement from the previous row of repeated images.

Ü~äÑJíçåÉW

A half-tone image is made with a series of dots of varying sizes,alignment, and spacing that simulate greyscale or smoothtransition of color values.

ÜçíJâÉóW

A combination of key sequence to perform a certain function (e.g.,the Switch Tasks hot key on Windows 3.1 or Windows 95 isperformed by pressing the Alt-Tab key sequence).

eaoW

The file extension of the header file for an image in the IMDSformat.

epsW

Hue, saturation, value. A color model widely used in the visual artsand design professions. The hue of a color defines what color ittends to (for example, whether it is red, purple, or orange in itsnature). Saturation defines how saturated the color is (whether itis intensely red, or only slightly reddish). Value is the brightness /


darkness value of the color (whether it is a dark red, or a lightpink).

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fauW

The file extension of the index file used to define an image in theIMDS format.

áã~ÖÉëÉííÉêW

An output device used for printing, onto film media, the camera-ready separations of a (computer-generated) document of text and/or graphics.

fjapW

The file import/export interface for file transfer between thePrimaVision system and the ZEDCO laser engraver system.

fjdW

The file extension of the image file used to define an image withinthe ZEDCO IMDS system.

áåâàÉíW

A method of printing by spraying inks from nozzles of theprinthead onto the piece of paper.

fmrW

Intelligent Processing Unit. The component attached to the CanonCLC-10 series Printer/Scanner/Photocopier enabling it tocommunicate with a computer.

hçÇ~â=`çäçê=j~å~ÖÉãÉåí=póëíÉãW

A color management standard based on the LAB colorrepresentation model.

i^_W

Lightness, and intensity of green, red, blue and yellow determined


by the A and B coordination on the color map

QVN däçëë~êó

ä~åÇëÅ~éÉW

The orientation of the page which places the long edges of the pagehorizontally.

ä~óÉêW

See color layer.

äéáW

Lines per inch. A unit for measuring the resolution of output from aprinter, plotter, or other devices. Also used by some to measure thedensity of a half-tone screen.

ã~ëâÑáäãW

The medium in which color separated output is produced for textileprinting.

ãÉëÜW

A unit used to indicate (half-tone) screen size as the number ofopenings per linear inch. The larger the number is, the finer theoutput.

ãçÇÉãW

Modulator + demodulator. An electronic device that makestransmission of computer data over telephone lines possible byconverting data from a form compatible with computers to one withphone lines and then vice versa.

jpqW

This is the graphic file format read by the computer console of theStork-V5 Laser Engraver or compatible engravers.

åçÇÉ


A hinge on a curve that affects the form of the curve.

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kmmrW

Network Parallel Printing Unit. The older name for PrimaServer. A computer responsible for processing PrimaVision printjobs and scan jobs on a networked PrimaVision system, it acceptsjobs from any PV on the network to any printer or scannerconnected to itself.

m^_uW

A telephone switch box standard. It usually expects a dial prefix ora control digit such as "9" before a telephone number can be dialled.

é~äÉííÉW

Located in the Color Assistant containing colors you can select toapply onto a picture. The number of colors the palette can hold atone time is limited, but you can put different colors onto the paletteand modify colors already there.

é~ååáåÖ=~êÉ~W

Located in the Status Assistant, the small rectangular windowwhich shows the whole drawing area, and allows you to determinethe part of the drawing area that is currently shown in the mainwindow of the PrimaVision screen.

m^kqlkb∆W

Commonly known as the professional color guide, a popularproprietary color check-standard for choosing and identifyingcolors based on ink mixes.

é~ê~ãÉíÉêW

A variable whose value determines the option or behavior of afunction or command.

é~íÜW


A directory path: a description that tells DOS or PrimaVision onwhich drive and in which directory to locate a file. Also a font path:a guideline that the shape of a line of text follows.

QVP däçëë~êó

m`uW

The popular graphic file format used by PaintBrush, the graphicapplication that comes with Microsoft Windows.

éÉÖJéä~å=Eçê=éÉÖÖáåÖ=éä~åFW

The rectangular diagram that describes the order of passage of weftthrough spacing (created by lifting some of the ends) betweenlayers of warp.

mÉå=^ëëáëí~åíW

A free-floating window in PrimaVision showing the pen controlpanel and up to 4 types of pen type options.

éáÅâW

An individual weft thread.

éáñÉäW

The smallest element of a bitmap image. Frequently referred to asa “dot” (as in dpi - dots per inch).

éçêíê~áíW

The orientation of the page which places the short edges of thepage horizontally.

mçëípÅêáéíW

The programming language designed to describe virtually any pageof graphics and text to an output device. A PostScript-compatibleprinter is one that can accept and process such descriptions.

mmrW

Parallel Printing Unit. A machine which accepts print jobs from acomputer, acts as a printer buffer, and sends them out to a printer.


With a PPU, the processing of the print jobs and the general workdone on the computer by the user can go on simultaneously.

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éêÉëëìêÉJëÉåëáíáîÉ=ëíóäìëW

A pointing input device in the shape of a pen and with a tipsensitive to pressure. Usually used as if holding a pen to write orpoint and click on a tablet, the pressure-sensitive stylus canprovide fine and natural control over many graphic tools, such asthe capability of drawing lines of variable thickness.

mêáåí=cáäã=dÉåÉê~íçê=pÉêîÉêW

A computer dedicated solely to carrying out the computationneeded to autotrace an image.

éêáåí=èìÉìÉW

An ordered list of print jobs waiting to be received by the printer.

mpW

Acronym for PostScript.

éìêÖÉW

When a file is deleted from a disk, it is not physically erased.Instead it is only marked as "deleted", because users may want toundelete, and because marking is more efficient than immediatedeletion. Purge, is to remove all "deleted" files on the disk to free updisk space.

êÉÄççíW

To reset a computer. To turn off the computer and then start it upagain.

oÉéêçéçêíáçåW

To change the size and/or proportion of an image.

od_W


Red, green, and blue. The three additive primary colors used tocompose all colors when direct light is used, as on a computerscreen.

QVR däçëë~êó

ëÅ~ä~ÄäÉ=ÑçåíW

A font that can be scaled up or down to virtually any size.

ëÅêçääW

To move through a document, a list, or a palette that extendsbeyond the screen display.

pÅêçää=^ëëáëí~åíW

A free-floating window in PrimaVision showing the panning area,up to 4 types of display modes and zoom lever.

ëÅêçää=Ä~êW

The bar on one side of a document, list, or palette that lets youscroll.

ëÉäÉÅíçêW

A usually rectangular area that contains the colors (or other items)to be included for use with the current command. See alsodeselector and window.

ëÉíìéW

A preparation, adjustment, or arrangement of machines for certainoperations.

ëÜ~ÑíW

A bar-shaped part of a weaving machine which is used to lift upends to create passages for picks.

ëâÉíÅÜ=ÑáäÉW

A PrimaVision graphics file.

péÉÉÇÅäáÅâ=^ëëáëí~åíW


A free-floating window in PrimaVision showing the mouse shortcutindicators.

däçëë~êó QVS

pí~íìë=^ëëáëí~åíW

A free-floating window in PrimaVision showing the currentcommand status and options, mouse-driven shortcuts.

ëíáíÅÜW

The in-and-out action of a threaded needle during knitting, sewingor embroidering. Technically, the geometrical configuration ofthreads used to sew or knit a particular piece of fabric.

ëìÄÅçãã~åÇW

A command within a command of a command group. For example,Rearrange is a subcommand of the Color, Color Percentagecommand.

ëìéÉêáãéçëÉW

To place (an image) on top of something with areas in thebackground color appearing transparent.

í~ÄäÉíW

A drawing board on which a pointing input device such as a stylusor mouse is used.

í~êÖÉí=ÜçäÉW

A mark that looks like a dart of concentric circles, usually at acorner of a sheet, used to align and position mask film separationoutput.

q`mLfmW

Transmission Control Protocol/Internetwork Protocol. A commoncommunication protocol in the Unix environment.


QVT däçëë~êó

qfccW

Tag Image File Format. A tag based file format for storing andinterchanging bitmap images. It is a rich format that can describea variety of images, and is widely accepted among manyapplications.

qfd^

Texas Instrument Graphics Architecture. A high-resolutiongraphics coprocessor operating system. Held as an importantgraphics interface standard by a wide range of applications andgraphics boards.

íçÖÖäÉW

A toggle switch, or a one-button switch. Pressing its button turns iton if it was off, and off if it was on.

qêìÉqóéÉW

A popular scalable outline font standard. Both the screen versionand printed version of a TrueType font are based on the samemathematically defined outline, giving you the benefits ofWYSIWYG and scalability.

îÉÅíçêW

Basically a line with a sense of direction. A vector image is onedescribed by vectors that form the outline of objects in the image,and is scalable without loss of outline smoothness.

sd^W

Video Graphics Array. Graphics display that supports up to 256colors and a resolution of 640x480 pixels.

ï~êéW


The vertical threads that are interlaced with weft to form a cloth.

däçëë~êó QVU

ïÉ~îÉW

To produce a cloth by interlacing the warp and weft.

ïÉÑíW

The threads that run horizontally to make up a cloth.

ïáåÇçïW

In PrimaVision terminology, a rectangular or irregular outlinearound a part of the image to select its contents. Frequentlyrequired to define the part of the image on which a command is toact e.g. Copy, Move, Change Color, Print Window. In Windows95 terminology, a window is an element that contains anapplication or part of an application. In this case, it is recognizableby its title bar containing text that describes the window’s contentsand at most three standard buttons in the top right corner.

táåÇçïë=VR

A multi-tasking operating system created by Microsoft using 32-bitWindows topology

tvpftvd

What You See (on the computer screen) Is What You Get (on aprintout). Pronounced "wizzy-wig".

ó~êåW

Spun fibres.

ó~êå=ÅçìåíW

A measurement of the thickness of a yarn. Measured in yarns perinch.


wba`lW

QVV däçëë~êó

A laser engraver system. It is also the name of the company thatdevelops the system.


prim a vision v6r1 user guide

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