Users' Report: DTG Printers: The Entrepreneurial Magazine For Coreldraw® Users Worldwide

CorelDRAW Help
May 2009
the entrepreneurial magazine for CorelDRAW users worldwide
Users Report: DTG Printers
Using CorelPHOTO-Paint: Blending Objects CorelDRAW Applied: Creating Holding Fixtures 2 Inside Color: The Postscript Color-Managed RIP Inside Screen Printing: Prepping the Artwork for Printing
Published for the Association of CorelDRAW Professionals (ACDRP) / www.coreldrawhelp.com
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Inside ACDRP
may 2009
Editor / Publisher Michael R. Neer mikeneer@coreldrawpro.com Graphics John Mise ADVERTISING John McDaniel II jhmcdaniel2@coreldrawpro.com 541-990-6687 Offices Membership & Publishing offices located at: 4549 N. Glenn, Suite 110, Fresno, CA 93704; 800-276-8428, 559-276-8494 Fax 559-222-1390 www.CorelDRAWHelp.com editor@coreldrawpro.com
Subscriptions: Free to qualified individuals and businesses. Send change of address to the above. ACDRP Membership: $60/yr., See the website for details. Includes exclusive content and more. Advertising: Request a Media Guide or download it from www.CorelDRAWHelp.com. Writers: CorelDRAWPro accepts articles from industry experts. Email publisher for details. Copyright 2009 by ACDRP. All Rights Reserved.
By Mike Neer, Executive Director
How is Your Filter Working?

Cleaning Our Filters I think there are four main ways that our personal filter gets clogged and theyre easy to remedy if we appreciate how important this filtering process is to our success. The most serious block is stress. When we are overloaded by time pressures, financial pressures, health pressures, and more, then our whole system starts functioning in survival mode fight or flight. We lose the ability to stay and play which leads to enjoyment, creativity, and success in whatever we do. We must adopt a regular stress management process to keep our balance. The second most serious block is fatigue. We all ignore this one. Oh, we say, we only live once, so lets pack in as much as we can in our days and not worry about sleep. Well, as I told my 20-yearold son the other day, whats important to me is to get enough rest so that Im fresh and alert in every situation and thus I live each moment fully rather than muddling through feeling half there from fatigue. The third block is overwhelm, and this is a product of modern culture that inundates us with more and more information in the same 24 hours, and expects us to make sense of it. We do filter a lot of it out, but then feel guilty that maybe were missing something important. We have to manage our time and space better -- and our email and phones to eliminate this filter blocker. The last block to a clean effective filtering mechanism in our mindbody system is the untrained ear, or eye, or heart. This is what education or training is all about. If we cant tune in to a certain range of sound, or notice the subtleties of a piece of artwork, or feel the nuances in a conversation, then we dont have the option to choose what we want. Its as if our filter is highly porous and lets all the big stuff through. We need to educate ourselves so we are operating with a more refined filter. So hows your filter working? I gotta go clean mine up now so I can get this issue done. See ya.
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Today we needed to change the filter on the air conditioning unit in our office. It really needed it as the old one was all clogged up with dirt and dust. It made me think about the power of filters, and how we use one form or another of filters every day. The dictionary says a filter is any porous substance through which a liquid or gas is passed to remove suspended matter. My translation the act of separating what we want from what we dont want. What filters do With air filters, we separate out the dust and pollutants from the air. With water filters, we isolate pure water from tainted water. With noise filters, we separate loud, distracting noises from everyday sounds. With coffee filters, we separate the grounds from the rich, aromatic liquid. When we drive a car, we filter out the important things to pay attention to from the less important. The same with relationships and even our businesses. Its the attention capability of our minds that helps us choose whats important and whats not. The same process works for our creativity. When designing a new graphic for a customer, we notice the spacing, the lines, the shapes, the lettering and decide what to keep or not in the design. This is what I would call our graphic filter, or our creative filter. We cant create without making choices and thats a filtering process. So just like we have to change the A/C filter every so often to avoid clogging, what do we need to do to change our mental or business filter? Rather than change the filter, I think we just need to keep it clean. After all, we dont replace our mind or attention, but we can certainly keep them clean.
Published by Association of CorelDRAW Professionals President: John H. McDaniel Vice President: Judith McDaniel Executive Director: Michael R. Neer Assoc. Exec. Director: Steven V. Neer
ACDRP Corporate Office: Albany, OR
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learn! 9 Using CorelDRAW: Positioning Objects as You Draw 10 CorelDRAW Applied: Imposition Layout -- Creating Holding Fixtures 2
by John McDaniel
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May 2009 grow! SPONSOR INDEX
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13 Inside Color: The Postscript Color-Managed RIP

by David Milisock
17 Inside Screeen Printing: Prepping the Artwork for Printing

by Jeff McDaniel
24 Getting Ahead: Users Report: Digital Direct-ToGarment Printers

by Deborah Sexton
Corel Corp. Custom Graphic Technology Epilog Laser Corp. Geo. Knight & Co. JBL Graphics John E. Lepper Inc. Johnson Plastics LaserSketch N&R International Paramount Services Inc.
20 Inside Sandblasting: Sandblasting Equipment

by Judy McDaniel
30 Marketing Secrets Get Motivated To Get Through!

by Donna Gray
34 Traveling Tidbits: Keys, Cards, and Don Neer

by Otis Veteto
15 Using Corel PHOTO-PAINT: PHOTO-PAINT Artistry: Blending Objects To Create Unique Effects
by Bill Leek
22 Inside Engraving: Speed Control -- Part 3

by John McDaniel
In almost all cases, successful companies have leaders who are inspired and passionate about what they do. Just talking to them is inspiring. One can actually sense the joy and the excitement they feel about going to work every day, no matter what challenges the day may bring. -- Donna Gray
DEPARTMENTS
3 Inside ACDRP: How is Your Filter Working? 6 Graphics News Wire 7 Vision: Mike Dean, Epilog Laser
28 Logo-Links 32 GNN Network
32 Marketplace 33 Contributing Writers
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Product News Headlines:
Hirsch announces improvements to Embroidery-Chenille Combo Unit New Blog on Heat-Applied Garment Decoration from Imprintables Warehouse GroupeSTAHL named authorized distributor of 3MTM ScotchliteTM Reflective Material Unisub introduces new silver products for sublimation Unisub adds Action Easels and Silver Photo Panels for ChromaLuxe line Stahls ID launches Seasonal Patriotic Heat Transfers for US and Canada
GRAPHICS News Wire

May 2009
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Great Dane Graphics offers motorcycle stock art Johnson Plastics announces special pricing on ClearPath Portico Poly Frames Laserbits offers clip art and optic cleaning supplies ASI presents virtual trade show for promotional products Vastex has new DiGiT Instant Numbering System Corel offers new Enterprise License Program Transfer Express offers Reflective Custom Transfers Imprintables Warehouse offers new Faux Print CAD-PRINT material
(Web Link) Check out the upcoming training classes and trade shows of interest to CorelDRAW users.
Calendar
Hirsch debuts new MHM MultiFlex Modular Screen Printer Equipment Zone adds new Sawgrass Digital Inks for Brother GT-541 Royal Apparel offer organic cotton tank top for women
Johnson Plastics cuts price of Premier Mug from Thailand SanMar launches District Threads Design-a-Tee Contest Awards industry leader Don L. Neer passes away May 3
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vision
Interviewed by Mike Neer, Editor
Mike Dean,
Epilog Laser Corp.
(Editors Note: This column is part of a series of interviews with leading executives in the graphic products industry. In this time of change, we are interested in their views on how the industry is changing and how businesses can continue to grow.) 1. What are the biggest problems faced by industry businesses today? I think almost all businesses these days are faced with the problem of doing more with less. It seems were all faced with more competition, lower margins, and higher demands in quality and service. Were also faced with the fact that its harder than ever to stand out in a crowd. The internet is an essential tool for your business, but differentiating yourself on a computer monitor is a lot different than differentiating yourself face-to-face. On the other hand, the internet provides more opportunities to reach people that you would never see otherwise. Learning how to invest properly so that technology pays off for you is probably the single biggest challenges we all face. 2. What three things can industry businesses do to accelerate growth? Innovate. Keep coming out with new products or developing new markets. This can be extremely hard to do for some, but its absolutely essential if you want to grow your business. If youre not growing it could be because you havent changed anything for a while. Stability can be a perfectly acceptable business strategy for some businesses, but when it comes to growth, new products and services are the driving engine behind growth. Leverage your business with more of what you already know. Look around to see what new services you can offer and what kinds of equipment you can buy that are similar in nature to what you already have in place. This is important because if you can use most of your current knowledge and experience in more than one area, youre going to be more efficient and hopefully more profitable. The idea is to expend
50 percent more effort, but produce 100 percent more profit. Merge with or buy your competition. Just like everything else thats declined in value over the last year, business values have declined too. But looking at it from a different point-of-view, you could use this difficult business climate to your advantage. If you have money in the bank, good credit, or if you know people that want to invest in something other than the stock market, this could be your chance to expand your business at a discounted price. Also, talk to your competitors. You and your competitor may have complementary skills and merging may be a way to grow in a way that neither of you could individually. Remember, Two heads are better than one! Of course, there are all sorts of accommodations you may need to make, but famous and successful companies have often been partnerships Hewlett and Packard come to mind. 3. What changes do you see in the decade ahead for industry businesses? I do see consolidation as something thats going to change the industry. There are a lot of very viable companies in this industry and viability attracts attention. People want successful companies. Unfortunately, I think were also going to see some companies disappear. Thats a shame, but in the long run its going to be good for the customers and for the companies that survive. I think youre going to see companies expand into areas theyve never thought about before. There are so many different applications for this industry that I think it will spill over into other industries that arent yet aware of how this industrys technology can be used. The internet is going to facilitate this migration. People get so many ideas off the internet, and in many ways, the internet is just getting off the ground, so the possibilities for cross-pollinization are going to be enormous. People
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Vision
that might get laid off in the current economy are going to be looking for new ways of doing things and theyre going to be looking at the internet for their ideas. Plus, this is a creative industry, and thats going to attract creative minds. It will be fun to watch!
QuickView:
1. Company Name: Epilog Laser 2. Title: Sales & Marketing 3. Product Line: Zing 16, Zing 24, Mini 18, Mini 24, Helix, EXT, FiberMark 4. Best-Selling Product: The Epilog Helix. This is Epilogs mid-sized machine with a 24 x 18 inch work area and wattage options of 30, 40, 50, 60 or 75. 5. Newest Product: The Zing 24 6. Historical person you most admire and why: Michelangelo. His intellect and artistic skill have been unsurpassed for 500 years and his art has had more impact on more people than any individual since Jesus or Mohammed. 7. Recent book read that youd recommend: Blood and Thunder. I love history. This is a book about American emigration during the early to mid 19th century into what are now the southwestern states. 8. Your favorite software program: CorelDRAW (and Im not just saying this!). Of course, I use CorelDRAW for our laser systems, but I use it whenever I want to design something or to make anything to scale. Its such a versatile tool! Ive used it to design our landscaping, inside remodeling projects, trade show booth layouts; the list is endless! 9. Phone: 303-277-1188 10. Email: miked@epiloglaser.com 11. Web address: www.epiloglaser.com 12. Street Address: 16371 Table Mountain Parkway, Golden, CO 80403
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Using CorelDRAW
Positioning objects as you draw
Training
Heres a time saving trick! Did you know that you can position an object with any object-creation tool (any tool found in Rectangle, Ellipse, Object, or Perfect Shapes flyout) without having to go to the Toolbox? This tip is particularly useful if your drawing contains several objects. By right-clicking an object with any object-creation tool, you can move or copy it to a new location in your drawing. 1. With any object-creation tool active, right-click the object, and drag. A blue outline of the object follows the pointer as you drag.
2. After you position the object, release the right mouse button. A menu appears.
3. Choose one of the following: Move here Copy here The object is moved or copied.
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By Judy and John McDaniel Learn
Imposition Layout Creating Holding Fixtures Part 2

So far in this series weve showed how Imposition Layout in CorelDRAW can be used to duplicate layouts for standard labels; and then how it can be modified to create custom layouts. Specifically, weve shown how it can be used with standard label stock; how to modify it for custom product layouts; and how we can use it to control where on an output page our layout will be printed or engraved, using custom margins. We can use Imposition Layout with Laser Engravers, Mechanical Engravers, Sublimation Printers, Vinyl Cutters, Sandblast Film Printers, etc., etc. Essentially we can use it with any output device that has a print driver for Windows, and even some that dont, via export from CorelDRAW and import into proprietary software packages. As weve shown before, to effectively use Imposition Layout, we need to use the products size as the page size in CorelDRAW; and then in the output devices printer driver use (1) a standard paper size, or (2) enter a custom material size, or (3) use the machines table size. Following this practice will allow us to duplicate and distribute one layout over the output material, creating as many copies as will fit. Picking up from where we left off Last time we explained why we create and use holding fixtures to process multiple parts; and we outlined the steps necessary to create the fixture. To review the steps are 1. 2. 3. 4. Create a simple product template from a vector outline of the product. Cut a sample outline in a scrap piece of material. Fit the part to the cutout. Use imposition layout to distribute the outline over the area of the fixture. outline. The product we selected is an anodized aluminum business card. We then cut the outline and adjusted it as necessary using the Contour tools. This time we will use that final template to create a holding fixture that can be used to process multiple parts at one time. The Template Picture one shows the template we are using. Youll notice in the object manager we have several layers. They are
Picture 1
So far in this process we have created a simple product template using the items
Page 1 1. T e x t t h i s l a y e r contains all the text we intend to engrave. We have isolated text on a separate layer because we intend to send it to the engraving machine as a separate job at a higher resolution than the photos we will engrave. 2. Guides this layer is for guides unique to page 1. We dont have anything on this layer in the template. 3. Picture this layer contains the photos we have in our layout. We send photos to the engraver as a separate job, using a lower resolution. Having the photos on a separate layer allows us to easily do this. 4. Cutout this layer contains the cutout rectangle we intend to use to create the holding fixture. This is the outline that we tested last time by cutting it in a scrap piece of material and adjusting it with the Contour tool to fit our product. In this example it has a 0.002 inset from the product outline. Since we intend to create the fixture using a laser engraver, we have chosen a 0.002 inset to compensate for the width of the laser beam for our machine. Picture 2 is a close-up view of the cutout offset.
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Picture 2
Fixture size is the next consideration. The larger the fixture, the more pieces we can run at one time; but larger fixtures take more storage space. Weve found that 12x12 or 12x24 fixtures represent a good balance. For this exercise well use a 12x24 size. Gutter size (space between pieces) is another consideration. We would like to fit as many pieces into the fixture as possible, but if the pieces are too close together, the fixture will be weak and perhaps break in handling.
will take you to the Print Preview workspace. In Print Preview select the Imposition Layout tool, click on Template/Document Preview, click on Maintain Picture 5
5. Product Outline this layer contains a vector outline of the product that we originally created. We use this outline as a reference. We dont send it to the engraver, but we might print it in proofs for the customer. Master Page The master page contains 3 layers, which in this template are empty. Picture 3 If you are starting from scratch you might not have text or pictures in your layout. We started from a layout we already had so we simply made sure the elements of the layout that are unique to the job are contained on separate layers. Templates can be easily modified as required. (We covered templates and layers in the beginning of this article series. If you would like to review those articles, please contact the publisher for past magazine copies.) From Template to Holding Fixture From the template weve created, we can now create a holding fixture. The first decision is what material to use? As we have explained in past articles weve created temporary fixtures from cardboard and permanent ones from acrylic. You might also want to use heat resistant materials to create fixtures that can be used in a heat press for sublimation or other image transfer processes. At this point we wont get into a materials discussion.
To overcome this issue for some fixtures weve used two layers of material; a solid back piece with a thinner top cap. We completely cut through the top cap, but leave the back piece intact. For this exercise well plan on using two layers of material with a 0.25 gutter. To automatically introduce the desired gutter we have make the CorelDRAW page 0.25 larger than the product.
Document Page Size, and then enter the number of pages across and down; see picture 5. As you can see we are able to get 30 pieces in our fixture. The red outlines shown in picture 5 are the locations that will be cut.
With these decisions made and our materials assembled, we can proceed. The Fixture Layout Picture 4 To use the template turn everything off from printing except the Cutout Layer. To do that, in the Object Manager left click-on the printer icon for each layer except the Cutout layer; see picture 3. Then press F9, print preview to check what will be sent to the output device, see picture 4. Next, click on the printer icon or File/Print on the menu. Select the output device, material size, etc. Then from the Printer dialog screen click on Print Preview, which
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Picture 6
Next, save the Imposition Layout for future use. Click on the + icon on the Imposition Layout Command Bar and name the layout in the dialog box, see picture 6. Once you have saved the layout it can be easily recalled from the dropdown list, see picture 7. Using the Fixture Once you have created the holding fixture and
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saved the layout its easy to setup and use. Open the template you created; click on File/New From Template and complete the layout. Turn off all the layers from printing except for the information you want sent to the output device. In our example all the information we will send to the engraver is located on the Text and Picture layers, see picture 8. Note: as we mentioned before we would actually send each layer as a separate job with different operating parameters.
Picture 7 Click on the printer icon or File/Print, select the output device, and setup its operating parameters. Back in CorelDRAW click on the layout tab in the printer dialog screen and select your imposition layout from the dropdown list, see picture 9. You can see a mini-print preview in that screen. Picture 8 If you would like to see Picture 9 a larger preview click on print preview, see picture 10. Conclusion As you can see creating a holding fixture for small parts is simple with the power available in Imposition Layout. When you use the fixture make sure its placed back in the original location where it was created and the size of the layout template is not changed. So far we have explored Imposition Layout with applications where the information is static. Next time we will look at how well it works with variable information. Name badges, for example, as opposed to business cards.
Picture 10
Judy and John McDaniel are owners of JHM Marketing and CorelDRAWhelp, Inc. They provide consulting and training services for the industry. They also owned and operated Moments Remembered, a retail personalized gift shop for over ten years in Sisters, Oregon. They are regular columnists for several trade publications, focusing on hardware design, software reviews, and various processes from a users point of view. (For information on training services offered and their application support service visit www.CorelDRAWhelp. com. (For information on the Association of CorelDRAW Professionals, please visit www.CorelDRAWPro.com.) They can be reached via email at JHMcDaniel@ CorelDRAWhelp.com. CDH
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inside color
By David Milisock Learn
The Postscript Color-Managed RIP

After some gut-wrenching hours spent on the internet forums discussing how a workflow is handled in terms of color, it was obvious that we need to revisit the Postscript color-managed RIP (Raster Image Processor) for film setters and plate setters subject. Im almost positive that this is about exciting as watching snails race, however we need to understand how this works or we fail at our color task. the ICC regulations. Some just do not support ICC profiles at all, foregoing a certification. How the RIP manufacturers have decided to handle RGB files varies from one manufacturer to another so when you send an RGB file to a Plate or Film Setter you do so at your own risk. PERIOD! This creates an absolute color space for which to build the image setter platform. The image setter is calibrated by printing a test grid of screens. These screened percentages are read and the RIP software allows manipulation so that the final output is linearized. A 5% value prints at 5%; the same for every value along the grid up to 100%. This is the linearization curve. Plates are imaged with the same percentage screen grid and printed to the paper in which you want to design your output curve. Once the proper
How these devices handle CMYK is different from ICC-controlled RIPs. The controlling factor is The next page will delve into the world of that it converts the source CMYK color Postscript color-managed work space to a LAB color space. It The only flows and this introduction uses a linearization media relevant aspect of a CMYK simply has to state curve that is not an press work flow for a Corel user is the TIC this. Postscript color ICC profile and has management works a LAB equivalent for (total ink coverage), or ink limit of the media and it works well for that CMYK space. curve. However, finding an individual in a print these parameters: The source LAB shop that can tell you what the ink limit you send down only space is connected to CMYK to a Postscript linearization media curve is will not be easy. color-managed RIP, and that LAB color space and then to the images in the file were converted the media curve. to CMYK using an ICC profile with a TIC (total ink coverage) that is equal to or less than the TIC of the In all my travels, I have never seen an image or output device, usually a press. PERIOD! The CMYK plate setter set up to use ICC profiles; they have all numbers will simply be passed along. used Postscript color management totally and the CSA (color space array)is assumed to be from CMYK. Since So if you want to save some time, just believe me and that CMYK information is an absolute color space, it has dont bother reading the next part of the article. However an absolute LAB color space equivalent to which it can the rest of the article will give you enough information be converted. so that you understand why it works. The absolute color space is a color space that The RIP for Film or Plate Setter means the same thing universally. Unlike RGB This is a Postscript color-managed device; to get (where the numbers mean nothing without color space an Adobe certification for Postscript Level 3 they must identification because 256 shades from light to dark are support ICC profiles, and while they may support ICC used for gamuts of different sizes), CMYK uses 100 profiles, few are set to use them in compliance with shades only, for one fixed-size gamut, total ink of 400.
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inside color
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ink densities have been reached on press, the screen values are read from the paper. This will establish the ink limit, dot gain curve for that paper. For example if the 40% screen now reads 43% on the paper and so on, these readings establish a dot gain curve; the percentage where the ink becomes solid establishes the ink limit. The RIP software allows you to create a dot gain curve in which to apply to the linearization curve, which establishes the ink limit linearization dot gain curve for the paper. The RIP software can now establish a LAB value for the CMYK percentages possible for the media. The CMYK color space communicated by the CSA in the Postscript file is converted to LAB and is connected and converted to the LAB of the ink limit media curve for the plates, and the plate or film is imaged. The only relevant aspect of a CMYK press work flow for a Corel user is the TIC (total ink coverage), or ink limit of the media curve. However finding an individual in a print shop that can tell you what the ink limit is will not be easy. Most likely you will get a response that you should use the CMYK commercial profile for your region. They come in web coated and un-coated as well as sheet fed coated and un-coated versions. TIP: Some CMYK profiles are labeled as to their TIC; most are not. Create an Adobe RGB 1988 image, R0, G0 and B0 and convert it to multiple CMYK separation printer profiles, saving each version. Open each CMYK version in PHOTO-PAINT, then open the info docker, setting the secondary color to read total ink. You can then read and establish the TIC for all the CMYK profiles in your possession. Thats it! You know all you need to know about achieving calibrated output from the CorelDRAW Graphics Suite. Just build the file right, adhering to strict color management principles, and Corel color management does all the work for you. David Milisock, president of Custom Graphic Technologies Inc. of Lancaster, PA, has been in the print production business since 1975. He specializes in professional support for CorelDRAW Graphics Suite. He started supporting CorelDRAW files for print output with V4. Output includes computer to plate processes for all commercial digital front-end applications, as well as Postscript-compliant graphic applications. He offers technical and color management support for all RIP-driven corporate digital output systems, and also offers Giclee printing. He can be reached at 717-509-3523 or davidmilisock@comcast.net. CDH
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using corel photo-paint

By Bill Leek Learn
PHOTO-PAINT Artistry:
In past articles I have discussed the advantages of blending layers together to achieve superior visual effects. In this article, we will further investigate several effect filters and experiment with the use of varied blending methods and object transparency settings. In each example, we will duplicate the base background object and then apply an effect to the duplicated layer. We will then apply different blending methods to establish how the effect layer will interact with the bottom background (original photo) layer.
Blending Objects to Create Unique Effects

When you click the dropdown arrow in the blending mode box, all available blending modes will be displayed. We will utilize the following modes: ADD, DIVIDE, OVERLAY, SOFT LIGHT, HARDLIGHT DUPLICATING THE BACKGROUND OBJECT When you first load your image into PHOTO-PAINT only the original Background Object will be displayed in the Object Docker. To duplicate this layer and place it above the Background, simply right click on the Background Object and then choose DUPLICATE SELECTED. All effects may now be applied to this new duplicate layer. The background layer will remain intact and unchanged. This is the first step in applying all the effects below. THE HIGH PASS FILTER The high pass filter emphasizes the highlights and luminous areas of an image. When used as object layer above the background it can be effectively used for sharpening an image without creating much noise. You can use this effect with the OVERLAY, SOFT LIGHT and HARD LIGHT blending modes for a range of sharpening effects. Select the effect object above the background object layer. Next, click on EFFECTS on the PHOTO-PAINT top menu, then select SHARPEN. Next select HI PASS from the list High Pass Effect Control Panel of sharpening methods. Using the HIGH PASS control panel, set PERCENTAGE to 100, and set the
I have used PHOTO-PAINT for some time. In the past I never paid much attention to why certain effects were applied to a gray, 50% black background. Heres Object Docker with why; when using certain blending Background and Effects modes the 50% black background Objects displayed. is treated as transparent. This means the effect can be applied without the color component. The power of this capability will become apparent after we review a few examples. THE OBJECT DOCKER The OBJECT DOCKER is displayed showing the base BACKGROUND OBJECT and the DUPLICATED OBJECT above it. The OBJECT DOCKER controls we will use are labeled as follows: List of available Object Blend Modes. (1) BLENDING MODE (2) TRANSPARENCY (3) COMBINE OBJECTS TOGETHER
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RADIUS to 10-14. It is best to de-saturate this effects object to remove any generated color. Select the blending mode and then vary the transparency slider in the OBJECT DOCKER to control the sharpening effect. These same steps can be followed with the EMBOSS, ETCHING and RELIEF SCULPTURE EFFECTS. These will add texture and depth to your images using the Overlay, Hard Light and Soft light blending modes. The DESATURATE step is not required with Etching and Relief sculpture. No residual colors are generated with these effects. With all three of these effect filters, you may wish to try the ADD and DIVIDE blending modes. Using these modes and varying transparency will allow you to generate a muted, acrylic look to your images. When using ADD and DIVIDE you will normally need to use a TRANSPARENCY setting of less than 50. Original Photo of Lighthouse Heres a brief summary on how to use the EMBOSS, ETCHING and RELIEF SCULPTURE effects. Screen shots of their control panels have been included. EMBOSS Click on EFFECTS on the top menu bar. Then select 3D EFFECTS and next EMBOSS. In the EMBOSS CONTROL PANEL, set DEPTH to 5 and LEVEL to 60. DESATURATE after applying. An important caveat for all effects: USE LESS OF AN EFFECT THAN YOU THINK YOU NEED. The printed result will appear artificial when you overdo it. CONCLUSIONS: PHOTO-PAINT offers you a very full set of image manipulation tools. Many of them you will use on a regular basis. Many others you will probably never use. Some tools and techniques are not well documented. When you have time, its worth experimenting a little. Try some more blending options with different effects. You may be surprised with the results. Bill Leek is a color consultant for JBL Graphics in Houston, TX, and has over 30 years experience in computer engineering and graphics design. He has developed several lines of color imprintable products, and does testing on a variety of products for different manufacturers. He can be reached at support@jblgraphics.com or 281-970-6677.
RELIEF SCULPTURE Click on EFFECTS on the top menu bar. Then select TEXTURE and next RELIEF SCULPTURE. In the RELIEF SCULPTURE CONTROL PANEL, set DETAIL to 75, DEPTH to 15 and SMOOTHNESS to 0
Lighthouse with Relief Sculpture effect applied using the Divide Blending mode.
ETCHING Click on EFFECTS on the top menu bar. Then select TEXTURE and next ETCHING. In the ETCHING CONTROL PANEL, set DETAIL to 100 and depth to 15.
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inside Screen printing

By Jeff McDaniel Apply
Prepping the artwork for printing

Background In this article we will take our artwork, prepare it for screen printing, and print out our positive images. The artwork that we had converted to vector in our last article needs to be properly formatted for screen printing. Getting Started After sending our artwork out and having it converted to vector, we will still need to modify the artwork before we can print our positive images. The first thing to check is what colors are currently in the vector file we wish to print. Since we are going to run this job with 3 colors we want to verify we dont have any RGB or CMYK value colors in our drawing. An easy way to check this is to select print and then look at the separations tab for the printer (see Image 1). If the printer is showing us separation values for cyan, magenta, yellow, and black, then we know there is a CMYK value color in our image somewhere. Using Find and Replace If your vector service has done a nice job, then all of the colors will be stacked neatly and can easily be selected and manually replaced. A nice feature in Corel is the Find and Replace tool. Access the Find and Replace tool by selecting EDITFIND AND REPLACEFIND OBJECTS. (see Image 2) This will bring up the FIND WIZARD which will guide you through the search process. First the wizard will want to know if we are performing a new search, loading an old search from disk, or starting a search based on a selected object (see Image 3). We are going to start a new search. Next the wizard wants to know what
Image 1: An easy way to check for separation values is to select print and then look at the separations tab for the printer.
Image 2: Access the Find and Replace tool by selecting EDITFIND AND REPLACEFIND OBJECTS.
Image 3: The Find Wizard will ask you what type of search you are performing.
Image 4: We will select Find any type of object. This will search the entire page no matter what the object type is.
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type of objects we are looking for. In this case we will select Find any type of object.. This will search the entire page no matter what the object type is (see Image 4). Now we will select the Fills tab and open the General Fill Color Model group to select CMYK (see Image 5). There are also tabs for outlines and special effects available to narrow down the search, but in this case they will not be necessary. Now that we have our parameters set, we can click next. Before we click finish, we will have the opportunity to review our search choices and also save our search for future use (see Image 6). After clicking finish, our search box will show up and we can select Find all (see Image 7). Our search has highlighted all of the objects on this page that are using the CMYK color model and now we can select an appropriate replacement color if we would like. requested that we convert the black outlines to white instead. Normally we print our colors from lightest to darkest. Often we use the darkest color as our trap color. In this case we will need to print a white base layer since we are printing on a dark-colored garment. Otherwise our red color may not be red. It is similar to painting red paint on a blue wall. Will the color be red or something else? So in this case we will simply overprint our white by a couple of points to create our trap layer and then print our red directly on top. Here is what our design looks like after performing the customers requested modifications (see Image 10). Printing the artwork Now that we have our colors replaced and our trap layer set, we can get ready to print the artwork. We usually select everything and then under EDIT on the command bar, we select OVERPRINT OUTLINES. Now Image 7: After clicking finish, our we can open up our print preview again. search box will show up and we We need to be sure that the Document can select Find all. Overprints button is set to PRESERVE. If we take a look at the print preview we should see a solid black print out for each color. While we are in print preview, we will need to set up our registration marks. We can set up our registration marks by selecting the MARKS PLACEMENT TOOL in print preview and moving the marks to the desired location (see Image Image 8: When we select print and look at the separations tab now, we should only see Pantone colors listed in our separations list.
Image 5: We will select the Fills tab and open the General Fill Color Model group to select CMYK.
Double checking the artwork can be easily accomplished by Image 6: We will have the opportunity to running the same search again. review our search choices and also save our If we have done our job correctly search for future use. the FIND WIZARD should not find any objects. When we select print and look at the separations tab now, we should only see Pantone colors listed in our separations list (see Image 8). Here is what our artwork looks like now with all of the colors converted to spot colors (see Image 9). Trapping the artwork After looking at the converted artwork, our customer decided to use a navy blue shirt for this project and felt that the black color would not show up very well. The customer
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11). The actual printer settings used depend on the printer. The film manufacturers generally state that as much ink as possible and as high a quality setting as possible yield the best results. After printing the artwork out as separations, we have 2 photo positives printed on film (see Images 12 and 13). Conclusion Even when we have artwork converted to vector format, there is often still work that needs to be done before it can be printed out. Spot colors and artwork trapping are important considerations. In our next article we will apply capillary film to our screens and transfer the artwork from our photo positive to the capillary film. Jeff McDaniel is the Owner/ Operator of Creative Graphic in Philomath, Oregon. Jeff has been working with computers since the age of 5 and was a journeyman machinist before working in the graphic arts business. Creative Graphic offers services including laser engraving, rotary engraving, sandblasting, sublimation, image transfers, vinyl signs, banners, screen printing, and promotional products. Jeff routinely applies graphics to a wide variety of materials. You can contact Jeff by email at Jeff@creativegraphic. net. Image 12: Photo positive 1 printed on film. Image 13: Photo positive 2 printed on film.
Image 9: This is what our artwork looks like now with all of the colors converted to spot colors.
Image 10: This is what our design looks like after performing the customers requested modifications.
Image 11: We can set up our registration marks by selecting the MARKS PLACEMENT TOOL in print preview and moving the marks to the desired location.
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inside sandblasting
By John and Judy McDaniel Applications
Sandblasting Equipment
In our last article we explained some of the reasons we chose sandblasting, this time well summarize the equipment necessary to set up a sandblast operation. We like to define decorative sandblasting as, The controlled disruption of a materials surface resulting in a recognizable pattern. Surface disruption is achieved using a pressurized abrasive air stream. Control is achieved using masks/resists/stencils, and with artistic use of the abrasive air stream. As a result, the basic requirements for a sandblast operation can be divided into two major categories: I. Blasting Equipment. The equipment needed for the sandblast process, i.e. to create and control the abrasive air stream this equipment includes: A. A blast cabinet (Pressure pot or Siphon system) B. Nozzles to shape the air stream. C. A dust collector. D. An air compressor. II. Masking Equipment. The equipment needed to create sandblast masks/resists/stencilswhich includes: A. A computer system with graphic software CorelDRAW, etc. B. A mask-making system of some type. 1. For Photo Masking -- (an inkjet or laser printer or a UV exposure unit) 2. For Vinyl Masking -- (a vinyl cutter) 3. For Laser Masking -- (A laser engraver is required and a rotary attachment is recommended) As with all equipment purchases, there are various configurations you can choose at differing budgets. You can add a decent sandblasting system with photomasking capability to your operation, assuming you already have a computer, for as little as $2500 to $3000. If youre starting from scratch without anything, plan on $3500 to $5000. From there, other features may be acquired later which can bring your total investment closer to $10,000 to $15,000. Your equipment choices should be dictated by your customers needs and as always by your anticipated revenues. An overview of the equipment needed for the sandblast process. When most people think of sandblasting they immediately focus on the equipment needed for the process; the blast cabinet and dust collector is what they think of first. Then at some point they realize they will also need an air compressor. The Sandblast Cabinet Sandblast cabinets come in various sizes, from bench top to freestanding. The size of the cabinet needed will be determined by the size of the largest object you expect to blast. A freestanding 24 x 36 cabinet is a reasonable size that will accommodate most projects. However, if you never expect to blast anything larger than drinking glasses a smaller bench-top unit may suffice. More important than size is the type of cabinet you select. Blast Example of a cabinets have either a siphon sandblast cabinet. system or pressure pot system for injecting abrasive media into the air stream. A siphon system circulates the abrasive media in the cabinet. The lower part of the cabinet is filled with abrasive that is drawn into the air stream through a Venturi vacuum
effect. These types of cabinets are typically used for part cleaning and not for decorative sandblasting. They operate at pressures of 80 to 100psi and consume considerable amounts of compressed air. In a pressure pot system the abrasive media is loaded into a container thats pressurized and the media is forced into the air stream under pressure. Pressure pot systems operate at 10 to 40psi and therefore use significantly less compressed air. In addition, they cut faster, and because they operate at lower air pressures, they put less strain on the sandblast mask and compressor. Dust Collectors A dust collector is essentially a vacuum cleaner attached to the sandblast cabinet. Sandblast media as it impacts the surface of the product will break into small pieces. Eventually these pieces become so fine theyll create a cloud in the cabinet. The function of the dust collector is to draw the dust cloud out of the cabinet and filter the spent media out of the system. Many cabinets have integrated dust collectors as part of their design, some do not. Stand-alone dust collector prices range from $200 to $2,000. The Air Compressor An air compressor is the essential engine for a sandblast operation. There are at least three different types of air compressors available. They include reciprocating piston, screw, and scroll.
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Reciprocating piston compressors are the most common. They cost between a few hundred to a few thousand dollars, depending on size and airflow capacity. They are available in oil lubricated as well as oil-less models. Oil-less models use graphite cylinder walls and bearings. When these surfaces wear out you typically replace the entire unit. Oil-lubricated models are generally designed to be repaired if necessary and will typically provide a longer life. In addition most oil-less models are significantly louder in operation then oil-lubricated units. We will cover the screw and scroll compressors a little later when we go deeper into compressors. We would recommend that you consider a compressor capable of delivering a minimum of 8 to 12cfm at 40psi. Conclusion To get started, plan on spending $2500 to $5000 for a sandblast cabinet; the more expensive cabinets will include integrated pressure pots and dust collector systems. Some packages will also include basic photo-resist creation equipment. In addition, if you dont have an air compressor, plan on another $500 to $1000 for a good quality commercial unit. Next time we will present an overview of the equipment necessary to produce sandblast masks/resists/stencils. Judy McDaniel , with her husband John are owners of JHM Marketing and CorelDRAWhelp, Inc. They provide consulting and training services for the industry. Currently they are both Corel Training Partners. They offer private training at selected locations throughout the U.S., and on location for corporate customers. They also offer group training at CorelDRAWhelp tour events around the country. (For information on training services offered and their application support service visit www.CorelDRAWhelp. com.) You may contact them via email at mail@CorelDRAWhelp.com. CDH
Put Your Art on the Cover

You are invited to submit your artwork for the cover of future issues of CorelDRAWHelp! Each issue will highlight the artwork of one selected CorelDRAW user. (www.coreldrawpro.com/coverart.htm) There will also be a short About the Cover article on the inside that identifies you as the artist, and describes briefly how you created it. Your contact information will be listed so others in the CorelDRAW community can contact you for more details or just to congratulate you!
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inside engraving
By John McDaniel Apply
Hardware Design: Speed Control Part 3

Individual machine components work together to produce the engraved products we sell. The components include Motors, the Drive Unit, Guide Rails, Encoders, Tachometers (Speed Control), Bearings, Spindles, Material Hold Down, and the Electronic Interface. Many engineering techniques are used in different machines to accomplish a similar result. The differences between these techniques determine the machines Accuracy, Reliability, Serviceability, and Obsolescence. The quality and accuracy of machine components, properly chosen during the design of the machine, have a direct effect on the reliability of our machine, and the quality of our products. In past articles, we have discussed Motors, the Drive Unit, Guide Rails, encoders, and touched on Bearings. This time we will conclude our discussion of tachometers and other speed control mechanisms.. Review The primary applications for speed control devices are for machines where resistance to movement can vary substantially, i.e. heavy-duty rotary engraving and cutting machines. These machine designs incorporate servomotors and encoders for motion control, and use some type of speed control mechanism to maintain constant feed rates through a range of cutting loads. These machines are equipped with servo controls to: (1) monitor axis speed; and (2) regulate power applied to the drive motors, thereby keeping feed rates constant. As I pointed out in our last discussion, stepper motors are pulsed. They move one-step at full speed each time they are pulsed. Overall axes feed rates are achieved by controlling the pulse rates. Servo speed controls typically are not used in stepper motor designs. Since stepper motors move at full power and speed each time they are pulsed, two axis stepper motor systems in reality can only produce straight or 45-degree line segments. Curves are achieved by combining these steps, see diagram A. To achieve smooth-looking curves these tiny line segments should be invisible to the unaided eye. In essence, the smaller the step the more continuous an engraved curve will appear when produced with a stepper motor system. If each of the squares in diagram A is 0.001, individual line segments may be visible. If we have a micro-stepping motor, then each of the little squares will be much smaller, and individual steps would not be visible. Servo Motor Designs In the previous example, when both X and Y stepper motors are pulsed simultaneously, they move simultaneously at the same speed. The combined X and Y steps, result in a 45 vectored movement. In this example if we assign a value of one to the speed of movement, then both X and Y each move at the rate of one; and the relational movement of X and Y is one to one. A one to one speed will always produce a 45 vector. Servomotors, on the other hand, can move at various rates. In fact, the original Incredible Machine used motors that can move as slowly as one revolution in 24 hours; not that you would ever use such a slow feed rate, it is just that its motors are capable of a full range of speeds. The way machines with servomotors vary speed is by varying levels of power; more power = greater speed; less power = slower speed. This is similar to how some simple engraving machines control spindle speed; using a manual potentiometer, except that the speed controls are automated. Proportional Feed Rates If we can control the motors speeds, we can change their relative movement and produce other angles. This technique is called Proportional Feed Rate (PFR) control. For example, without getting into the math, if we apply full power to both X and Y-axis, we will produce a one to one, or 45 angled movement (just like the stepper motors). In terms of a PFR, it can be expressed as X/Y, which equals 1/1 or simply 1. Assuming a linear relationship between power and rotational motion, if we apply 100% power
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to the X-axis motor, and 50% power to the Y-axis motor; then the X-axis will move twice the distance of the Y-axis in the same amount of time. This is a two to one combination, a PFR of 2 (X/Y=2/1=2); and will produce a 22.5 angled movement. Conversely, if we apply 50% power to the X-axis and 100% power to the Y-axis; the Y-axis will move twice the distance of the X in the same time.. The resulting movement is one to two, a PFR of 0.5 (X/ Y=1/2=0.5); and will produce a 67.5 angle. With a hardware and software design that provides infinite, variable, computer control of the axis motors speeds, lines and curves at any angle can be faithfully engraved or machined, see diagram B. Servo Controls If the machines design includes servomotors with computerized speed control, and the control software provides Proportional Feed Rate control, then we will also want servo controls on the axis motors. The heart of a servo control is a tachometer or some other speed sensing mechanism. Whatever device is used, it measures the speed of the motor and reports it to the servo control circuit. The servo control circuits job is to maintain motor speed. It does this by increasing or decreasing power to the motor as the load on the motor changes. Without feedback from the speed monitor, and power control from the servo circuits, cutting loads can affect motor speeds and thereby alter proportional feed rates. If the computer calls for a PFR of 2, and because of cutting load, one axis slows, the actual PFR will change. This change will result in a distorted angle that may or may not produce a visible defect in the work. PFR distortion can also destroy repeatability. Repeatability is essential in jobs that require multiple passes to complete, like 3D engraving, or engraving some metals deep enough to accept paint for color filling. In much of this work, its necessary to engrave items in multiple passes. As material is removed, motor loads can change from one pass to another. Without positioning feedback, from encoders (see previous articles), and speed control servo mechanisms, changes in motor load can affect PFRs and tool positioning; which in turn will destroy repeatability. Conclusion As with any design feature, it is important to decide the type of engraving you intend to do with your machine. Machine designs that include servomotors, encoders, and servo speed controls will generally cost more. For light-duty engraving applications, these features may not be required; however, for applications that require precision, speed, moderate to heavy cutting loads, or multiple pass engraving, these elements will help us create the high quality work our customers will appreciate. Next time well expand our look at bearings and their importance to the quality of our products. Judy and John McDaniel are owners of JHM Marketing and CorelDRAWhelp, Inc. They provide consulting and training services for the industry. In addition, they host and are available to answer questions at the CorelDRAWhelp Tour events around the country. (For more information, please visit www.CorelDRAWhelp. com..) They can be reached via email, at JHMcDaniel@ CDH CorelDRAWhelp.com.
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getting ahead
By Deborah Sexton Grow
Users Report: Digital Direct-to-Garment Printers

What decorators have learned about digital printers and how those lessons can help your shop.
There is perhaps no better way to learn something than by actually doing it but coming in a close second is learning from someone else who has done it. When it comes to digital direct-to-garment printing, many decorators are eager to learn more about what the technology can really do.. Should they purchase a digital printer for their shop? If they purchase one, will it be difficult to operate? What will maintenance involve? And should they try using the equipment to do dark garments? Wanja opted for a cartridge unit instead of one with bulk ink because they figured it would be less messy and easier, she says. I dont have time to mess with bottles. Plus, the AnaJet is user-friendly. Im not very computer literate and it was still really easy. Sam Wildt, owner, Palomar Printing, Worcester, Mass., studied numerous suppliers offerings before deciding on the M&R i-Dot. What drew me to this unit was M&Rs quality and customer service, and the fact that they offered a complete software package with it, he says. You dont have to buy a separate computer; its all right there.
Chris Kelly, owner, Keltex Imprinted Apparel, Oceanview, N.J, has been very happy with his M&R i-Dot digital printer. When choosing a printer, he recommends shopping trade shows To answer those questions, and getting your artwork printed out on models more than a half-dozen you are interested in. decorators were asked about their experience with direct-to-garment printing, and what advice they have for others considering following in their footsteps.
Choosing a Printer Picking the right digital printer can be a bit daunting, given the number of available options. Not surprisingly, the key to picking the right printer is doing your homework. I looked really hard at all of the digital printers, says Rick Roth, president, Mirror Image, Pawtucket, R.I. We chose a Mimaki because its very heavy-duty. Its a serious machine. Katy Trophies & Awards, Katy, Texas, had offered only embroidery for apparel decoration options before it added an AnaJet printer in June 2008. Owner Roxanne
Before purchasing it, Wildt tested the machine with several designs that he had previously screen printed for customers. We wanted to see how it worked with real-life artwork, he says. And it printed flawlessly.
Rick Roth, president, Mirror Imagine, Pawtucket, RI, has found that by experimentation, he continues to get better looking prints from his Mimaki GP604 printer. As printers give suppliers feedback, manufacturers will continue to make the machines more user-friendly, he notes. Photo courtesy of Hirsch Intl., Hauppauge, NY
Chris Kelly, Keltex Imprinted Apparel, Oceanview, N.J., another i-Dot owner, stresses the importance of testing a variety of printers. Shop around at the trade shows, he says. Take your own artwork, and have it printed in each digital printer. Donna Tarter, Donnas Decorated Apparel, Etc., Picayune, Miss., who uses a DTG Kiosk, says that it pays to find out what other decorators are saying about the equipment youre considering. Check on the customer support and
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service on each brand, she says. Go on the forums and see what everybodys saying about their printers: what kind of issues they are having and what kind of support they have. Getting Up and Running Choosing a machine is just the beginning of your journey; your next step is actually learning to operate your shiny new directto-garment printer. The sophistication and complexity of the unit you choose, as well as the amount of training you receive from the supplier, will go a long way in determining how painful or pleasant this step will be. Rob Dubow, president, Dubow Textile, St. Cloud, Minn., faced a significant learning curve with his high-end Kornit unit, leading to many days of frustration.
box and magic happens. For example, you have to know how to handle the art files; you need transparent backgrounds, he says. You cant just throw any image in there and put it on anything you want. Wildt attended two days of training at M&R to get up to speed with his machine. We got way into it, even taking off the print head and replacing it, he says. It was very methodical and painless. Without this kind of training, you could have problems down the road.
Additional Advice
Kelly loves his digital printer for doing small runs of multicolor jobs. There are certain jobs that show up that I couldnt do because of the quantity and number of colors. For example a sixdozen run with six colors. Ill do that type of order digitally all day long. Photo courtesy of Keltex Imprinted Apparel, Oceanview, N.J. Initially, it didnt meet my expectations, he recalls. We were producing sellable garments right away, but we continuously had issues. Part of Dubows challenges stemmed from the fact that he was one of the early adopters of digital direct-to-garment technology. Today, many of the bugs that plagued those early systems have long since been addressed and overcome. The first buyers of digital printers were guinea pigs, especially with white ink printers and 75% of my orders are for colored garments, he says. After the machine was converted to water-based inks, things changed. Now it absolutely meets my expectations. Kelly says that training and patience are absolute musts. Its not like you open a
Have a plan. No. 1, figure out what you plan to do with it, Trammel advises. Determine if you want to do dark garments, and if youre trying to replace screen printing, in which case youd want a higher-end unit. Know what your market is, Dubow says. Dont expect to buy a digital printer and have people flock to you. Also, be prepared for a learning curve, because its not plug and play. Know your costs. Anyone in the market for DTG should get to know the true cost of operating the equipment, as far as labor, Wildt says. It might be able to print 30 shirts an hour, but if you can only heat press 12 per hour, thats your true production time. Adds Roth: The cost of the machine is hardly the whole picture. Find some decorators who actually use it and ask them about their ink costs. Consider the environment. You need a controlled environment, with the humidity above 30% so that the head doesnt dry out, Trammel says. When they tell you that humidity needs to be above 45%, they mean it, Kelly says. Weve had days where the humidity was 20%, and we had nothing but trouble all day long. You need a humidifier, and you cant just stick it out in the shop you need an enclosed, controlled environment. Learn the machine. Make sure you know how to clean it and take it apart and do maintenance yourself, Wanja says. Research your machine, and plan on wasting some shirts. It is going to happen, Mark Francis says. Print on the front, on the back, and turn them inside out so that you can get a few prints on each one as youre testing. Know the limitations. Roth, who may expand his shops use of the direct-to-garment printer to include production of customizable garments for union, says that despite its many benefits, digital technology is simply not a substitute for screen printing. It doesnt really look the same, he says. You have to look at them as two separate products.
A big decision to make when adding a digital printer is if you want a model with the capability to do dark garments. Rob Dubow, president, Dubow Textiles, St. Cloud, Minn., runs two Kornit printers. He estimates that 75% of his orders are for colored garments necessitating a need for a printer that could do darks. Photo courtesy of Dubow Textiles, St. Cloud, Minn.
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getting ahead
Tarter says that even without training, she was printing within a week of getting her digital machine, and that she hasnt had a single maintenance issue. I really have no dislikes, she says. Theyve improved the inks, and Im thoroughly pleased with the washability. Im in love with my printer. Scott Trammel, Dennison T-Shirt Graphics, Dennison, Ohio, also had an especially smooth learning curve with his Brother printer. We did the install one day, and we were running orders the next day, he says. You couldnt ask for it to be any easier than that.
Trammel, who estimates that he digitally prints about 400 shirts a day, says he hasnt had a single maintenance issue with his machine, after more than two years of using it. We do about 60 left-chest designs in an hour, Trammel says. On a full-front design, its probably 42 an hour. Maintenance on Alpers printer, which he uses to do about 30 to 45 shirts per hour on average, has been drop-dead simple. I did around 40,000 prints before I had to replace the black print head and thats all the maintenance Ive done since I got it, he says. It shuts off automatically when I leave, and it does its own head cleaning. Color and Image Issues Decorators also have discovered that getting high-quality images from a digital printer requires a solid understanding of artwork, and plenty of practice with the equipment. Weve learned that as a rule of thumb, the color of the ink needs to be darker than the shirt you print on, Trammel says. For example, if you print on a lavender shirt, a darker purple looks great on it. Roth says that while his machine offers a wide range of color and extreme detail, it doesnt print with quite the same intensity as screen printing. It doesnt do a great job on big areas of vibrant color, and it doesnt have the depth that you get with screen printing, but it will get there, Roth says. Right now, if you want big letters, its not going to look that good. However, Roth readily acknowledges that he expects to get better-looking prints out of the machine as he continues to work with it. Were still playing around with the color curves and saturation, so I think well get it to print better and better. And as printers give suppliers feedback, manufacturers will continue to make the machines more user-friendly.
Digital decorators agree that spending time experimenting and playing with the printer and its capabilities results in better quality printers and learning the true potential. Digital prints also readily lend themselves to multimedia. Photo courtesy of DTG/SWF East, Tampa, Fla.
Adds Wanja: We had one day of training, and we felt up to speed. We did an order for 300 shirts right away. Brad Alpers, president, Repla Prints, Marietta, Ga., who has a Brother, may have set an industry speed record with his learning curve: It took me about 20 minutes to get up and running, he says. Its like taking your Epson printer, typing a Word document, and printing it. It couldnt be easier. Maintenance Issues Once decorators get their machines up and running, maintenance doesnt seem to be much of an issue assuming theyre using the equipment regularly. The machine uses water-based ink, so you need to use it every day, Wildt says. Keep the ink fresh; keep everything moving along. Adds Wanja: The more you print, the better quality shirts you get; you need to print regularly. Maintenance on Dubows high-end equipment has been relatively straightforward, he says. We run the machine all the time, so clogging is a non-issue, he says. You do have some parts that go out, and you have filters that need replacing, and ink heads that need purging, wiping and flushing. Its a good idea to keep spare parts on hand. The ultimate test of a printers quality is multiple wash tests. Here a newly printed shirt was compared to a washed shirt with the same design. This allows you to see how the inks opacity and brightness hold up. Photo courtesy of Minds Eye Graphics, Decatur, Ind.
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getting ahead
Roth also has been pleased with the quality of print results he can get with a minimum of artwork tweaking. You can get acceptable results by using exactly what people send you, he says. You can use the machine right away, and then over time, you just get better and better at it. I think more and more decorators will use them because you can immediately get results. A Dark Cloud For some decorators, a challenge thats more vexing than color intensity is printing on dark garments. It doesnt work very well right now, Roth says. It works well on naturals and whites, but its not really quite there yet on darks. Repla Prints doesnt do any digital printing on dark garments, instead steering customers either to light garments or to screen printing. Theres too much maintenance on machines that print white, so we dont do it. I rarely lose customers because of it, Alpers says. Id guess that only 5% of the time do they insist on having a dark shirt. Adds Tarter: I stay away from darks, because the spraying and wiping is a pain. I know that some people have had success with it, but its not for me. If the customer wants a black garment, I talk him into a lighter-colored shirt. Pretreatment a necessary step for printing on darks has been a challenge for Mark Francis, president, Creative Concepts of Jonesboro Inc., Jonesboro, Ark., who has three T-Jets. You cant put on too much or too little of it, he says. Its trial and error. We use a spray bottle, and we mist water on the shirt first. Kelly agrees that the hardest part of printing on dark shirts is the pretreatment. Its just a pain, he says. You have to learn through trial and error how much to put on the garment. Plus you have to print the white underbase, then run it again. Adds Wildt: Dark garments have been a sticking point for me. You get inconsistent results doing the pretreatment manually.
Suppliers offer automated pretreatment machines, but its hard to swallow $5,000 for it. Still, Francis says, the challenges associated with printing darks are worth it. We can charge $25 for one dark shirt printed on one side. The profit margin is good, he says. Ninety percent of our orders are for dark garments; its what people want. Dubow says hes able to get phenomenal results using a split-belt gas dryer. For dark garments, we can run the belt slower, he says. Trammels older Brother unit doesnt do dark garments, so hes considering making the move to the companys newer equipment. That would open up tons of avenues for us, he says. We can do darks now using print-and-cut technology, but it still looks like a transfer. With Brothers equipment, the image looks like it has been screen printed.
And while Trammel was initially wary of the pretreatment involved in doing dark garments, he has warmed to the idea. I was leery of it, but after seeing the results, its just unbelievable, he says. Keeping such an open mind and a positive attitude will help overcome any challenges you may face in adding and learning about direct-to-garment technology. In fact, Roth says, decorators who purchase a digital printer may be surprised to discover how versatile the machinery is. Its a solution to more than youre imagining. It does more than we thought it would. Were learning more and more things that we can do with it, he says. A lot of shops can really make some money with it. CDH
This art shirt was created on the Mimaki by Mirror Imagine, Pawtucket, R.I. It is one of a series of paintings by Cuban artist Evans Molina Fernandez that he sells from his online store on his Web site at www. afrocubanevans.com.
There is a market that needs full-color prints in small quantities, and a digital printer is the only viable option, says Rick Roth, president, Mirror Imagine, Pawtucket,R.I. who uses a Mimaki GP604. You cannot set up screen printing fast enough to print under 300 shirts profitably.
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the Worlds Only Association for CorelDRAW Users INVITES YOU TO MAKE MORE MONEY WITH CORELDRAW!
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marketing secrets
By Donna M. Gray, CRM Grow
Get Motivated to Get Through!

President Harry Truman kept a small sign on his desk that read, The buck stops here. He took complete responsibility and accountability for his decisions, actions, and the way he ran the country. President Abraham Lincoln said, You cannot escape the responsibility of tomorrow by evading it today. Alvin Toffler, author of The Third Wave, said Human beings were held accountable long before there were corporate bureaucracies. If the knight didnt deliver, the king cut off his head. Its a guessing game to wonder how prominent people of the past would motivate themselves to guide a small business through todays tight economical times. Ive heard from a few industry colleagues who are looking for ways to do business without giving away the store. Some are looking for ways to survive, achieve, and thrive when customers are cutting back, or waiting to sign off on orders, and in some cases, just tire kicking. So I decided to put on my detectives hat and interview them for tips, hints, and secrets that successful companies (by the way, success is all relative) are using, now, to bring in business, and to reach their goals. My investigations produced some interesting information. In almost all cases, successful companies have leaders who are inspired and passionate about what they do. Just talking to them is inspiring. One can actually sense the joy, and the excitement they feel about going to work every day, no matter what challenges the day might bring. And, some of them think its great to work every day. There are good leaders with some or all of the following: They have vision. They dream. They decide where they want their companies to be in one year, three years, and five years. They make their plan with something in it to excite every team member. They write it down, in detail, and get excited about it. They listen. They frequently ask team members about their needs, desires, and aspirations even about their worries and frustrations. They ask team members about their ideas for making the companys vision work. They dont waste time. Ive been in many shops where people arent hustling. In a deadline-driven industry like ours, if youre not hustling, youre not taking the money wheelbarrow to the bank. Good leaders set
Donna Grays 2nd book, Its All Relative!
Surviving & Thriving in a Family Business, was published in September 2007.

It describes her quest to identify the keys to success for small business, and family businesses in particular. She interviewed top businesses nationwide and discovered five common qualities implemented by successful business owners. Check it out at the CorelDRAWPro Bookstore, www.coreldrawpro.com/AllBookstore.htm
a good example. Even when not in season, they spend their time wisely by continually prospecting to keep the pipe line full. They delegate effectively so other team members get to work on interesting orders and projects. They dont call unnecessary meetings. They use praise and rewards for team members who perform well for the company. They sponsor continuing education for good workers, and membership into business organizations and activities. Some even give important team members a piece of the pie, through bonuses and other motivational tools. They are humble. I saw more successful people giving credit to their team members than those who took the credit themselves. When something did go wrong, they shared the responsibility. I can imagine that if a mistake got as far as the customer, they would step up immediately to make things right and accept accountability without embarrassing a team member. They know the saying, You get what you pay for! They make sure their products and services are fairly priced so the company will make a fair profit. They never bid low just to get an order. They all value their companys products and services, and they value their people (employees) skills, talents and time, and they remember they are professionals, so they wont give it away just to get business that next time around will go shopping for price again. On the same subject of you get what you pay for they hire the best team members they can because they
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marketing secrets
know their investment will come back to them in spades. They know that to have a hit show they have to get the best performers. They get involved. I recently had the pleasure of attending the 2009 Wisconsin Family Business of the Year Awards dinner. The grand award winner for the large company category, in an industry with very few females in leadership roles, had a very wise woman at its helm. Before taking over as president from her father, this very smart, third generation, woman worked for ten years, spending time in each division of the company (getting her hands dirty) so she could say with authority that she knows everything the company is involved in. True leaders know whats going on in the work place. While some might call it micro-managing , in todays challenging business climate, the one who signs the checks has to know whats coming down the pike. They give back. They serve the community. Every leader I spoke to is playing a role in community volunteer agencies. Not only does this kind of service give back to the community, it gives credibility to the company that allows the time to volunteer. Its a win-win-win situation. Some leaders serve on community boards, some volunteer in their churches, some spend time helping non-profit agencies with fund raising efforts. No matter what kind of real (not monetary) contribution these folks make, its appreciated, valued, and talked about. They motivate change within the company. They know the best time to change is before you are forced to. They know that while change can be very unpleasant, some change is necessary during hard times. They motivate team members to celebrate change. They ask team members for their support of change by getting them involved in designing the changes. They motivate their team members with the potential to be part of something great. Theres an old saying, If money were such a good motivator, we would all be bank robbers. Instead of holding the carrot of more dollars in the air, they pay fairly and they give their team members a chance to shine, with the tools and knowledge to take advantage of the opportunity. They have fun. Every leader I spoke to smiled a genuine smile, had a laugh that invites one to laugh with them, and displayed the attitude that while they take running their business seriously, they know that life is meant to be enjoyed. In other words, they all practice the old adage, All work and no play makes Jack (or Jane) a dull person. Donna Gray is the president of Total Awards, Promotions, & Gift (aka AwardsMall.com) in Madison, Wis. She and her husband Dave have run their full service awards and personalization business since1977. She has presented seminars nationwide, won awards as Business Woman of the Year, Retail Marketer of the Year, and Sam Walton Business Leadership Award. She is also the author of two books on family business, Its All Relative! Surviving & Thriving in A Family Business (2007), and Never Quit: The Ups & Downs of Running a Family Business (2004). She has earned professional credentials as a Certified Recognition Master. She can be reached by email at donna.gray@AwardsMall.com.
CDH
Another wise man of note, (besides my husband, Dave), Yogi Berra, said, If you dont know where you are going, you might wind up someplace else. Every one of the successful business leaders I chatted with has a definite plan for where they are going, both professionally and personally. They, like the famous leaders before them, are taking todays world very seriously. They are practicing sustainabilitygoing green at work and at homeeven if its only creating recycling bins for all the paper they use. Theyre encouraging everyone they touch to use sustainable products. They all have an eye to the future and what it will bring. They know that avoiding a decision is equal to deciding to do nothing. They believe that the decisions they make today, can impact on their company, their industry and themselves. They also know that success is a daily practice of wise choices. And, the bottom line of what I learned is that most great leaders know that success doesnt require succeeding 100% of the time. They know how to stay motivated no matter what the challenge. And, they believe that anyone who works at it can and will succeed, even in trying times. So, lets all take a lesson from the leaders and get motivated to get through.
CDH
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GRAPHICS NEWS NETWORK

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Louie Alvarez started in the industry working for one of the largest trophy shops in Central California, and then opened one of the first retail laser engraving businesses. He has given seminars and workshops on CorelDRAW and Laser for many years, and has written for several publications. He is now with Vytek Industrial Lasers and is based in Las Vegas, NV. He can be reached at alvarezwriting@gmail.com. Dave Demoret founded Prolink Graphic Services to help people understand and profit from learning CorelDRAW. He has been in both the Flat Graphics Industry and the Decorating Graphics Industry for 30 years. He has written articles for several publications, is a Corel Training Partner, and conducts workshops nationwide and online. He is the author of several CD Instructional programs on CorelDRAW. He can be reached at 765-DO COLOR (362-6567) or daved@prolinkgs.com Donna Gray is the president of Total Awards, Promotions, & Gift (aka AwardsMall. com) in Madison, Wis. She and her husband Dave have run their full service awards and personalization business since 1977. She has presented seminars on a variety of topics nationwide, and has won many marketing awards. She is the author of two books on family business, and can be reached at donna. gray@AwardsMall.com. Bill Leek is a color consultant for JBL Graphics in Houston, TX, and has over 30 years experience in computer engineering and graphics design. He has developed several lines of color imprintable products, and does testing on a variety of products for different manufacturers. He can be reached at wfleek@jblgraphics. com or 281-970-6677. Jeff McDaniel is the owner of Creative Graphic in Philomath, Oregon. He worked as a journeyman machinist before getting into the graphic products business. Creative Graphic offers laser engraving, rotary engraving, sandblasting, sublimation, image transfers, vinyl signs, banners, screen printing, and promotional products. Jeff routinely applies graphics to a wide variety of materials. Contact him at Jeff@creativegraphic.net.
contributing writers
John McDaniel is the co-owner of JHM Marketing in Albany, OR, which provides consulting and training services for the industry. He worked for many years with computers in electronic data processing and pioneered the use of CorelDraw for engraving applications. He owned a retail personalized gift shop for over ten years, and writes about hardware design, software, laser engraving, sublimation, and more. He is a Corel Training Partner, and co-founder of the Association of CorelDRAW Professionals. For information on training and more, call 541-9674271, or write to mail@CorelDRAWhelp.com. Judy McDaniel is the co-owner of JHM Marketing in Albany, OR, which provides consulting and training services for the industry. Her background includes many forms of art and retail sales, as well as the operation of a retail personalized gift shop for over ten years. She is a regular columnist on sandblasting, sublimation, and diversifying business, as well as a Corel Training Partner, and co-founder of the Association of CorelDRAW Professionals. She can be reached at 541-9674271, fax 541-967-4272, or via email at mail@CorelDRAWhelp.com. David Milisock is president of Custom Graphic Technologies Inc. in Pennsylvania. He has been in the print production business since 1975, and specializes in professional support for CorelDRAW Graphics Suite. Output includes computer-to-plate processes for all commercial digital front-end applications, as well as Postscript-compliant graphic applications. He offers technical and color management support for all RIP-driven corporate digital output systems. He can be reached at 717-509-3523 or davidmilisock@comcast.net. Deborah Sexton, former editor of Impressions Magazine, has been in the apparel graphics industry since 1981. She currently does marketing and public relations for apparel graphics companies, and is a columnist for several industry publications.. She can be reached at dsexton@sbcglobal.net. Otis Veteto is the Western Regional Manager for the R.S. Owens & Co. Inc., manufacturer and supplier of the Elegance in Awards & Gifts line. With more than 30 years experience in the industry, he offers the PROspective of a veteran sales rep in reporting on ideas, people and places that he visits. Otis also presents sales and motivation seminars. He can be reached in Sacramento, CA when not on the road at 916-567-1867.
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Traveling Tidbits
by Otis Veteto
Keys, Cards, & Don Neer

Promotional keys In last months column I wrote about a unique self-promotion idea by B&B Awards in Bloomington, Illinois, who sponsor the broom at Illinois State University basketball games. Here is another great way to promote your business, and can also be used by your customers to promote their business as well. Anyone who has a need for an inexpensive give-away at trade shows, travel shows, home improvement shows, gift showsyou get my drift, can use this. It opens up a great new sales opportunity for you, if you wish to expand your business. What I didnt know, at that moment, was that it was to begin one of the most incredible and memorable mailing programs that I have ever been the recipient of. On my birthday for the next twenty years, I received a card from Mr. Ehmann. My wife received a card on each and every birthday as well. We received an anniversary card each year too! When my children were born, he added them to the mix. Not only did they receive a card, they also received one dollar for each year of their first 5 years of life. (He said he couldnt afford to pay after age 5!) When Mr Ehmann finally retired, he took a trip around the world. He sent my son 6 postcards during that trip. Imagine how many postcards he bought and sent on that trip! It goes without saying that my family was one of many included in his mailing efforts. He told me once that he spent all his extra time at airports buying greeting cards. I would also imagine that he spent all his spare time writing personal notes to the hundreds of customers, vendors, friends, and family he corresponded with. Unfortunately, in early February of this year, I received a note from his family that simply said, The cards and letters you have been receiving from our father have come to an end. Norm passed away on February 3, 2009. Norm proved over and over again that the power of the handwritten card far outweighs any other form of contact. No one cared as much as Norm! What a legacy! I will miss Norm and his cards. The funniest thing of all was that my wife and my children never met him. But they sure know him! Jeff Gidre has been in the promotional products industry since 1984, right after graduating from college, and has been with 02 Marketing & Design as part owner since 2000. Heavy stuff, but lots of good info! Don Neer We also have lost one of the great pioneers of the Trophy Industry.MR DON NEER, 1919-2009. The trophy industry, as it was known then, enjoyed some great years and memorable shows under the leadership and guidance of Don Neer and his association management firm. The TDA and TDMA, which is of course, now the ARA, is like one large family, and we have lost one of our own. Rest in peace, Don! Thats all for now! Remember to save some time for yourself and your family. And when you travel, please travel safe.
Otis Veteto is the Western Regional Manager for the R.S. Owens & Co. Inc., manufacturer and supplier of the Elegance in Awards & Gifts line. With more than 30 years experience in the industry, he offers the PROspective of a veteran sales rep in reporting on ideas, people and places that he visits. Its a fun and informative column focusing on the human-interest side of the industry. Otis also presents sales and motivation seminars for industry organizations, and some of that knowledge will rub off as well. He can be reached in Sacramento, CA when not on the road at 916-567-1867.
Recently, I had a booth at an end user show, and noticed a lot of traffic at one of the other booths. In fact, people were actually standing in line. When I got the chance, I wandered over to see what was drawing all this attention. The guy in the booth was giving away keys! Thats right, keys! Tim Flynn of Relkey. com was working the booth, and actually made copies of peoples house key, or car key while they waited. The thing that made these keys unique was that each key was imprinted with advertising for the company sponsoring the booth. Tim would duplicate a key for them right on the spot, and the advertising was on this key they would use over and over and over. He made a house key for me (which I gave to my wife), and she absolutely loves it. Looking for a great give away, or maybe a great new line? Before you say no, check it out at www.relkey.com The Norm Ehmann Greeting Card story Speaking of keyswe all know two of the key elements for success in any business is marketing and follow up. With todays technology, it seems to me we have lost a lot of that old fashioned personal touch. Jeff Gidre of 02 Marketing & Design, recently shared this great personal touch story, and I would like to pass it along. Its worth reading, and worth thinking about. Early in my career, I had a meeting with a man named Norm Ehmann. He was an entomologist by training and the Vice President of Marketing for Van Waters and Rogers Pest Control Supply Department. When I met with him, he told me that he already had a vendor, but that his vendor was not well and to stay in touch. After about a year of sporadic contact, he called me for an appointment. At our first meeting, before talking about his needs, he pulled out an old Samsonite briefcase, opened it up and pulled out a blank 3x 5 card and began asking me questions. Spelling of my name, birthdate, spouses name and spelling, spouses birthdate, anniversary date, children if any, etc.
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Users' Report: DTG Printers: The Entrepreneurial Magazine For Coreldraw® Users Worldwide

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Users' Report: DTG Printers: The Entrepreneurial Magazine For Coreldraw® Users Worldwide

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the entrepreneurial magazine for CorelDRAW users worldwide

Users Report: DTG Printers

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

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By Mike Neer, Executive Director

How is Your Filter Working?

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13 Inside Color: The Postscript Color-Managed RIP

17 Inside Screeen Printing: Prepping the Artwork for Printing

24 Getting Ahead: Users Report: Digital Direct-ToGarment Printers

20 Inside Sandblasting: Sandblasting Equipment

30 Marketing Secrets Get Motivated To Get Through!

34 Traveling Tidbits: Keys, Cards, and Don Neer

22 Inside Engraving: Speed Control -- Part 3

28 Logo-Links 32 GNN Network

32 Marketplace 33 Contributing Writers

GRAPHICS News Wire

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Interviewed by Mike Neer, Editor

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Imposition Layout Creating Holding Fixtures Part 2

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The Postscript Color-Managed RIP

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using corel photo-paint

Blending Objects to Create Unique Effects

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Prepping the artwork for printing

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inside Screen printing

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inside Screen printing

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Put Your Art on the Cover

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Hardware Design: Speed Control Part 3

Users Report: Digital Direct-to-Garment Printers

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Sponsors in the News

Stahls ID launches Seasonal Patriotic Heat Transfers for US & Canada

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Visit the CorelDRAW Digital Help Tour!

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

Visit www.coreldrawhelp.com and click on the appropriate links. 800-276-8428

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Get Motivated to Get Through!

Donna Grays 2nd book, Its All Relative!

Surviving & Thriving in a Family Business, was published in September 2007.

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GRAPHICS NEWS NETWORK

Some Things Were Meant To Be In Etched in Stone

John E. Lepper, Inc.

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